Barry_Green
Moderator
Possible? Anything's possible. Likely? No. They've already said it's AVCCAM, and there's no provision for 120fps in AVCHD. But you can bet I've been asking for it! Even if it's only available as overcranking, I still want it.
AF-100 Wishlist/Suggestion Discussion Thread
- Thread starter Luis Caffesse
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Robert Ruffo
Well-known member
GOOD codec and SDi out, no aliasing/moire and REAL 1080p of ACTUAL resolution, with 24p and good custom gamma and color controls, like the EX1. This is all I really need, all that cannot be worked around.
Pull this off, and the rest can be totally wacked, I mean, you could have terrible ergonomics, a battery that only lasts 30 minutes and no sound recording at all, let alone XLR inputs, -and I will still buy your camera if it is priced below Red, and I will still speak highly of it and point out its merits to all.
Give me some lousy moire-filled DSLR image output with better ergonomics and I will crap on your camera very publicly, as I somewhat famously am doing now with DSLRs.
I think many will agree with this.
Pull this off, and the rest can be totally wacked, I mean, you could have terrible ergonomics, a battery that only lasts 30 minutes and no sound recording at all, let alone XLR inputs, -and I will still buy your camera if it is priced below Red, and I will still speak highly of it and point out its merits to all.
Give me some lousy moire-filled DSLR image output with better ergonomics and I will crap on your camera very publicly, as I somewhat famously am doing now with DSLRs.
I think many will agree with this.
We are well aware of all the issues when shooting with DSLR's, and we have no tolerance for people who publicly trash a camera over and over. Please don't do that on this site.
:dankk2:
Robert Ruffo
Well-known member
I would be VERY happy with the same flip out LCD that is on the HPX-300/370.
I LOVE that thing.
I second the Anton Bauer battery mount as an option too.
10-Bit HD-SDI out like the Varicams to allow for recording using the Nanoflash
A Marshall monitor-like implementation of the "predator-vision" false color exposure scale:
This would be insanely awesome
Robert Ruffo
Well-known member
I'm not trashing anybody, my guess is the new Panny will be great. What I'm trying to say is all I really care about is image quality at 24p - the rest is a very, very, very far second.
I'm done trashing. Anyway, my "campaign" worked, and client requests for me to shoot with DSLRs have subsided. I put enough (needed) doubt in their heads.
I like this idea.
The handle is supposed to be removable, maybe it could screw into tripod style holes?
love
Freya
Robert Ruffo
Well-known member
Actually, I would go further and say that any Nanoflash friendliness would be greatly appreciated - a place to mount it, a place to power it, anything that helps its use. I've also never seen a cam that came built with an obvious place to hang an external monitor except Red. (Shoe mounting is iffy, I find, at best.) An external monitor will be a common need with such shallow depth of field present.
And a question for Jan, does it really resolve 1080p? Like would I see full 1080p on a test chart?
I guess you could split a 1080 30p based frame into quadrants like on a lomo action sampler. You would need special software on the computer to decode it tho.
Couldn't a new out of spec codec mode be created in AVCD or is AVCD already implemented on standard chips they are using?
love
Freya
Robert Ruffo
Well-known member
The limits are on sensor readout/debayer as well. I think it would add a lot of cost.
I guess if they did quadrants tho it would be much lower res and faster to read off the sensor.
I think you are right about the cost tho it would add a lot of complexity in terms of filling each quadrant etc. Depends how amazing their software people are really.
love
Freya
Undisputed Truth
Active member
I was referring to alexa when I said that was wishful thinking. The pricing of alexa will be a lot more expensive than the af 100 and its unfair to compare the two cameras.
Arri is trying to pull the film people over with their increased dynamic range compared to other video cameras and I think that is an excellent idea.
Undisputed Truth
Active member
SPEED RAMPING as well. Im really pushing for higher frame rates and I would also love to be able to ramp fps.
Ramping
Ramping
Speed ramping would be amazing- even if only up to 60fps at 720. Don't know if AVCCam could handle that though.
EDIT: Speed ramping up to 60fps WITH an external dial to control it in-shot.
Ramping
Speed ramping would be amazing- even if only up to 60fps at 720. Don't know if AVCCam could handle that though.
EDIT: Speed ramping up to 60fps WITH an external dial to control it in-shot.
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mainstreetprod
Veteran
Must have: No compromise viewfinder, large and sharp as possible
Wish list: 24 bit XLR audio with first class preamps. Even 4 channels with mini XLRs. Expensive to do, but not ever having to record separate audio would put the camera way in front of any competition.
And here's a radical idea, maybe not for this camera, but for some camera for the event market: Incorporate a firewire switcher. Event videographers could plug in a second camera and switch back and forth right from the main camera. Just two choices: Cut and dissolve. Every wedding videographer in the country would have to have this one, along with guys shooting concerts, etc.
Wish list: 24 bit XLR audio with first class preamps. Even 4 channels with mini XLRs. Expensive to do, but not ever having to record separate audio would put the camera way in front of any competition.
And here's a radical idea, maybe not for this camera, but for some camera for the event market: Incorporate a firewire switcher. Event videographers could plug in a second camera and switch back and forth right from the main camera. Just two choices: Cut and dissolve. Every wedding videographer in the country would have to have this one, along with guys shooting concerts, etc.
Ben_B
Veteran
Why would you need a switcher? You do that in editing. Switchers are for live broadcast, and Panasonic already makes a fair amount of money selling them.
Good sound into the camera is important, but I don't think any kind of sound on camera features would replace an audio record for people doing digital cinema work...it's just too convenient to not have an XLR cable trailing out of your camera.
Mike Harvey
Veteran
Not necessarily. There are plenty of instances where a "live to tape" situations may occur. That said, AVCHD is incompatible with Firewire, so it wouldn't technically be possible. Plus, I'm not sure how practical it would be in camera, or how such a layout would even work.
Ahhhh... but you're looking at it through the eyes of "digital cinema". Not all of us who are interested in this camera get the luxury of of a sound man. Being able to have more than two XLR inputs could be awfully darn convenient for what will most likely be a large portion of this camera's customer base.
Ben_B
Veteran
Yeah but in a live to tape situation why not invest in a proper switcher and just use the HD-SDI? If it's really that important you probably won't want to trust it to an in-camera feature.
I feel like more than two XLRs is overkill for most people, but I suppose since the camera has no built in mic you effectively have one XLR so might as well add some more...if it's needed.
Paul V Doherty
Active member
I feel compelled to respond to your second point:
4 or even 5 XLR's is absolutely imperative for field capture in 5.1 (5.1 can easily be constructed from 4 channels, and 5 is even better).
Bear in mind that this camera will most certainly be used by solo operators for documentary and live performance capture.
There is no time, space or budget for secondary audio systems and an operator to man the equipment.
I for one make part of my business from shooting bands and theatrical performances, and a large part of the sales pitch is my ability to capture true surround sound with my solo rig.
Generally one takes a stereo feed from the FOH console on audio tracks 1 & 2 and a stereo surround mic goes on tracks 3 & 4.
With these four tracks as a foundation it is relatively simple to create a satisfying 5.1 mix for the client.
The same applies for field capture of 5.1 audio for documentary work.
The statement that "more than two XLR's is overkill for most people" is short-sighted and does not speak for everyone who has an interest in seeing this camera come to market.
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