From GH2 to?....

[LiamR]

To be honest with you, the GH2 is a great low-light camera, I've shot scenes with it in barely any light and it has been completely noise free, I am not sure what you're doing, but I've seen many people say how great it is at night. The GH2 beats those camera's in every category, look at the tests Philip Bloom has just finished, the GH2 did superbly in the resolution test. is your GH2 hacked at all? I never picked mine up after I got the FS100, but then I hacked it and now I use them both. With that sort of money I really think buying one of those cameras is a big step backward, why can't you for hold on the purchase and wait?

I really think your only option if you cannot wait is to do as brunerww said and buy second hand, only way your going to get anywere near what you want for the money you're willing to spend.

[fde101]

The idea of setting up a camera in a "rig" is hardly unique to DSLRs:

http://www.letusdirect.com/Letus35-E...ssage-353.html

http://www.dvinfo.net/forum/converge...h-xdr-rig.html

http://blog.vincentlaforet.com/mygea...c-accessories/

[jimmiesner]

I went from GH1 to HMC150, and am now going back to GH2. Stick with the GH2.

[Barry_Green]

I've grown weary of the whole 'DSLR Rig' thing - I like my GH2, but the paraphernalia required to turn it into a full function video camera is just too much for me to cope with any longer.

Cage, rods, follow focus, mics, H4n, monitor, matte box......the kitchen sink and a toaster thrown in for good measure.......it's driving me nuts.

I well understand the aversion to bolting on frankenrigs just to turn a stills camera into a faint replica of a fully-functional video camera. Which is why I just don't shoot that way.

If you already have a GH2, then the upgrade path is obvious - get a used AF100. You can use all your lenses and adapters, and ditch all the rigging and external recorders and all that stuff.

I don't know what used AF100s go for over there, but over here I bought one for $3500 and we just had a killer one listed here in the marketplace for $3000. That's about £1900, well under your budget cap. You should easily be able to find a used AF100 that fits within your budget.

[Zephyrnoid]

Interesting thread. It's a non issue really since few cameras add up all your rig elements in one package well. That's why we all started the rigs (mine was and is the Canon HV20).
The bottom line is that if you have a budget then listen to al the other sage voices that seem to be saying. Stick with the GH2 till your budget is much higher (which by the way = A job is going to pay for it all anyway).
I am VERY much against aspirational gearheads. Ever since College (35 years ago??) I learned that lesson and have very very rarely regretted saving my money.
I have a governing document and credo that I constantly refer to every time i seeth at some annoyance or other on my rig. After reading it, meditating for 10 seconds, I go back to work.
The smart money is on allowing your skill and jobs in hand to overtake your equipment.
I have never seen great work and money follow a gear purchase.
Having said this, I can buy any camera that I want under $50,000 and not break the bank. I am close to running my HV20 into the ground and i now have overtaken it's upper limit.
Can you truly say that about your work and your GH2?
If so, I'll buy it off you, get it hacked and save myself the many thousands that little voice in my head wants me to spend on an upgrade just to avoid the bother of the nasty rig syndrome.
Hope that i've been of help.

[StMad]

It sounds like small and light weight are the key drivers here? So preferably no dual system sound, no monitor and no follow focus? All of the large sensor cams require a follow focus, however the AF100 would possibly do away with the need for separate sound and a monitor (assuming the built in focus tools are adequate for you).

Funny how indie trends have affected this part of the world...I wonder how many of us on this site are up to date with the small sensor cams.

[brunerww]

framerate - if you're still intent on swapping out your GH2 for a pro quality camcorder for less than £2600, and if you haven't been able to find a used AF101 at your price, your best bet is probably the £2480 Canon XF100. Relatively inexpensive CF cards, 4:2:2 color space, 50Mbps - accepted by the BBC. No HD-SDI, though, unless you want to pay another £500 for the XF105 . Philip Bloom speaks very highly of the XF100/105 series cameras, and shoots his BTS videos with one.

Cheers and good luck with your decision.

Bill

[joesiv]

as someone else mentioned, going with a "video camera" won't necessarily get rid of the franken-rig syndrome. If you felt the need to dress up your GH2 with things such as a matte box, rails, etc... you probably will feel the need to do the same with any video camera.

Here's a fun thread for you on the AF100
http://www.dvxuser.com/V6/showthread...your-AF100-Rig

You may save yourself some of the bits like audio recorder, but you may not get rid of all of it. Good luck in your decisions!

[Cosimo Bullo]

I'd avoid the AF100, as the quality compared to your hacked GH2 might be disappointing and you're still stuck without a servo zoom. But I would think about the EX1r. We had one for a year (it just wasn't working so sold it) and LOVED the image, as did our clients. The very high resolution image will cut well with the GH2 and some of the higher end hacks (seaquake, etc), and the zoom is pretty good. Nice workflow, same SD cards if you use an adaptor. We'll likely pick up another EX1 in the future if a job could justify it.

[Jester2138]

I well understand the aversion to bolting on frankenrigs just to turn a stills camera into a faint replica of a fully-functional video camera. Which is why I just don't shoot that way.

Exactly my thoughts. If you don't like the extra stuff, just don't use it all.

If you need filters, get screw-ons. Matteboxes are completely unnecessary and a bit ridiculous for these cameras IMO.
If you need sound, do it double-system. It'll sound way better anyway. Not sure why so many people try doing it all onboard unless you don't even have the one extra person necessary to hold the sound gear.
If you need stabilization, put it on a tripod like they did for the past 100 years or use a steadicam. Or, if you want the handheld look, fold up the tripod under the camera and shoot that way.
Don't bother with a follow focusl, they're extra weight bulk for no perceivable benifit. Pull off the lens. Also, I've never met an AC who could pull better than me even while I'm simultaneously operating. Getting good at that will make a big difference.

I think people expend waaaay too much energy trying to make it look and work like a normal camera. Embrace its differences and be really good at exploiting them! Don't force it into being what it's not. Sure, having a tiny little camera naked on the tripod next to tons of lights and expensive crew and props and trucks and stuff looks silly, since we're used to bada** looking rigs and stuff, but I got over it fast when I realized how much easier it was to embrace that than try and beef up the camera.