Philip Bloom's "Hirano San"

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I applaud Panasonic for letting prototypes out there for people like me and Filippo to play with and post with no restrictions other than say it's pre-productions. it's shows confidence but more importantly trust.
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This is consistent with my own correspondence and experiences with Panasonic. The company does not seem afraid of reasoned criticism of their TV display products (this is what I review) and publishes links to reviews which can be surprisingly critical (most brands only publish positive snippets). To me that makes it seem like they have a lot of confidence in their products.
 
Thanks to all involved with the Japan Shoot.

Thanks to all involved with the Japan Shoot.

I wanted to thank the team for shooting these tests in Japan. Plus, I just love watching life from another corner of the planet. That aside, I'm a little surprised that Panasonic would go to the effort to bring in a team of testers and only allow just a short time with the gear. I'm sure even an extra day would have made a lot of differences.

Thanks again guys.
 
Hey Phil,

Thanks so much for taking the arrows in the effort to get us some footage. Thanks, it's much appreciated! Just wondering if you would care to compare and contrast your feelings/thoughts on the final image output of the AF100 compared to your 5DII. Just how do see the AF100 fitting into your work? What are your thoughts on the potential filmic look that the AF100 is capable of producing?
 
Philip I listened to the audio and it clears up alot for me.
At first I thought it was a raw footage and edited ! So I was like where is the Pana Mojo ?
I did notice it with Fillipo Chiesa' s Alfa Romeo clip. I noticed the pana colors and a very usable dynamic range there.
Again thanks for your effort and Mr Barry Green aswell .
A few questions maybe Barry could answer this :

Was it possible to load scenefiles (like filmic, city etc) ?

If not, was it not possible to adjust the scene file settings other then sharpness or choose a different colormatrix in this prepoduction model ?



Why would you drop the sharpness settings ?

Are the scenefile settings different from the hmc150/hpx 171 or the hpx500 ?

Did anyone get a chance to test the XLR inputs ?

Thanks Everts
 
I recommend you all check out Philips blog and listen to the commentary that accompanies his "Hirano San" video.
 
Barry_Green said:
But... dammit... at least Philip is out there making films. Which is a lot more than I can say for the recent trends on this site! Despite a massive surge in membership in the last year or two, and despite the "democratizing" of filmmaking that the DSLR has brought -- our ThrillFest had far and away the lowest participation of any of our October fests. More members, more whining, and fewer filmmakers. What's up with that?
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Completely agree. I see way too many threads and posts about equipments (pros and cons, comparisons) and few posts about actual filmmaking. I should put my name down for the next dvxfest. When is it?
 
Would anyone here critical of Philip's footage with the AF-100 provide some links to what they've done?

I'd like to see "the good stuff" and what it was shot with.
 
f64manray said:
Hey Phil,

Thanks so much for taking the arrows in the effort to get us some footage. Thanks, it's much appreciated! Just wondering if you would care to compare and contrast your feelings/thoughts on the final image output of the AF100 compared to your 5DII. Just how do see the AF100 fitting into your work? What are your thoughts on the potential filmic look that the AF100 is capable of producing?
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This pretty much sums up my questions as well, although I'd be willing to bet neither Philip or anyone else has spent enough time with the camera to fully access its capabilities yet.

Just to clarify, I produce made for TV features in the $3 to $5 million dollar range. We often use REDs or sometimes F35s (usually a bit pricey for me though) and, thanks to Phillp's work and DSLR evangelism, 5Ds for B camera and pickup shots. The 5D is an amazing camera for the price, being able to have a few of them around and ready to use at a moment's notice has greatly enhanced to production value of my own work. However, morie is sometimes an issue. There have been times where I've seen a brillaint shot from the 5D but can't use it because of the noise. So the promise of the AF100 as far as delivering the same quality of image without the noise, did and still does excite me.

All that being said, there does seem to be a high degree of clipping from the camera in many of the admittedly limited samples I've seen. Where this could potentially be problematic for me is with intercutting the footage with that of a larger camera.

Again, I'm not expecting RED, ARRI, or higher end Sony quaility. I would, however, like 5D quality if I were to replace my current crop of 5Ds with AF100s. So while I don't expect an answer right away, this is exactly the kind of issues I would love to see discussed by people with hands on experience with both cameras.
 
