Any Chance of an HMC-150 Style (fixed lens) AF-100?

[Vaughan Wood]

Yes Barry, that you very much for your time helping us "videoguys" understand.

I have 2 EX 1's for concert and event work and a HMC 150 for weddings as the Ex's are too heavy for my aging back!

But this camera will be a more creative option for music clips and documentaries, and appeals to the 'artist' rather than the 'event capturer' in us!!!!!

Do I need it for my business? Probably not!...... Do I want it? (Need I answer!!!....).

Cheers,

Vaughan

 

[BitMaestro]

Well, again, there's a lot to deal with in that question. For example, the HMC150 at wide-angle is f/1.6, at full telephoto it's f/3.0. So at what zoom point are we comparing? If you're comparing at wide angle, then the 14-140 is f/4 vs. the HMC150's f/1.6. That's about 2.5 stops different. At 500 ISO for the HMC150, that means you'd have to set the AF100 at 3200 to get comparable sensitivity out of an f/4 lens. Is the noise level of an AF100 at 3200 ISO going to match the noise level of an HMC150 at 500 ISO? I would find that quite doubtful, but we'll see.

Before I start prattling on, an easy ballpark would be if anyone has both an HMC150 and a GH1 + 14-140mm kit lens, shoot the same scene with both cams wide-angle (28mm) and wide open (f1.6 vs f4.0).

That said, in addition to what Barry posted, we also need to take sensor size into account. Assuming technologically identical sensors--which I know is not the case with the HMC150 and GH1 or GH2/AF100--a 4/3 sensor will have a 3-4 stop advantage over a 1/3 sensor. i.e. f1.6 on a 1/3 sensor will be roughly f5.6 on a 4/3 sensor.

Of course, the HMC150 has three 1/3 sensors, not just one. So if I go out even further on a limb and triple the HMC150, that brings the 4/3 advantage down to around 2 stops. (note: each stop doubles (or halves, if looking at it the other way) the amount of light.) And that would work out to the HMC150 being close to or slightly faster than the GH1 + 14-140mm lens.

But again, that's a WAG based on several faulty assumptions (identical tech and tripling the HMC150).

Mark

 

[Bucknfl]

Your client cannot request something that is never done & like Noah said you basically Dolly when you need a shot like this. This is how cinema is done.

Did you read this in a book or what. As a dp I work in the real world where you answer to clients, producers, and directors. The Af100 is not stictly a cinema camera, and zooms are done all the time on film shoots in features, tv shows, commercials, etc. The market and the people who purchase cameras will decide what they use the Af 100 for, its all a matter of opinion, and opinons are like a__holes, everyone has one.

 

[arroway]

Your client cannot request something that is never done & like Noah said you basically Dolly when you need a shot like this. This is how cinema is done.

Speaking in absolutes usually makes one look foolish. There are zooms in many of the best movies ever made.

Zooming in cinema work is especially prevalent these days, with this faddish reality-tv derived directing style I see popping up everywhere in both movies and TV shows where the camera man intentionally pivots from side to side while zooming in and out. Go watch any of the Bourne films, go watch Cyrus, or half the new TV shows that premiered this season. Saying that zooming is "never done" is ridiculous.