ripupthehwy
Well-known member
i agree with you !!!
AF-100 Wishlist/Suggestion Discussion Thread
- Thread starter Luis Caffesse
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i agree with you !!!
DC
Cinematographiliac
I hear you, my brutha. I'm sure we would ideally like a camera that's the best of all worlds - that's a tall order. But, Panasonic has a stellar track record of delivering feature-packed tools that keep raising the industry bar. I'm sure, no matter what, we'll get an amazing camera in the final design of the AF100 when it debuts.
For myself, I will echo my previous post: It would be very welcomed if the AF100 has some "ENG" features to make it a bit more multi-purpose. I would even be thrilled about a fair-quality zoom lens with rocker. I wouldn't want them to cut back on the digital cinema features to incorporate this kind of stuff though. That's why I wouldn't mind paying a bit more for different AF100 packages that are suited to varying needs of Panasonic's customers.
First and foremost, I want the best (around the proposed price point) in digital cinema. But, it would be nice to not have to have two different cameras for my needs as I would like to sell my HPX170 to help offset the cost of an AF100.
Ben_B
Veteran
It's that thing that's already supported in every lens natively designed to work on this system? Might as well just throw it in in the software. When they start putting out digital cinema lenses for m4/3 I don't think anyone will expect/want/ask them to include autofocus, but there is no reason whatsoever not to include it in the software. You're already paying for it with the lens, might as well have it.
Oooh which brings me to a suggestion!!!
Since many of these m4/3 lenses already have autofocus motors in them, why not add a feature where we can set different focus points on the camera, program the amount of time between them, and then use a button to trigger the sequence? Also have manual "focus by wire" control of the lenses that could be used on camera or with attachable accessories like a remote follow focus...all without the need to gear the lenses. Or put a dial with a digital follow focus on the screen, with marked focus points, and then you set the sensitivity of the dial, and move between the points at will. A lot of these lenses have motors...might as well use em! There's so many things these autofocus motors could be made to do with just a few tweaks in the software!
Hmmm...wonder if anyone has a patent on that? *runs to sketch pad.*
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That already exists through the HDSDI output. My wish list includes:
2 x P2 On board Recording
1 (or 2) x SDXC On board Recording / File Support
AVC-Intra100 On board Recording
AVCHD On board Recording
ISO Wheel
VariCam menu access (button, wheel/button)
P2HD Series Scene File Wheel
Latest generation LCoS LCD (900k dots)
User assignable Zebra / FIR / WFM / Vector / ShotMark
2 x SDI (HD/SD) Out
Removable Handle / Various 1/4-20 Mount Positions Top / Bottom
Starshine Video
Well-known member
No, I don't really care for auto focus at all. Heck I still shoot Film on my Nikon FM. I want a camera that is designed from the ground up to be used in the same manner as Arri and Aaton 16mm cameras. In a perfect world every control on the camera besides image painting would be on the outside.
Ben_B
Veteran
combatentropy
Veteran
Ben_B,
I agree, the long, rocker-zoom lens that has been suggested may be best not included.
But I would like to see something like that made, and sold separately.
I agree, the long, rocker-zoom lens that has been suggested may be best not included.
But I would like to see something like that made, and sold separately.
Ben_B
Veteran
Yeah I gotcha....so what I am saying is since it has HD-SDI why not have no P2 built in to keep the costs down for most people, and then those doing your level of work can use the HD-SDI? Agree with you on most of the other stuff, especially the scene file wheel, LCD/VF, and User assignable Zebra, etc.
P2 should be on-board. This debate obviously could go on forever. Isaac stated above that we all get the two sides of the debate.
AVC-Intra100 on-board is paramount. Long-GOP, no matter how NEW! or BETTER!, as the primary recording format isn't the best choice. Despite being a less-sexy codec when held up next to AVC-I100, I'd much prefer DVCProHD100 to AVCHD any day of the week.
People are going to be mounting really high-end glass to this thing, and it sounds like the imager is going to be very advanced. Why hamstring the final image with a compromise codec?
I feel precisely the same way regarding the card that data goes to.
AVC-Intra100 on-board is paramount. Long-GOP, no matter how NEW! or BETTER!, as the primary recording format isn't the best choice. Despite being a less-sexy codec when held up next to AVC-I100, I'd much prefer DVCProHD100 to AVCHD any day of the week.
People are going to be mounting really high-end glass to this thing, and it sounds like the imager is going to be very advanced. Why hamstring the final image with a compromise codec?
I feel precisely the same way regarding the card that data goes to.
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No. I have to be really honest here. Auto focus has no place on a narrative set. Period. Block your shots, put down your marks. Hit your marks. Repeat for performance.
Ben_B
Veteran
Makes sense to me.
It's an HD video camera that was designed primarily for digital cinema acquisition -- at least the shallower-DOF aspect of it. Except for the shallow DOF, there's no reason it can't be used for ENG. In fact, because it has an interchangeable lens, any number of telephotos could be used with or adapted to it.
Wasn't 16 mm what ENG cameras were supposed to replace? The DOF is similar between the two, and, with HD, ENG may have a higher resolution than 16-mm film.
What I don't get is the use of AVCCAM. I understand P2 and AVC-Intra/Ultra might add substantially to the cost, but I would have thought that Panasonic would insist on its best codec (greatest bit depth and color subsampling) for digital cinema.
Rory_B
Well-known member
I'd rather have built in P2 Card Slots any day of the week. I've never had an issue with P2 in all the years I've used the HVX, yet I've had plenty of pain in the ass issues with SD and CF cards in my brief tenure playing with DSLR cams. Of course I still have a powerbook g4, so I'm biased towards P2.
Ben_B
Veteran
What I mean is to program marks and have the motor go between them at a set speed when you trigger each one...that or have a system where you could control the lens' motor with a remote follow focus rather than having to gear the thing. USB from the camera or something.
Wow, step out for a couple hours and come back to this silliness. Please don't define what this camera is or isn't. If you don't agree with a suggestion, don't reply. Simple. :lipsrseal
This is the place to make suggestions geared towards what you want and need. So ENG and filmmakers are welcome.
It's a good thing that you have the HD-SDI option to throw in P2, that way you aren't stuck with SD or CF cards. Even better for the masses, since not including P2 slots means a camera that's priced much lower.
Ben_B
Veteran
Agreed.
Kind of like putting hard stops on a professional follow focus. I get what you're saying. Here's the thing, most DPs and operators aren't going to have (nor should they) patience for a 1st who is programming stops into the camera during blocking. That would get you streamlined on the first set-up.
This is how you do it. DP and operator spec the set up. ACs build the rig to that spec. Director, DP and other dept. heads block the scene with camera, talent and other necessary departments. During blocking, 1st AC sets talent marks (and any additional focus marks) on the floor with tape or natural marks whenever possible. 1st AC marks follow focus disc accordingly. More complicated set ups rehearse a few times, crew practices moves and gets ready for picture.
Nowhere in that formula is there room to be programming auto-focus during this tried and tested technique for filming narrative scenes. For anything more than one fixed rack focus (which you should be able to accomplish manually in fractions of a second), will programming the camera work. Simply won't.
If you want Panasonic to waste space and boards and time setting up AF programming, so be it. I'm just telling you how narrative filmmaking works in the real world. And AF is nowhere to be found.
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