gandalfrodo
Member
Also 120fps would be super sweet : )
AF-100 Wishlist/Suggestion Discussion Thread
- Thread starter Luis Caffesse
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Mike Harvey
Veteran
Since we're on the subject of lenses... so, I have zero experience with SLR lenses, and I found out yesterday from a friend you can't get focus with them like you would with a video lens... zoom in, get focus, and zoom out to the shot you want. I know it's too late for requests for Panasonic, but if it's possible for Leica to treat the kit lens I'm sure they're making for this camera like a video lens and not an SLR lens as far as focus goes, that would be spectacular.
Barry_Green
Moderator
You're talking about a parfocal lens, vs. a varifocal lens. I don't know that we even know if the AF100 will even HAVE a kit lens, it might be just body-only. There are parfocal SLR lenses out there, so you could get the workflow you're talking about if there isn't a kit lens.
if the AF100 comes with a lens, I would be floored if it didn't allow zoom-in/focus/zoom-back-out.
if the AF100 comes with a lens, I would be floored if it didn't allow zoom-in/focus/zoom-back-out.
Otis Grapsas
Carbonite Member
The only lens that could do the job is the 14-140 zoom. But that one has very small aperture (f4.0-5.8), one will practically get 1/2" DOF and noisy low light. Primes are the way to go.
they should release a faster midrange camera like 12-35 2.8 or 14-35 2.8
i think the olympus super high grade lenses are the best... however very expensive
Bassman2003
Veteran
I think the lens option will make or break this camera's acceptance to the video crowd. If it does not come with a motor driven servo based video lens, many will be challenged to make it a main camera (including myself).
SLR only lenses basically make it a "cinema style" production workflow. Prime lenses have great image quality, but are not always convenient for "video" type shooting.
I think Panasonic knows this and will offer a kit video lens that can be removed to use other types of lenses. If they do not then they are losing potential customers because a body only AF-100 is just a $6,000 vDSLR with audio inputs imho.
SLR only lenses basically make it a "cinema style" production workflow. Prime lenses have great image quality, but are not always convenient for "video" type shooting.
I think Panasonic knows this and will offer a kit video lens that can be removed to use other types of lenses. If they do not then they are losing potential customers because a body only AF-100 is just a $6,000 vDSLR with audio inputs imho.
Starshine Video
Well-known member
and Uncompressed HD-SDI output, and much reduced jello and Moire... and proper motion picture camera controls, and built in ND filters...
John Caballero
Veteran
Well, Panasonic is one of the industry leaders in the video business isn't it? I am pretty sure they think about things like these once in a while, right? Especially the pro video division. By the time the camera comes out they should have everything in place. All I know is that theGH1 Kit lens, which I think is very good and made especially for video, should work fine with the AF100. And I already own one.
Bassman2003
Veteran
I agree. I fully expect this camera to be a great tool for video & cinema alike.
Otis Grapsas
Carbonite Member
If video style production with a long zoom is important, I would go for a 2/3" camera instead, like the HPX500 or the new Sony. The sensor size advantage in DOF will be lost if the zoom lens has an aperture smaller than f2.8, and that aperture will never appear in a 10x or 16x zoom at 4/3. A 3x f2.8 zoom at $2,000 is easy, those probably already exist, but things get extremely expensive and hard to design after that point.
Otis Grapsas
Carbonite Member
The equivalent apertures are:
1/3" 1/2" 2/3" 4/3
0.4 0.6 0.7 1.4
0.5 0.8 1.1 2.0
0.7 1.1 1.5 2.8
1.1 1.6 2.1 4.0
1.5 2.2 3.0 5.6
2.1 3.2 4.2 8.0
So, an HPX500 with an f1.5 lens will match the DOF of a 4/3 camera with f2.8 lens but the 4/3 will require 3.6x higher ISO setting for the shot:
2/3" f1.5 ISO400 = 4/3 f2.8 ISO1500
An 1/2" camera with an f1.6 such as the Fujinon 17x4.5 will match the DOF of a 4/3 camera with f4.0 lens but the 4/3 will require 6.2x higher ISO setting for the shot.
