At the time this post was written, the start of the IBC show in Amsterdam, details are emerging about the new Panasonic AF100 camera. The AF100 has been officially named the “DSLR Killer” when DVXUser creator Barry Green gave his initial thoughts after shooting with an early prototype at IBC.
I have been a vocal supporter of the P2 format since the introduction of the HVX200 at the NAB show in 2005. Owning a HVX200, HPX170, and a couple of HPX500’s, I am heavily invested in the P2 workflow.
I shoot a lot of multi-camera interviews, mainly using my HPX500 outfitted with a Pro35 adapter and Zeiss Super Speed Primes. This setup produces a great look, but at a price. The setups require time, and a decent lighting package.
I purchased a Canon 5 Mark II immediately after seeing Vincent Laforet’s Reverie in November of 2008. I have described my relationship with this camera as “love/hate”. The pictures are truly impressive, but the work arounds are frustrating to say the least.
The thought behind the 5D purchase was to offer my clients an alternative equipment package that was smaller, required less crew, and thus cheaper per day. There was also the hassle on the pre-production side of renting lenses and the Pro35 adapters. On many occasions, the adapters were not available in the city I was shooting, which would cause my to transport more cases on the flight (which is always a joy these days).
I would love to have purchased a pair of Pro35’s and PL mount lenses, but I could never justify the cost vs rental.
This is why the 5D package was so enticing. I could buy a set of inexpensive slr primes, and 2 bodies for under $15,000. The entire kit would fit into 2 carry on bags. Sounds ideal, right? Before the AF100, this was my plan.
The AF100 promises to take the best of HPX170 and merge it with a large sensor DLSR chip, creating camera nirvana for many shooters.
The main tools that I rely on daily are lacking in the 5D; zebra’s, timecode, video out, and audio, are all included features in the AF100.
Some might complain that the AF100’s sensor is not as large as the 5D Mark II. This are the same people who think 1080i is a better high def format than 720p because it’s got more pixels.
I think that the micro four thirds sensor will provide a happy medium between low light capability and shallow depth of field, while not killing the operator will razor thin focus.
While I have used the AVCCam format in the Panasonic HMC150 and HMC40 cameras before, I like the ability to use the HD-SDI out of the AF100 and record onto P2 cards in the AVC-Intra format with the Panasonic HPG20. This way, I can make use of the fantastic metadata system offered in the P2 format, as well as protect my investment in my existing P2 gear.
So here is my future kit:
AF100
Zeiss Compact Primes2 with Micro43 and PL mounts
Red Rock Micro MicroRemote Follow Focus system
Panasonic HPG20 P2 Recorder
Sachtler Cine DSLR
My current tripod, a Sachtler 25 head with 2 stage carbon fibre legs is too much for a small rig.
I like the idea of using an HPG20 to record the output of the AF100. Not only does it give me 10bit 4:2:2 recording in the AVC-Intra codec, but the ability to harness P2 Metadata, which is a big part of my workflow. As a bonus, I can record AVCCam to the internal SD slots as a backup.
The Zeiss Compact Primes2 give me the ability to use the glass on my HPX500 with a Pro35 using a PL mount, but also use them on the AF100 with a Micro43 mount as well. If I wanted, I could even use them on a 5D.
The problems I have had with follow focus systems on regular Canon glass with gears and no standard length make the CP2’s worth the investment.
Some will point out that the CP2s use a maximum aperture of f/2.1 versus the f/1.3 of the Super Speeds, but I do not think I will need to shoot wide open as I have with the Pro35 setup.
And what of my P2 cameras? They will still be used where a ccd based camera is more appropriate, and I will always have a need to stick a camera somewhere for a time-lapse shot.
Anonymous
