AF100 characteristics and how you manage them

R

Rod Pike

Well-known member
Hi all, Pretty quiet here these days, all must be good with everyone!
I am interested in how you have managed your AF100 to get the best out of it. (not what we would do to improve the camera, that is amply covered elsewhere.) When I first started using it I struggled with its readiness to yield sickly blown out highlights on over exposure. User error I know, and I use zebras and waveform to manage this now, together with finely tailored scene files. What do you do to ensure you get the best that this camera can provide?
cheers! Rod
 
My biggest issue with the AF100 was, as you mentioned, poor highlight rendering. I basically love the camera, but because I like to shoot into sources, like windows (something I've done for so long I can't change), that was a major problem for me.

My solution was fitting the camera with a good (Chrosziel in my case) 4x4 matte box and carrying a set of ND grads. N.6, .9 and 1.2. I rotated the filter to tone down the areas that were blowing out, which, with the AF, causes really - REALLY - ugly color artifacts...

To be honest, I've moved over to a Canon C100 and two BMD Pocket Cameras, which makes life easier for me. But, as I've said in this forum over and over again - for several years now - if Panasonic had addressed that sensor problem with a much requested successor, I'd still be an AF guy.

I use an EVF, so the finder wasn't an issue - the camera's light, very user friendly, has NDs and a good audio section. It should be the camera everyone is imitating. today. ah well, if wishes were horses.
 
I didn't have many problems with the camera at all... IMO superb camera tech on the market has allowed a lot of shooters to get really sloppy. Sure, the AF100 blows out highlights to some weird colors sometimes... sure it shoots a little soft, but softness can be very aesthetically pleasing and you really shouldn't be blowing stuff out anyway, if you can avoid it...

* I shot with the stock "clean" scene setting, and I literally cannot count how many PMs and Vimeo comments I got asking me what my scene settings were. STOCK. They are good. Just leave it alone and go shoot on scene 1 clean unless you need to change things up for a specific reason and you understand why.

* Don't blow stuff out. I mean, really. Unless you are going for the artistic effect - even then - you can achieve this in post by blasting the whites up and adding a Magic Bullet or Tiffen diffusion filter via a plug-in. BTW, you can also use CC tools and Diffusion to mask the AF100 highlight problems... you can desaturate the highlights, or mask the highlights in Premiere CC very quickly and just drag the color wheel away from the undesirable highlight color or desaturate back down to a nice white. And/or then add diffusion filter strategically to soften the roll-off and hide the coloring issue.

* Softness - change the stock scene 1 setting to be a little sharper if you need/want; and/or add some sharpening in post. Just don't overdo.

The biggest thing... EMBRACE THE LOOK. Seriously, the AF100 still looks fantastic. It looks distinctly different than DSLR or S35 or FF footage. That is not bad. It is just different. I have had endless compliments on the look. The worst thing you can do is try and be someone you're not... this applies to cameras. Honestly, the novelty of the AF100 look *can* be a selling point. Especially for non-camera people. The only people who even know what some of this highlight stuff and sharpness/resolving/FoV stuff is are camera people... shoot well and 90% of people will be like "that looks awesome!!"

* Low light and shallow DoF is the biggest thing. I resisted investing in some good m43 glass for a long time because it was M43 and not "future proof." Screw that. Seriously. Just go buy a used Voigtlander 25mm f/0.95 lens. You need that super low F-Stop rating on the AF100 to get the most out of lowlight and shallow DoF. And/or these days you now have the Speedbooster options which is great though I have never used them myself yet. In any case low F-Stop = hugely important on this camera. Do not skimp here, my camera became 10x more valuable with a couple good lens purchases (my 2 go to's are the olympus 12mm f/2.0 and Voigtlander 25mm f/0.95 but if I was buying now I would choose the new voigtlander 10.5mm over the olympus 12mm. Also you will need to learn to manual focus, its just a much better way to shoot, and if you master it quickly you'll be able to grab gold. Just think of it like playing an instrument.

Other than that... the AF100 is still one of the best cameras on the market to work with thanks to built in ND filters, XLR, swivel screen, and a number of other features. Don't overthink it. Shoot well, and shoot smart.

The biggest thing that has meant for me on the field is dealing with the less than stellar highlight roll-off, blow-outs, and dynamic range.. thus meaning... do not have shots where someone is standing in the shade and then there is a ton of bright stuff. Just setup and frame your shots differently. This needn't be a problem, just get creative and THINK when you work. What's the quote... "The absence of limitations is the enemy of art." You don't need a camera with no limitations, you just need a brain. The AF100 is a great tool, and in the right hands, it works 10x better than a RED camera in the wrong hands.

Good luck!

PS I am getting feedback on my reel rough cut right now, all shot on the AF100.. this is what I've done with it in the last couple years before moving onto the GH4:

http://www.dvxuser.com/V6/showthrea...free-track-for-my-DP-reel-Specfic-suggestions
** there are two links there, one at the start and another link with more footage several posts down. Feedback welcome there of course! :)
 
While just a few of the panoramic shots looked a little washed out....99% was very! evacotive and lovely...
How much does subject matter play into the loveliness of it all?

