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AF100 v Scarlet No way

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Hi Stuart

So your saying because the feed is only 8 bit it doesn't really matter what you feed it to eg. AVC-100 etc. a pint wont make a gallon, therefore you need the 10 bit feed to increase the quality for there to be a major improvement.
 
Im not sure but l did read the fixed scarlet spec that its aiming to have SDI or HMDI! will that output a 10 bit feed
 
I think people underestimate the value of the fixed lens Scarlet body. This is a fully programmable wireless servo controlled zoom lens. You could not make nor buy an aftermarket zoom with the features of this little brain for anywhere near its price. In fact you could buy fixed and and interchangeable lens version brains for about the cost of a decent low end ENG grade B4 servo zoom. You could buy both with a full set of mini-primes, a second mount for PL, Canon, or Nikon lenses and a decent package of modules and accessories for about the price of a new S16mm zoom. It's not exactly like buying a fixed lens prosumer camera, it is part of a modular system.
 
Andrew Salter said:
Im not sure but l did read the fixed scarlet spec that its aiming to have SDI or HMDI! will that output a 10 bit feed
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It has HDMI out on the brain, SDI is available on the I/O modules. HDMI video can support resolutions beyond HD 1080p and up to 16 bit color depth. What Scarlet will provide is unknown at the moment, but I would expect at least 10 bit.
 
Stuart English said:
Now I'm not saying the AF-100 can't support 10-bit - I just don't know. But from the linked article ..
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It's official -- HD-SDI and HDMI are 8-bit only. Does anyone know how much more it would have cost to have had 10-bit HD-SDI and HDMI?
 
If the fixed lens is 7.5MM at the widest, the Scarlet would make a great jib camera; that's an equivalent to a 15MM or so on a Red. If the image quality cuts well with Red, it's a bargain price with all the remote controls built in.

Same thing goes for Steadicam work; certainly wide enough. Probably dandy for underwater as well, and those with generous budgets will mount them all over cars where Canon 5D2 cameras would have served. Cool.

Still not my choice for general work, but for specialized shooting, pretty damn good, and
at a remarkably low price.

Rental houses might buy the little Scarlets by the gross.

Good shooting and best regards,

Leo
 
Matt Gottshalk said:
Seems these editors with experience couldn't tell the difference between the native footage and the AVC-100 intraframe encoded footage:

http://crews.tv/blog/2010/10/22/af100-curveball/
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“It’ll be important for the operators to get the best lit and exposed images possible because these small codecs just don’t handle being pulled around in the grade. Once you dive into to under-exposed footage you expose all the nasty secrets of compression. You cannot expect the material off this camera to have the latitude of Red RAW files. It’s the same for all other codecs of this size.”

So mediocre results then from either solution from the sound of it. One of the advantages of a really clean sensor like MX is that compression doesn't have to work as hard. Noise is the compression killer.
 
What I can never understand about conversations like this is when did somebody buy one camera and stick with it the rest of their lives? If you need a camera now, you buy the best thing you can get/afford now and, if and when the next - better - thing is released (Scarlet, I'm looking at you here!) you move on over. It's been like this since the dawn of time (or Contaflex, at least).

So, go! Go buy a 5D or a 550D or an AF100 and a bunch of lenses for it and shoot. Because when Scarlet is finally shipping, it'll utilise those lenses and that tripod and that mixer and those lights, and all you'll have to do is drop the old camera on eBay and upgrade. Because, when that time comes, there will be no competition for motion images at anywhere near that price point. Except maybe the next camera mooted for release a year later and the whole conversation starts all over again...:chillpill:
 
Gavin Greenwalt said:
“It’ll be important for the operators to get the best lit and exposed images possible because these small codecs just don’t handle being pulled around in the grade. Once you dive into to under-exposed footage you expose all the nasty secrets of compression. You cannot expect the material off this camera to have the latitude of Red RAW files. It’s the same for all other codecs of this size.”

So mediocre results then from either solution from the sound of it. One of the advantages of a really clean sensor like MX is that compression doesn't have to work as hard. Noise is the compression killer.
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this is so so so true. ive spend the last week editing "24mbit" avchd. you get the initial image wrong and ul have one hell of a time in post. Trying to color correct that stuff is like trying to paint a wild zebra orange.....with a toothpick. its like winning the lottery when u get a good end result lol
 
Thomas Church said:
However I can certainly see RED somehow scrapping the concept of a fixed lens camera. This camera was announced when we were all using HVXs and EXs. I don't see a lot of people going back to fixed lens.

Maybe RED will sell just one model of Scarlet 2/3 with a detachable zoom lens.
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there is no way red will back out of the fixed lens. that lens is a miracle in itself. The new website even boasts the scarlet with a picture of the fixed. we have footage from a fixed (a complete camera at that). Jim always talks of the fixed coming right after epic.
 
