Panasonic unveiled G1-HD...

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hmmm, problem is your wides won't be wides anymore.

they say that a 50mm would be halved down to 100mm

that turned me away. i'll wait for a new nikon.
 
Andrew Brinkhaus said:
Something I couldn't find in the documents... What's the sensor size on this? Do we know yet? (I'm not referring to MP count).
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Similar to super 16mm: http://en.wikipedia.org/wiki/Micro_Four_Thirds_System

60i -> 24p is not optimal, but it's well-enough established on other gear that there are good post workflows for dealing with it. I'll be happy with 'very good' rather than 'perfect' in this price bracket.

Yes, the lens is a bit slow. But since different lenses can be used, and again at the price point, I can deal.

Car30, I understand if you are already invested in Nikon glass, but Panasonic are also offering a wide micro 4/3 lens: http://www.dpreview.com/news/0903/09030313panasonic7-14mm.asp Downside is it's also quite slow.
 
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Similar to super 16mmSimilar to super 16mm
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Actually it's way, way bigger than Super16. S16 is 12mm x 7mm (for 84 square millimeters of area). Four Thirds is 17.3 x 13mm, for about 225 square millimeters, or about three times the size of Super16. When cropped to 1.85:1, S16 is 12mm x 6.5mm, delivering 78 square mm. Four Thirds is 17.3 x 9.4 for 163 square mm, or just over twice the size of Super16.

In comparison to a 2/3" camera, a 2/3" sensor is typically 9.6mm x 5.4mm, or about 52 square mm in 16:9 aspect ratio. A 16:9 Four Thirds sensor would be 17.3 x 9.7, or about 168 square mm, over three times as large as a 2/3" camera.

In comparison to a full 35mm movie frame, the movie format is 22mm x 12mm, or 264 square mm. Which makes the Four Thirds format about 60% as large as a full frame of 35mm film.

So, quick summary without the math:
Four Thirds is 2x as large as Super16, and 3x as large as a 2/3" video sensor.
It's about halfway between 35mm movie film and Super16 movie film. Accordingly, the depth of field should be shallower than Super16 but deeper than 35mm.
 
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Barry_Green said:
So, quick summary without the math:
Four Thirds is 2x as large as Super16, and 3x as large as a 2/3" video sensor.
It's about halfway between 35mm movie film and Super16 movie film. Accordingly, the depth of field should be shallower than Super16 but deeper than 35mm.
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Barry:

what is your take on this camera? Thumbs up or down? Promising?
 
My bad. I mentally figured in the reduced lens-sensor distance in micro4/3 (which is what you get by not having a mirror and optics) and forgot that the sensor size is actually the same as full 4/3. Anyway, I'm not complaining.

This page (on another forum) has some critical comparisons between the specs for the GH1 and the actual performance of the HMC150, particulary with regard to light sensitivity and in the context of the GH1 lenses being pretty slow at f.4.

First video samples:
http://panasonic.net/avc/lumix/syste...gh1/movie.html
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Cool. First impression is very close to what I expected. One of the related pages has some footage of a little girl hugging a dug, with both bright sunlight and shadow due to tree cover. My feeling is 'good enough' - I like what I see very much, and on past experience I think I'll be happy to live with the inevitable limitations.

By the way, many other interesting details on the other pages at that link, which are not in the press release. Like a zooming focus assist, that works in both manual and auto mode! ISO limiting in auto mode, and too many neat still features to mention. The more I read, the more I like.

On a completely unrelated note, funny that it's available in black, red and...gold?! Who wants a gold-colored camera? Weird. I would have sort of liked blue as on the G1, but for video work I'll probably be picking black anyway.
 
very interesting...

But as state, if you do end up losing your wide end on your 35mm lenses, due to the chip size, that kinda screws lens owners. Even if adapters are available for Nikon Glass.
 
Super8 said:
Barry:

what is your take on this camera? Thumbs up or down? Promising?
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Never even bothered to look at it; I haven't bought into the whole DSLR-as-a-movie-camera thing yet. I bought my kid a D90 and it's rubber jello city, with no audio recording, so -- to each his own, I guess.

For those who want to use a DSLR as a movie camera, at least this one has a mic jack and manual exposure controls. I don't know anything about the 4/3 lens selections, and f/4 is pretty weak; even though it's a bigger sensor than S16 you'll need a 1.4 lens on it to really get 35mm-ish DOF.

On the plus side, it uses a standard video format (AVCHD) so you'll be able to edit it. On the down side, 24p is embedded in 60p or 60i; it'd have been even nicer to get it recorded "native".

In short, it looks cute, it offers 720/24p and 1080/24p and 720/60p for slow-mo, but what does the footage look like and is it rubber-city?
 
Barry_Green said:
Never even bothered to look at it; I haven't bought into the whole DSLR-as-a-movie-camera thing yet. I bought my kid a D90 and it's rubber jello city, with no audio recording, so -- to each his own, I guess.

For those who want to use a DSLR as a movie camera, at least this one has a mic jack and manual exposure controls. I don't know anything about the 4/3 lens selections, and f/4 is pretty weak; even though it's a bigger sensor than S16 you'll need a 1.4 lens on it to really get 35mm-ish DOF.

On the plus side, it uses a standard video format (AVCHD) so you'll be able to edit it. On the down side, 24p is embedded in 60p or 60i; it'd have been even nicer to get it recorded "native".

In short, it looks cute, it offers 720/24p and 1080/24p and 720/60p for slow-mo, but what does the footage look like and is it rubber-city?
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much appreciated your input....maybe when you buy into the DSLR movie camera thingy we will see writing some awesome books and DVD's about the subject!

:)
 
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