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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

AF100, ouch

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I'm with Leo on this one. AF-100 should be a fine large sensor video camera for its price with all the practicality and convenience that HD video shooters need and expect.
A DSLR is a pain in the butt to shoot video with, even if the images are decent, and no amount of accessorizing will change that.
Epic and Scarlet are different. They are designed as motion cameras first and they have better more comprehensive features for shooting motion even when configured like a DSLR. They can also be configured like a shoulder mounted video camera too.
 
Dear Sanjin,
Although the Epic promises to be more compact than Red One, I think by the time the modules are attached it's going to be fairly large, but being able to strip it down for a compact mounting is a real plus.

Frankly, I hate the DSLR ergonomics for a motion picture camera, but I quite agree they are a boon for mounting in tight places.

Not sure I agree with you about the AF100 being too bulky for shooting from the passenger seat of a car, but we'll find out soon after it arrives; I'm number 5 on the list at B&H. With a prime lens, the AF100 is relatively short.

By the way, I'm not at all bashing the GH2; I'll quite likely pick up one or two for just the applications you suggest and use my 5DMkII almost exclusively for stills; the GH2 will surely more closely match the AF100's look.

Good shooting and best regards,

Leo
 
I have to admit I just don't get the DSLR video thing!

It was introduced at the request of the big news agencies who as well as requiring stills could see that with newspapers moving rapidly into an online distribution model that video would be a necessary evil.

To make the 5D/7D or similar workable you need to pimp them up to a cray level at which point you would be as well shooting on RED.

I've looked at LOTS of online pics of 5D shoots that have BIG crews, expensive lighting...the works! Why? Am I missing something?

Now don't get me wrong, RED is not perfect. It's too big and too heavy for my liking and ergonomically it is not perfect by a long shot BUT it just makes more sense that shooting with a 5D, especially with Epic and Scarlet coming along hopefully shortly.

Now, as for the AF100 - well, we're seriously considering picking one up for a documentary we have starting in December. Obviously we'd rather have our Epic or Scarlet BUT who knows when they will ship? Jim? :drool5:

Scott
 
frame22m.jpg

Panasonic Lumix DMC-GH2 with 3D lens.

IMG_8006b4am.jpg

Panasonic Lumix DMC-GH2 with Russian "Sterenasadkoy" 3D splitter to 14-42mm GH2 stock Panasonic lens.


Also you can read one Russian review>>>
 
Hi Scott,

One word: cool. Irrational? Completely, but somehow the 5DMkII became cool. It got some buzz, and the coolness went viral. That's it.

Well, that and the fact that in good hands, really good hands, it can make some very pretty pictures. A good friend just shot a food spot with his, and damned if it didn't look really, really good. Beautiful in fact; just yummy deserts and pretty girls, nothing that would really show the limitations of the camera.

Is it a kludge? Oh yeah. Is it a major pain in the ass to work with? Even more so. All tricked out it, one does ask why not Red, but it's cool and the agency guys want it. They demand it. Any questions? You want this job or not?

My free-lancers report that 80% of their jobs are on 5D! I hope that's just a regional and faddish thing. No fad lasts forever. Except maybe Rap.

Sigh...

Good shooting and best regards,

Leo
 
Hi Leo

Yes, the 5D does appear to have the "cool" factor....problem is that from our point of view as most of our output is for the BBC, they won't accept it plain and simple. Their tech gurus have tested it and rejected it...now there have been a few BBC projects that have been shot on the 5D, some officially and a few I know of that weren't! Shoot 5D, deliver on SR, they'll be none the wiser I think was the mantra :Angel_anim:

For us, RED is approved by BBC HD and we play by the book. For corporate shoots that always end up on the web then perhaps the 5D is worth us looking at..gotta stay cool after all! Nope I'm just too old for that nonsense :thumbup:

Best wishes

Scott
 
Right Scott,

I know a pretty big-time guy who went from Aaton to VariCam to... yes, 5D, because that's what his clients demanded. By the way, he works all the time. Booked. Solid.

People "cheating" on the system for the BBC? I'm shocked, shocked!

Enjoy a bit of Parkin cake and the fireworks for me; sorry I can't be there Nov. 5th.

Good shooting and best regards,

Leo
 
Agree its kind of sad that theres so many requests for the 5dmkii when it simply does have many issues. But hey Im not the one paying and Im getting some of that action.

Everyone is aware though that the AF100 isnt the same sensor as the gh1/2? There seems a fair bit of misinformation flying around including the fact that theres NEVER been footage released from a completed unit to date.

I will be getting an AF100. Fits a nice gap presently as far as quick easy ROI like the 5Dmk11, which made the cost of camera and Zeiss primes back within its second gig for me. Still look forward to the Scarlet S35 though. I wont be spending anything large on cameras anymore however as I get asked to shoot in so many environments on different cameras it would be insane for me to. Something like an AF100 I can fit in a backpack with my zeiss primes and can go anywhere as a fun to have along if its not the primary camera.
 