Shane Betts said:
What I can never understand about conversations like this is when did somebody buy one camera and stick with it the rest of their lives? If you need a camera now, you buy the best thing you can get/afford now and, if and when the next - better - thing is released (Scarlet, I'm looking at you here!) you move on over. It's been like this since the dawn of time (or Contaflex, at least).

So, go! Go buy a 5D or a 550D or an AF100 and a bunch of lenses for it and shoot.
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+1
There's always been a lot of irrational behavior on camera forums - that's what makes them fun:)

Anyway, at this price point these cameras are almost disposable. Read and understand the specs, if you need one, buy it. If not, don't worry about it. I considered buying one, but I couldn't face using such an ugly piece of equipment - oops, I'm being irrational...
 
Jim Retar said:
Interesting... do you know the DR range? The AF100 was tested at around 10.5 stops (barry green) on the pre-production model. Does the Sony really compete? If so, a pro model could be very good.
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Sony NEX-VG10 has the same sensor as a Sony NEX5 and according to DxOMark test result Sony NEX5 dynamic range has 12.2 Evs.
 
Jim Retar said:
That is when shooting RAW stills though. Not the same.
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FWIW, the GH2 prototypes are claiming 11 stops DR for stills, I haven't seen any specific tests, just sample stills. So impossible to say. I think they're claiming 11 stops in video mode as well and Barry Green says he could see 10.5 from the AF100, which is the same sensor and a different OLPF arrangement.

I can see over 12 EVs on my NEX-5 for stills and concur with the test that Sanjin linked. For video, I honestly haven't tested. I've used the video mode on my NEX-5 camera only twice. And one of those times was an accidental button push. The other time was playing with the kids in the back yard. If I want to shoot video with a small camera that size, I'll grab my Sony HDV HandyCam Yeah, it sucks, but it doesn't make jello video and I don't have to worry about focusing the thing or the AF messing up, which is all too common on the NEX. If I need bigger, I've got the EX1, the 7D, The D3s or the RED... I can't wait to replace the EX1 with the 8X fixed Scarlet.

For stills, the NEX-5 seems to have about a full stop more range than the 7D, the video looks very similar to the 7D (although it's 1080i) and low light performance is pretty equal. Not bad, considering the price point. Then again, I would probably buy a T2i over a 7D if I were buying a smaller SLR now. For mirrorless, I like my NEX-5, but I may take a look at the GH2. It looks like a much improved system over the DMC-G2 released a few months back. That DMC-G2 was just downright terrible, I've never been so disappointed in a $700 camera purchase ever. Couldn't return it fast enough.
 
Panasonic GH2 could be a perfect little camera for any car inside shots.

How?

No moire or aliasing!!!!

"- The lowest ISO is 200, the highest is 3200 which of course has noise but is pretty damn good.
Not 5Dmk2 good but better than the 7D for sure."

>>Philip Bloom on AF100 that shares the same sensor as GH2>>>

Get AJA KiPro Mini compact Apple ProRes CF recorder and you are fine.

Also should not forget to use Tokina 11-16mm f/2.8 or Nikon 14-24mm f/2.8 that will give you 22-32mm or 24-48mm as you would have similar lenses on 5DMK2.

But 35mm on FF35mm camera is quite wide enough for any good car inside shot.

Have a look:

anselbydv.jpg

Ansel Adams on the way to the mountains.
Photo by David Vestal, Leica M2, 35mm Summaron f/2.5 (Luminous Landscape>>>)

That mean both Tokina and Nikon fast zooms fit perfect when you can do 2x times multiplier focal length with 4/3 sensor on GH2.

For available car shots at night Leica Summilux-M f/1.4 fits the best (that also becomes 42mm standard to wide lens on 4/3 sensor camera).
 
Hmm... Well, it is a different sensor in some regards. It has all the same announced specs as the one in the GH2 and is the same horizontal resolution, but it's a different aspect ratio -- it's 16:9 and not 4:3, so smaller on the vertical. It's a different sensor block design with a different OLPF and different ADC module. But it seems that for all intents and purposes that the GH2 sensor and the AF100 sensor are both of the same core design and use the same technology, same photosites, etc..
 
Matt Gottshalk said:
PB is wrong on this one. Jan Crittenden said numerous times that this is a new sensor, not the same one as is in the GH2.
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Probably Jan Crittenden said that Panasonic developed totally new sensor and that's true but she didn't say that actually

the same sensor has been applied on two different boards one for GH2 and another for AF100/101 camcorders.

image40.jpg

Also both have new image processing engine 3CPU with reduced noise "Vinasuenjin FHD".

The newly developed 1605-megapixel Live MOS sensor:

af100_sensor.jpg

AF100 brochure, page 2 >>>
 
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