HBO "The Jinx" shot with AF100

The team started with older HDV tape-based cameras, which yielded images Smerling describes as “crunchy” but appropriate in context, and then moved to a Panasonic AG-AF100 Micro Four Thirds camcorder, “because it could run for long periods of time without having to change batteries.” He also used a Canon EOS 5D Mk II DSLR and, in the later part of the production, a Canon EOS C300.

Lighting for the interviews was minimal. “When we were shooting our interviews or picking things up or on the road, I would always bring a couple of Kino Flos—a Diva-Lite kit—and an ARRI 150 kit. I’d pick up bigger Kinos if I needed them. I think Kino is very good for interviews. It’s a forgiving light but also not too conspicuous. When shooting interviews, it’s really important not to make it about the lighting. It’s really intimidating to have a huge bright light in your face, so a lot of time you’re trying to minimize the amount of lighting on the subject to make them comfortable.
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As the DP, Smerling took a very different approach to the two types of shoots. The reenactments, he says, were shot in a fairly slick way using ARRI Alexa cameras and a significant lighting package including HMIs, lighting balloons (helium) and Condors.
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Not always the world's most beautiful image, but still good and it does just freaking work.
 
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This documentary was 6 years in the making, if I'm not mistaken.

Amazing doc via storytelling. Never thought it looked more than good. AF100 was a solid docu camera. I shot my docs with that camera during the same time frame.
 
Yeah, the AF100's time in the spot light has surely past, but for how cheap they are on the used market I can't think of another camera with the features (ND, XLR, HDMI, SDI...) & quality for the price.

If I had a limited budget & didn't have to use a specific camera I'd look first at getting an AF100.

Though it really matters a lot more about how you use your equipment than what equipment you use. This doc that is in the headlines that was shot with AF100s & HDV cams is just another example of that.
 
I've been shooting a documentary on the AF100 for the last year that is rife with amazing visuals. It takes place in rural Mexico and in the Monarch Butterfly Biosphere Reserve, so you can imagine what I'm lucky enough to work with. And you know what I've found interesting? Any person that has watched our funding trailers (potential funders, peers, etc.) immediately remarks at how stunningly beautiful the footage is. Not to pat myself on the back or anything, but I think it A) shows how great the AF100 can be, and B) it's much more important what and how you shoot than what camera you use. Now, I am also eagerly awaiting an AF200 (or upgrading to a different system if it never comes) but I always have to remind myself that the AF100 is pretty great. We can always hope for something bigger and better, but to this day no one has ever said anything negative about visuals I've created with the AF100. Any criticism always relates to the story, which is the most important aspect of any filmmaking, but also the hardest!
 
I just wrapped a doc that I shot on the AF100. It's a great interview camera because of the long run times and how it matched the client's workflow. Here's a screen grab from the doc. I'd have to ask if I could show the interview setups, but they came out just great. I'm getting an upgrade this week but I am hanging on to AF100 for projects such as these and when they come out with another one, I'll give it a serious look. I've said it before, and I'll say it again, the AF100 is maligned by so many people who've never shot with it but if you have then you know that it is just a great little camera, sturdy, capable and delivers great images.

Same for me as EidolonFilms. In a variety of projects, I've gotten nothing but raves about the looks I've been able to achieve with the AF100.

ManhattanBridge.jpg
 
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