Cheers....Tye
 
Filmguy you hit the nail on the head! I'm planing on picking up the af100 real soon (just waiting on a really good deal as I keep loosing ebay bids on the ones that sell for under 1k) because its a cheap camera that has all the pro tools and a great image if you can light it well. Is it perfect? No and it will be less forgiving than other cameras out there but all that means is if I can learn to use this camera with a limit dynamic range then the times I have the extra Dynamic range I wont have a problem at all. Also the M43 is now amazing with the speedbooster because now you can use glass like you did on Super 35 format but will have even lower F stop which is awesome. Plus I dont need razor thin DoF, just enough to create some seperation. Its just a different tool in a camera operators tool box.

Also great Reel, and it make me more excited to pick up an AF100. My main concern was the dynamic range and how it can create ugly highlights (specially in the blue skys) but you had several shots that show that it can be done! Great work
 
filmguy123 said:
I didn't have many problems with the camera at all... IMO superb camera tech on the market has allowed a lot of shooters to get really sloppy. Sure, the AF100 blows out highlights to some weird colors sometimes... sure it shoots a little soft, but softness can be very aesthetically pleasing and you really shouldn't be blowing stuff out anyway, if you can avoid it...

* I shot with the stock "clean" scene setting, and I literally cannot count how many PMs and Vimeo comments I got asking me what my scene settings were. STOCK. They are good. Just leave it alone and go shoot on scene 1 clean unless you need to change things up for a specific reason and you understand why.

* Don't blow stuff out. I mean, really. Unless you are going for the artistic effect - even then - you can achieve this in post by blasting the whites up and adding a Magic Bullet or Tiffen diffusion filter via a plug-in. BTW, you can also use CC tools and Diffusion to mask the AF100 highlight problems... you can desaturate the highlights, or mask the highlights in Premiere CC very quickly and just drag the color wheel away from the undesirable highlight color or desaturate back down to a nice white. And/or then add diffusion filter strategically to soften the roll-off and hide the coloring issue.

* Softness - change the stock scene 1 setting to be a little sharper if you need/want; and/or add some sharpening in post. Just don't overdo.

The biggest thing... EMBRACE THE LOOK. Seriously, the AF100 still looks fantastic. It looks distinctly different than DSLR or S35 or FF footage. That is not bad. It is just different. I have had endless compliments on the look. The worst thing you can do is try and be someone you're not... this applies to cameras. Honestly, the novelty of the AF100 look *can* be a selling point. Especially for non-camera people. The only people who even know what some of this highlight stuff and sharpness/resolving/FoV stuff is are camera people... shoot well and 90% of people will be like "that looks awesome!!"

* Low light and shallow DoF is the biggest thing. I resisted investing in some good m43 glass for a long time because it was M43 and not "future proof." Screw that. Seriously. Just go buy a used Voigtlander 25mm f/0.95 lens. You need that super low F-Stop rating on the AF100 to get the most out of lowlight and shallow DoF. And/or these days you now have the Speedbooster options which is great though I have never used them myself yet. In any case low F-Stop = hugely important on this camera. Do not skimp here, my camera became 10x more valuable with a couple good lens purchases (my 2 go to's are the olympus 12mm f/2.0 and Voigtlander 25mm f/0.95 but if I was buying now I would choose the new voigtlander 10.5mm over the olympus 12mm. Also you will need to learn to manual focus, its just a much better way to shoot, and if you master it quickly you'll be able to grab gold. Just think of it like playing an instrument.

Other than that... the AF100 is still one of the best cameras on the market to work with thanks to built in ND filters, XLR, swivel screen, and a number of other features. Don't overthink it. Shoot well, and shoot smart.

The biggest thing that has meant for me on the field is dealing with the less than stellar highlight roll-off, blow-outs, and dynamic range.. thus meaning... do not have shots where someone is standing in the shade and then there is a ton of bright stuff. Just setup and frame your shots differently. This needn't be a problem, just get creative and THINK when you work. What's the quote... "The absence of limitations is the enemy of art." You don't need a camera with no limitations, you just need a brain. The AF100 is a great tool, and in the right hands, it works 10x better than a RED camera in the wrong hands.

Good luck!

PS I am getting feedback on my reel rough cut right now, all shot on the AF100.. this is what I've done with it in the last couple years before moving onto the GH4:

http://www.dvxuser.com/V6/showthrea...free-track-for-my-DP-reel-Specfic-suggestions
** there are two links there, one at the start and another link with more footage several posts down. Feedback welcome there of course! :)
Click to expand...
Hi Reelguy, thanks for taking the trouble to answer in such depth. Interesting comment on the stock settings too- I felt that they were a bit edgy- I can't abide edge acutance, but I will look again!. But yes, I agree with you entirely. Forty years ago when I started in photography I hungered for a Pentax s1A. The chairman of the photographic society said to me- " I will still take better pictures with a Kodak brownie than you will with your Pentax-learn the art--a set of paint brushes don't make you Rembrandt!" and I've never forgotten it !
 
