AF100 -> C300: double down, step up, or switch?

M

MichaelTiemann

Active member
I've got a pair of AF-100 cameras, a decent complement of lenses, and a studio facility that's wired for SDI (3G-SDI to be precise). I want to get to a four camera setup and here are the options as I see them:

Double down: Buy two more AF-100s and be done with it (less than $10K for cameras and mounts)

Step up (to 4:2:2): Buy two more AF-100s and four Atomos Samurai (approx $20K for cameras, mounts, and media)

Switch: ditch the AF100s and wander into C100/C300 land. This opens up a host of possibilities, ranging from strictly C100s (which can be upgraded to 4:2:2 using Atomos Ninja-2s) to strictly C300s (presumably good enough on their own). If Canon priced the cameras more aggressively, the decision would be a no-brainer. The costs would also range from $40K to more than $60K.

There are of course many other possible variations, for example, augmenting the AF100s with a 250 and a HPX600, or stranger yet, try to mix and match between AF100 and C100/C300 imaging. But really I think it comes down to the question of whether now is the best time to place a major new bet or now is the best time to keep my current bet moving forward, until something *really* great comes along. Like 4K. Canon obviously offer a more obvious upgrade path to 4K with the C500 than do Panasonic (which have said *nothing* about the upgrade path of the AF100), but the future is a consideration, too.

How many of you have made the AF100 switch, or how many are lurking here, trying to make the same decision?
 
What kind of studio shoots? Are your clients happy with what you're giving them using AF100 AVCHD? Properly lit, there's no reason why the AF100 shouldn't give more than an acceptable image. If you can hold out another 6-12 months, you know that there will be something new on the cutting edge that may tick off a few more boxes. If you're making a business decision, make it a business decision. If you're making the decision because you're sick of your current cameras and want something new, that's entirely different. Any way you look at it, I don't think mixing and matching cameras is the easiest solution if you're doing multi-camera shoots frequently. My plan is to upgrade to something new as well in the next 3-4 months, but I'll be keeping my AF100 as the resale value is less than what it's worth as a B-camera that is 1080p60 capable. Also, the 12-35mm Lumix is amazing and takes away pretty much all the hassle of run-n-gun b-roll shooting when you don't need the look of primes.
 
The studio environment is a recording studio. The application is documenting significant recording projects. Here's an example (two AF-100s, one HMC-150, essentially ungraded):

 
Whew, those guys can play. Looks pretty good. What about the upgrade would improve your deliverable? Getting another AF100 is not an expensive proposition. Maybe putting a wide on it and putting it on a jib might be a good choice and would keep your options open.
 
MichaelTiemann said:
The studio environment is a recording studio. The application is documenting significant recording projects. Here's an example (two AF-100s, one HMC-150, essentially ungraded):

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i dont want to look like i critic your work, as i am not! all i want to say is that based on what i see in your clip - i dont know why u need a "cinema" camcorder at all! in fact i believe that regular camcorder could improve that clip and make it more fun just by zooming in and out. in your clip i see that scene contains a lot of lighting, so low light cam is not necessary, almost everything is in focus - so again dof is not an issue! so why bother with pain that cinema cams brings - lenses, manual focus.....and manual everything.... i just dont see in that clip anything that regular camcorder could not do.

the clip does not have that cinematic look that i would normally expect from cinema cam and what af100 can give - so why use cinema cam, unless u forced in to it, and/or want to learn/do something new, that u sure will improve your business....otherwise why bother spending 40k-60k?
 
MichaelTiemann said:
More cinema-like, like this?

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Great band, great players, sterile video. If your plan is to continue shooting in this style, then there is no reason to buy additional high-end cinema cameras. First off: Lighting. It looks like you're shooting in a gym. That room could be transformed into a completely different environment with lighting, and it wouldn't cost that much. I would suggest hunting down one of the top cinematographers in your area with experience shooting music videos and bring him in for a consultation. Once you get some names, check their websites for demo videos. This band and others could be transformed to an entirely different place with a seasoned DP. Hire the DP for a couple of these shoots as a coach - pick his brain, take notes, and then take it over and make it your own.

Hope this helps!
 
jw2700 said:
Great band, great players, sterile video. If your plan is to continue shooting in this style, then there is no reason to buy additional high-end cinema cameras. First off: Lighting. It looks like you're shooting in a gym. That room could be transformed into a completely different environment with lighting, and it wouldn't cost that much. I would suggest hunting down one of the top cinematographers in your area with experience shooting music videos and bring him in for a consultation. Once you get some names, check their websites for demo videos. This band and others could be transformed to an entirely different place with a seasoned DP. Hire the DP for a couple of these shoots as a coach - pick his brain, take notes, and then take it over and make it your own.

Hope this helps!
Click to expand...

I think you are right...and that's basically the plan.
 
MichaelTiemann said:
More cinema-like, like this?
Click to expand...

No reason why you can't get these kind of images out of the AF100, just takes a bit more time than a live switch. Gear-wise, I don't think an upgrade is really necessary, though if you have the itch to invest, perhaps you could take a look at lighting and support (crane, slider) to jazz up the shots, or a few fast prime lenses to get that shallow DOF as seen in the video you posted.
 
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