AF100 shooting two TV series

[Barry_Green]

Reposting this Panasonic press release...

FOR IMMEDIATE RELEASE

CHIGAGO PRODUCTION COMPANY LUMINAIR SHOOTS HIGH PROFILE PUBLIC TELEVISION SERIES WITH PANASONIC’S AG-AF100 CAMCORDER
‘Mexico--One Plate at a Time’ and ‘Ebert Presents at the Movies’ Transition to AF100 Large Imager HD Cinema Capture

SECAUCUS, NJ (August 17, 2011) – Chicago’s full-service production company Luminair is currently shooting two of its flagship projects, Mexico-One Plate at a Time and Ebert Presents at the Movies, with its pair of Panasonic’s AG-AF100 large imager HD cinema cameras. The critically acclaimed series Mexico – One Plate at a Time brings to life the foods, the flavors, the stories and the fun of Mexico for public television viewers. In each episode, groundbreaking chef,
restaurateur, author, teacher and culinary adventurer Rick Bayless effortlessly tosses together cooking demonstrations, cultural musings, exotic locations and ideas for home entertaining.

Pulitzer Prize-winning film critic Roger Ebert has returned to television with Ebert Presents at the Movies, a fresh, updated and re-imagined version of the highly rated — and often imitated — Sneak Previews. That iconic format was on the air for a record-setting 35 years and remains the gold standard for movie criticism on TV.

Luminair President and Executive Producer George Elder, who carries the EP credit on Frontera Media Productions’ Mexico – One Plate at a Time, has supervised production of the series for seasons four through eight, all of which have been shot with Panasonic camcorders. Most recently, the show had
been captured with AJ-HPX2000 P2 HD camcorder as the primary camera and AG-HVX200A P2 HD handhelds as second cameras.
“The first camera we’d used on the Bayless show was the seminal AJ-SDX900, which gave us Panasonic’s classic 24p cinematic look,” said Elder. “That filmic legacy continued with our use of the HPX2000 and HVX200As.”

“We’d typically used the HPX2000 on a Steadicam, with the HVX200As operated handheld for food close-ups and other tight shots,” he continued. "Approaching season eight, which entailed lengthy location work in Baja Mexico, we wanted to get rid of the Steadicam and go for a more documentary feel. Our initial thought was that an HDSLR would be a lightweight, easy-to-use solution, but I could see that there were inherent production liabilities.

“Research led us to the AF100, which I quickly realized was an actual video camera, not a still camera tricked out to be a video camera. It gave us on-board monitoring, broad lensing options and built-in audio along with the larger sensor capture chip. We really like the higher-resolution variable frame recording.
The depth of field is similar to that of 35mm cameras, and altogether, the cost-effective AF100 allows us to maintain film standards we’d established with our prior Panasonic camcorders.”

Luminair’s Scott Dummler is Director/Editor of the upcoming season of the Bayless series, and has also supervised location work for Ebert Presents at the Movies (Luminair routinely shoots television and web segments for the latter, including extensive work at the 2011 Cannes Film Festival).
“I’ve done a lot of shooting with the Canon 7D, and liked the low-cost and quality images,” Dummler said, ““but in the run-up to shooting in Baja Mexico, I was concerned about that camera’s potential for overheating and lack of standard video controls. I was pleased when we chose the AF100 as our next-
generation, go-to camera.”

“My experience with the Panasonic camcorder has been excellent, realizing all the benefits of an HDSLR plus superior images and optimized video features,” he continued. ”The look of the AF100 is essential; the camcorder performs equally well on action and close work, and does very well in low and available
light.”

Longtime Luminair collaborator Bob Long served as Director of Photography on all the Bayless and Ebert shoots. “The AF100 was the real head turner on the Cannes red carpet,” he said. “We were working lean with the camcorder on a lightweight set of sticks, and all the guys with the big, clunky set-ups were giving us the onceover. It was easy for us to work close enough to get nice, waist-up shots of the celebrities.”

“The red ‘focus finder’ on the LCD screen is a brilliant feature,” Long added. “A big drawback with HDSLRs--especially when you are shooting with a slim depth of field--is knowing when and where you are tack sharp. The focus assist on the AF100 is invaluable in this regard.

“When the 7D was being considered for the Mexico locations, I questioned whether it was hearty enough, whether it would overheat, whether we’d need a box full of them! I was delighted when we opted for the AF100. It proved ideal for our run-and-gun style, and the footage looks spectacular, with great
saturation.”

Dummler is currently supervising editorial on the upcoming season of Mexico – One Plate at a Time, which begins to air this September. “Final Cut Pro editing is easier with AF100 footage (vs. HDSLRs), with no rendering required,” he said. “Easier and faster, which was crucial while we were on location in Cannes, where we could go back to our hotel and edit web segments to air that day or the next.”

For more information about Luminair, visit www.luminair.com.