Max Smith said:
I would, however, like 5D quality if I were to replace my current crop of 5Ds with AF100s. So while I don't expect an answer right away, this is exactly the kind of issues I would love to see discussed by people with hands on experience with both cameras.
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The hacked GH1 can match the look and range of the 5D with significantly more detail. With the additional controls provided by this camera, you certainly will be able to exceed the performance of the 5D in all areas except for low light and shallow DoF provided by the massive sensor.
 
plasmasmp said:
The hacked GH1 can match the look and range of the 5D with significantly more detail. With the additional controls provided by this camera, you certainly will be able to exceed the performance of the 5D in all areas except for low light and shallow DoF provided by the massive sensor.
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While I don't disagree, my primary issue is morie and aliasing, which I understand (but am by no means an expert since I haven't actually used one) is similar in the GH1. My hope with the AF100 is that it solves that particular problem while providing a similar if not better image in other respects as well. It is in this second respect the the jury still seems to be out, though again I doubt anyone has had enough time with the AF100 to make an honest assesment.
 
Sorry guys, strong opinions ahead...

Pixel peeping only here, a colossal disappointment in terms of the plasticky, sickly look of the codec.

Speaking strictly Panasonic, I'm a huge fan of the quality and feel of the hacked GH1's (hacked only). I'm a huge fan of the DVX100, especially the andromeda modification which I own and still use often. I personally hate the HVX with a passion, and don't own one.

It was an intensely unpleasant experience looking at this codec.

I suspect a large part of the issue is ugly fringing of light/dark areas caused by whatever edge enhancement may be in play.

At some points I feel I was looking at a camera phone blown up to 1080p.


I think at this point, myself and many users here have a good sensitivity to dynamic range, knee, color fidelity and general 'feel' of the image. I sense a wave of disappointments.


My feelings aside, a number of people were looking over my shoulder while I was screening and they all really enjoyed the content of P.Bloom's shots - top notch directing as always Phillip!

Love the design and functionality of this camera, absolutely love it. I promote it and tell people about it whenever they'll listen. But can we fire the imaging department, perhaps insert Sony's EX1/3 team and get a new DSP happening? Really, I mean, what happened in this area???
 
Max Smith said:
my primary issue is morie and aliasing, which I understand (but am by no means an expert since I haven't actually used one) is similar in the GH1.
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GH1 doesn't suffer much from green/purple moire artifacts as the Canons do. What moire there is in GH1 footage is mainly in the luma channel and is nowhere near as distracting to my eyes. Barry Green has already reported that AF100 has next-to-no moire and aliasing thanks to a optical low pass filter on the sensor that is tuned for video resolution and gives sod all concern for higher res stills quality. Check my GH1 films in the sig link below, all are available as downloads for Vimeo members.
 
NEWS FLASH: OK folks, I just downloaded Phillip's newly uploaded full HD file from Vimeo, and played back through my PS3 onto my 50" Panny Plasma. HOLY $#@! It's breathtaking. I have been mentioning here my concerns about peaking and falloff, but my god, what breathtaking images. This is game changing, I just didn't realize it until I saw it on a monitor like this (and this is just the 8 mb/s avc). You guys MUST see his footage in this way or similar before saying anything else about this camera. For you clowns that rushed and canceled your order, I say, "Thank you." I will be taking your camera.
 
this threads a trip. Never underestimate people's ability to make decisions on a whim.

I'm with Barry - Lots of whining, and very few people delivering good work.
 
Martti Ekstrand said:
GH1 doesn't suffer much from green/purple moire artifacts as the Canons do. What moire there is in GH1 footage is mainly in the luma channel and is nowhere near as distracting to my eyes. Barry Green has already reported that AF100 has next-to-no moire and aliasing thanks to a optical low pass filter on the sensor that is tuned for video resolution and gives sod all concern for higher res stills quality. Check my GH1 films in the sig link below, all are available as downloads for Vimeo members.
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Thanks, I will check ut your footage when I get the time.

And yes, the 'next to no morie' is what has me excited about the AF100. Still on the fence about the high degree of clipping we've seen so far though.
 
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