1/2" f1.6 ISO400 = 4/3 f4.0 ISO2500
Which is why that Panasonic 20mm f1.7 and that Olympus 50 f2.0 come in handy
1/3" 1/2" 2/3" 4/3
0.4 0.6 0.7 1.4
0.5 0.8 1.1 2.0
0.7 1.1 1.5 2.8
1.1 1.6 2.1 4.0
1.5 2.2 3.0 5.6
2.1 3.2 4.2 8.0
So, an HPX500 with an f1.5 lens will match the DOF of a 4/3 camera with f2.8 lens but the 4/3 will require 3.6x higher ISO setting for the shot:
2/3" f1.5 ISO400 = 4/3 f2.8 ISO1500
An 1/2" camera with an f1.6 such as the Fujinon 17x4.5 will match the DOF of a 4/3 camera with f4.0 lens but the 4/3 will require 6.2x higher ISO setting for the shot.
1/2" f1.6 ISO400 = 4/3 f4.0 ISO2500
Which is why that Panasonic 20mm f1.7 and that Olympus 50 f2.0 come in handy
Can you guys please explain me why everybody raves about P2?
I have to say that I''ve never worked with P2s but they seem way overpriced to me!!!
Is this group of P2 followers addicted to it only because of the better codec? If that's so it seems way more logic to buy something like a firestore or a Nanoflash and record RAW in it...
I have to say that I''ve never worked with P2s but they seem way overpriced to me!!!
Is this group of P2 followers addicted to it only because of the better codec? If that's so it seems way more logic to buy something like a firestore or a Nanoflash and record RAW in it...
Barry_Green
Moderator
Because it's the most solid, robust, stable, perfect recording media ever devised, which is why it's taken over 80% of the world's broadcast market.
I think those things go hand in hand. You haven't worked with it because you think it seems overpriced. And you think it's overpriced because you haven't worked with it.
That's one of many reasons.
No. Let's just leave it at that. The Firestore is an awful alternative, a horrible alternative, to P2. And the nanoflash doesn't record RAW, it records MPEG-2. And how is a $400 P2 card "overpriced" and a $3,000 MPEG-2 recorder isn't?
Matt Gottshalk
Resident Preditor
Because it is an industry standard media that supports an industry standard codec. It works, it is reliable, and it works on every edit system out there.
I was under the impression that it could record RAW footage from the AF100's SDI output :huh: My mistake then.
Ok. Simple answers but very effective ones
thanks
Yak
Well-known member
!st - P2 cards allow one to use a great codec which is 4:2:2 meaning more options in post.
2nd - P2 cards are more than a memory card they are very small RAIDed solid state hard drives which means they can handle high bit-rate recording some thing that SD and CF cards can not do.
I know of no case of any data loss do to P2 cards
Barry_Green
Moderator
You can use a nano to record from the AF100's output. But a nano doesn't record RAW, and an SDI port doesn't output RAW. The SDI port outputs a digital video signal, not raw sensor data. And the nano records everything it sees as MPEG-2.
I was also under the impression that the AF100 would have the ability to record RAW footage
So it's only the AVCCAM codec?
Petros Kolyvas
Well-known member
I was under the impression that it could record RAW footage from the AF100's SDI output :huh: My mistake then.
Ok. Simple answers but very effective ones
Let's clear something up for everyone. It's a common misconception.
SDI != RAW
(does not)
It may be (x) uncompressed 4:2:2 in most cases. Where x=480,720,1080 etc.etc.
Update: Barry (master that he is) beat me to it. But while I'm on this subject, it's important for people to remember that SDI is an interconnect. It outputs what it is given. If that is video from a camera before compression then it's uncompressed (obviously). However, if you're playing back something over SDI, say DVCProHD 720p footage, that footage won't be modified by the SDI interconnect, but it will still contain all the artifacts, missing data, macroblocks etc. of the video's source codec. It isn't an end-all. Just another tool that should be understood before being used.
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