About the Panasonic AG-AF100
The AF100 incorporates a large 4/3-inch, 16:9 MOS imager (with an imaging area just slightly smaller than 35mm cinema film) that minimizes skew with fast imager scanning, and incorporates an optical low pass filter for elimination of aliasing and moiré. The camcorder records 1080 at 60i, 50i, 30P, 25P (Native) and 24P (Native), and 720 at 60p, 50p, 30p, 25p and 24p native in AVCHD’s highest-quality PH mode (maximum 24Mbps). The AF100 also records in AVCCAM’s HA (17Mbps) and HE (6Mbps) modes, 1080i only. Ready for global production standards, the camcorder is 60Hz and 50Hz switchable. Equipped with an interchangeable micro 4/3-inch lens mount, the AF100 can utilize an array of low-cost, widely-available still camera lenses as well as film-style lenses with fixed focal lengths and primes. Variable frame rates (VFR) are available in 1080p, selectable in 20 steps from 12p to 60p at 60Hz and 20 steps from 12p to 50p at 50Hz. The camcorder has a built-in stereo microphone and features two mic/lines, switchable XLR inputs with +48V Phantom Power capability. For more information, visit www.panasonic.com/broadcast.

About Panasonic Solutions Company
Panasonic Solutions Company empowers people whose jobs depend on reliable technology. The company delivers collaboration, information-sharing and decision-support solutions for customers in government, healthcare, education and a wide variety of commercial enterprises. Products and services
within the company’s portfolio include Panasonic Toughbook® mobile computing solutions, projectors, professional displays (including both plasma and LCD), and HD and 3D video acquisition and production solutions. As a result of its commitment to R&D, manufacturing and quality control, Panasonic is known for the reliability and longevity of its products. Panasonic Solutions Company is a Division of Panasonic Corporation of North America, which is the principal North American subsidiary of Panasonic Corporation (NYSE: PC).
All brand and company/product names are trademarks or registered trademarks of the respective companies. All specifications are subject to change without notice. Information on Panasonic Solutions Company’s full line of products can be obtained by calling 877-803-8492 or at www.panasonic.com/
broadcast.
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[swanny]

"It proved ideal for our run-and-gun style, and the footage looks spectacular, with great
saturation"

Finally!! Someone said it. I use it for exactly this on ALL my shoots. I never debated this in many posts, of people saying this camera is not for run and gun shooting, because frankly I didn't want to get into it. The fact is, this is a very capable camera for this type of environment (if run and gun is what your used to)

[Ed Kishel]

production company's link is broken in PR

http://www.luminair.com/

[Philip Goetz]

George bought his cameras from us. Awesome!

[groveChuck]

Roger Ebert's return?! Doesn't get much cooler than that!

[jdv]

Roger Ebert's return?! Doesn't get much cooler than that!

No, unfortunately he's not actually on the show; rather it's hosted by two (much younger) movie critics. They will read his reviews of certain movies however.

Is the AF100 being used on any narrative TV shows? I read somewhere (prolly here) that the AF100 had been accepted by the BBC...

[BrianMurphy]

This seems like good news, however as I am about to embark on another series shoot I am forced to question whether allowing the AF100 and other like cameras will continue in the broadcast world. I recently completed shooting a broadcast special with an HMC 150. It looked great and when it was posted and delivered in ProRes there were no issues from any of the broadcasters world wide. Recently however, I was chatting with a "decision maker" at a major network and was told that they along with many others were going to tighten up on restrictions regarding acquisition and delivery. Now I know that Disco have been tight since day one unless it is something they really want and then the rules go out the door. But having just been told that 8 bit /4.2.0 will not be accepted by many in the next year makes me worry about the AF100. I will be buying a new camera in the next month or two and wonder what others think. I have heard and made all the arguments about how broadcast quality is luck to hit 60% of the level that the AF 100 puts out but the fact is broadcasters buy programming for their inventory and that means that they and the Google TV network and Apple TV network and all the others to come will want High Def to be as good as they can get. Will there be an AF 100 4.2.2 Avc inter P2?

[Barry_Green]

Some broadcasters (like the BBC) won't accept 4:2:0 footage, that's true. The AF100 has been approved by the BBC for acquisition, but the restriction is that you have to use an external 4:2:2 recorder. Of course, that same restriction applies to the F3, the EX1/EX3, PMW320/350, and every other 4:2:0 camera that they've approved.

[Sumfun]

Will there be an AF 100 4.2.2 Avc inter P2?

I am no Panasonic insider, but there have been so many requests for this that it would be crazy for Panasonic NOT to introduce a camera like this. In fact I think it's the next logical step. But when, how much, and how good the camera is is anybody's guess. Bottom line is don't buy a camera until you need to, but when you need to, then just do it. The AF100 with an external recorder can give you 4:2:2 and an intraframe codec today.

[groveChuck]

No, unfortunately he's not actually on the show; rather it's hosted by two (much younger) movie critics. They will read his reviews of certain movies however.

Ah, that make sense. Still, I wish Ebert luck.

Will there be an AF 100 4.2.2 Avc inter P2?

I imagine the immediate "focus" (deep, that is- ha ha) is on the HPX250.