Leo Ticheli said:
Right Scott,

I know a pretty big-time guy who went from Aaton to VariCam to... yes, 5D, because that's what his clients demanded. By the way, he works all the time. Booked. Solid.

People "cheating" on the system for the BBC? I'm shocked, shocked!

Enjoy a bit of Parkin cake and the fireworks for me; sorry I can't be there Nov. 5th.

Good shooting and best regards,

Leo
Click to expand...

Are you talking about Jim Dollarhide?

http://vimeo.com/13421744
 
Some BBC depts seem quite cool with it, others, who do co-productions with Discovery in the the states, are more worried about it, due to the licensing issues of hdslr's on professional shoots.
 
And also how the image stands up to the broadcast chain. The horns of the dilemma are that when you have an image sharply in focus, you get aliasing artifacts which confuse motion adaptive codecs, and if it's not in focus, it's not HD and the masses of super-soft bokeh are prone to 8bit banding artifacts.

Graeme
 
Most 5D images are not good enough for broadcast use and they are a plain pita for the signalchain. They work in one situation:
When the camera stands relatively motionless and only have smooth slow motion and there isn't much detail. Banding is an issue.
But with "tons of shallo DOF" and almost no motion, they can work ok.
It's sorta optimized for expensive looking interviews...
Which is the kind of situation where they're often used.
 
I think the AF100 will be a big step up for those who have been shooting with the DSLR's for some time. I see it as a nice stepping stone between DSLR's and the (hopefully released within the next year or two) Scarlet S35. Yes, it is not Red, Raw, 3K ect. but if you have an HVX200, than this looks like moving from a Totyota to a Lexus.
 
Andrew Rieger said:
I think the AF100 will be a big step up for those who have been shooting with the DSLR's for some time. I see it as a nice stepping stone between DSLR's and the (hopefully released within the next year or two) Scarlet S35. Yes, it is not Red, Raw, 3K ect. but if you have an HVX200, than this looks like moving from a Totyota to a Lexus.
Click to expand...

I agree with your general sentiment... but the DSLR to AF100 move doesn't feel as significant as the move from a Toyota to a Lexus.

How moving from a no frills 2009 Camry that needs a few repairs to a top of the line every option Camry.

Its still a Camry, but it should be a lot more comfortable to ride around in.

Speaking for my 7D... Canon doesn't have to do much to make me more content. I have a short list, that I'll rehash here- but its not my real point.

An OLPF designed for 1080p (which will solve a lot of moire issues)
A full size HDMI output
RCA, MiniXLR or XLR audio inputs
Audio gain controls- software is fine, a la 5DMK2
Improve audio recording to PCM
Improve HDMI output to full frame rate full resolution with no overlays during recording.
Provision for more than one pin to secure the camera to a tripod.
I'd like a better arrangement for external power
I'd like it to have an electronic shutter. (which would make the camera less complicated and make it more readily adaptable to PL lenses.)

That would make a very nice video camera. Certainly something that competes well with the AF100.

Its certainly a cheap camera, but you get what you pay for.

Now, the main thing that is NOT on that list is anything about the camera size or case.

I am very content with the size and shape of the camera. In fact, that is one of the things I like about the camera. I really enjoy being able to wander around and grab footage with that camera.

That said, the last time I had an opportunity to wander around with that camera, I used it exclusively for jpg stills firing off over a thousand images... but whatever.

Its fun sized... and while I want improvements to its video function I don't want to have an HVX200 as a result.
 
Andrew Rieger said:
I think the AF100 will be a big step up for those who have been shooting with the DSLR's for some time. I see it as a nice stepping stone between DSLR's and the (hopefully released within the next year or two) Scarlet S35. Yes, it is not Red, Raw, 3K ect. but if you have an HVX200, than this looks like moving from a Totyota to a Lexus.
Click to expand...

Yes, it will be a very nice option in its market niche. A practical large sensor alternative to DSLR's and small sensor video cameras.
 
Images from new Panasonic 1605 4-megapixel effective pixels / 3 LiveMOS type sensors that can be found at GH2 and AF100 have nothing to do with other moire/aliasing artifacts found at many other DSLR video shots.

Also images from that new Panasonic sensor implemented in GH2/AF100 are crystal clear with well known beautiful color reproduction that made Panasonic famous years ago.

Nothing can compete with the image quality from any camera at that price range staring with $1000 and ending at $7000 today on the market.

bruce_dale_gh2_test.jpg

Sample image from Bruce Dale of the National Geographic and his GH2 test this summer>>Vimeo>>>

The thing is very easy with new Panasonic cameras

because you can choose between the two

GH2 cheaper DSLR sort of ergonomic body form

or

AF100 is a professional video shooting style cameras but 4 x times more expensive, heavier and bulkier than smaller GH2 form factor DSLR like.

So Christmas is coming soon then maybe you can choose one.

The Boxer: A short film made with the Panasonic Lumix GH2>>>
 
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