Update for Reelguy: Just viewed your reel- veeeeery nice work, powerful and engaging- it supports my theory of 10% camera and 90% content quality.
 
Haha "reelguy"... I seemed to have earned a new nickname ;) Well thank you, it's always nice to hear good feedback. It's true, at a certain point the camera becomes far less important. I'm a total nerd and love the idea of better camera, imaging, etc. but I've also learned that at a certain tipping point... it doesn't matter nearly as much as everything else. The AF100 produces plenty adequate image quality and capability to mean that once you own a camera like this or better, improving the operator becomes more important than improving the gear.
 
I'm using the AF100 as a dedicated production camera in a 500-seat live performance theater for filming continuous shows up to three hours long. I have it mounted from the ceiling of the A/V control room, 60 feet from the stage. I use the AF100 with a vintage Konica Hexanon 80-200mm f3.5 lens, which looks great and holds focus while zooming. The theater lighting allows me to shoot at ISO 500-800 at f3.5, with a DOF deep enough to keep everything on-stage in focus. I use the 24-track audio mixer in the control room to mix down the stage mics with a separate stereo mix for the AF100's XLR jacks.

Virtually everything about the AF100 is well-suited for this purpose, and with it I can produce ready-to-watch performance videos straight out of the camera. Since my shooting environment is predictable and tightly controlled, I was able to tweak the Scene File settings to directly produce the exposure and color balance I want to see. The major issues for me were highlight handling, shadow detail and noise control, and the settings I arrived at are a bit different from what most AF100 shooters recommend:

Detail: -2
V. Detail: -2
Detail Coring: 0
Chroma Level: +2
Master Ped: 0
DRS: 1
Gamma: High
Knee: Auto
Matrix: NORM2
Skin DTL: OFF

Using DRS 1 with the HIGH gamma curve and auto knee boosts shadow and midrange detail along with a subtle amount of highlight moderation. That allows me to shoot with a low enough ISO to avoid noticeable shadow noise with Master Pedestal at 0. Detail and chroma are set to my personal taste. If I was planning on color correcting in post, I'd use lower detail and chroma, but these videos are good to go without editing. The AF100's real-time fade-to-black feature allows me to produce clean, professional-looking results in-camera.

The AF100's built-in waveform and zebra monitors combined with its pro-audio and continuous shooting features make it ideally suited for my purposes. The one thing I wish the AF100 had is a video input jack to allow me to swap in laptop-generated title and credit screens at the beginning and end of a recording. I'm planning on checking out Smart Cutter to splice in pre-fabricated intro and outro clips to the original MTS recordings without re-encoding them.
 
That's a full on and interesting use of the Panny! Thanks for the feedback- it seems that managing the Panny's highlights are the main issue that has to be navigated. Very much a case of "know thine enemy and deal with it!" I have also gone through a learning curve with highlight management ( more of a vertical climb actually!!) Initially disappointing, then becoming a challenge to manipulating all of the resources the AF offers, to get the best from it.
Cheers!
Rod
 
I think filmguy said what you need to hear. I've been shooting with the AF100 since it came out and I still am. I would add a few things if you decide to work with the settings: CineD is a nice gamma, but watch the noise in the shadows, but it's a really good look. The easiest to work with is B.Press, especially for scenes with higher contrast ratios. Keep the detail down to -4 or below and keeping the saturation down does help with the highlights. Keep things in about 8 stops, which in the real world of shooting, besides in broad daylight, is a lot! I would very often ND windows with ND6 if I was shooting out of them.

It's a great camera, one of the most under rated cameras around. As filmguy (aka reelguy) says, embrace the look. It's a good one. As with all 8bit AVCHD, get it right in the camera and you'll be set
 
While it doesn't work in every situation, a couple of graduated ND filters can work wonders with highlights, especially when shooting sky/ground. A circular polarizer can help too. When these won't work, just try re framing or changing the direction you are shooting. I've moved on to the Sony FS700 and now FS7 but the AF was a great step up that taught me how to shoot with changeable lenses.
 
mainstreetprod said:
While it doesn't work in every situation, a couple of graduated ND filters can work wonders with highlights, especially when shooting sky/ground. A circular polarizer can help too. When these won't work, just try re framing or changing the direction you are shooting. I've moved on to the Sony FS700 and now FS7 but the AF was a great step up that taught me how to shoot with changeable lenses.
Click to expand...

Or just shoot on a tripod and shoot the scene twice at two exposures. Drop into Premiere/AE and mask/feather the scene appropriately, sort of a custom HDR.
 
Hi Filmguy, lovely stuff, what sort of rig do you carry on shoots, a slider or portable dolly.
 
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