So there's no AF100 Successor - Now what?
- Thread starter tangierc
- Start date
Well with,virtually everything under 10K... I've had a myriad of problems, as I've been honestly posting, but when I go back and compare the footage to the cameras I have - C100, Pocket Cameras, XF100 (admittedly low on the list, but I do use it occasionally) - there's nothing even close... Sorry to burst your anti-JVC bubble, but their tech people have developed a really good cutting edge camera - the problem exists with management's follow through...The two may be corporately related, but it doesn't diminish the concept that came from the floor.
I want to restate something because it's important. I'm 70, and although I've shot with everything from a Panavision R2000 (takes 2-4 crew to get it on a dolly) down to a Canon HV40, for the last 15+ years I've concentrated on documentaries, often for broadcast, and no longer do narrative. Because of these factors I want a camera that shoots 4.2.2, is small and light, can be set up for shoulder use, but still delivers a great image.
Consequently, what I want in a camera is different than most here. I'm willing to take chances, always have, and that's why I am impressed with the LS300. I've been shooting all day with just the Olympus 12-40, with a Gratical side mounted - and shooting 1080P I can get the equivalent of my workhorse S16 Cooke 10.4-52mm on my Aaton (because of the Prime Zoom set at 92%, which causes very minor vignetting). That Cooke lens weighs almost as much as the JVC, Gratical and Olympus combined. And, as much as I hate to admit it after so many years with film, the picture is phenomenally better.
Consequently, what I want in a camera is different than most here. I'm willing to take chances, always have, and that's why I am impressed with the LS300. I've been shooting all day with just the Olympus 12-40, with a Gratical side mounted - and shooting 1080P I can get the equivalent of my workhorse S16 Cooke 10.4-52mm on my Aaton (because of the Prime Zoom set at 92%, which causes very minor vignetting). That Cooke lens weighs almost as much as the JVC, Gratical and Olympus combined. And, as much as I hate to admit it after so many years with film, the picture is phenomenally better.
wbrock001@hotmail.com
Member
I love the idea of the ls-300, the scaling is very smart use of the sensor, but I think they short changed a few items, 4Kp60, 4:2:2 10-bit output through hdmi. Just went to a demo of the dvx200 yesterday, and while its far from perfect, what it does, it does quite well and the biggest selling point is the fixed lens, super slow smooth zoom, pretty decent low light (maybe not compared to a7s II, but I though it looked pretty natural). But its perfect for those of us who shoot weddings, events and things where a nice zoom is useful and I do like that I don't have to be swapping lenses in certain situations. The JVC looks has always been very nice though, I still have my JVC HD100 and it produced very nice images.
I wish the 300 had the option of 10 bit as well... but it is what it is, and there's nothing else for my kind of work that's close. I'm in Jamaica, and shot all evening with the 17.5 Nokton. What a joy. I don't shoot weddings, never have, so I don't know what you need, but for me I'm pretty happy (BTW, my remote port started working again, I'm a little nervous cuz who knows what might cause it to got out again, but fingers crossed).
Gary Senda
Well-known member
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Mike Harvey
Veteran
And this here almost has me reconsidering the DVX200.
The LS300 is an intriguing camera, but I've been looking at some footage from it and see a glaring issue with the handling of colors in highlights. Specifically the tail lights of the car in the Heist shorts and the light on the inside of the car door at the beginning of Heist 2. Those were shot with different sets of lenses so I know it's not a lens issue, and I saw the same thing on a shot of a bus in a review video. That's really the only issue I've seen in all the footage I've looked at. I think those were all shot prior to the JLOG1 firmware release, so I'm wondering if someone could shoot some tests of taillights and other similar situations to see if the camera can handle those situations better.
I wouldn't be surprised if they didn't appropriate the VSM/Prime Zoom feature if that happens... As the link somewhere above says, it really does open up a whole new world with large sensor 1080 shooting - I'm really enjoying the f9.5 17.5 Nokton with the VSM set at 92% for a fast, manual aperture, 14mm (or so) to 35 zoom.
And I'm not seeing highlight issues, at least not the ones that drove me nuts with the AF100... I haven't shot tail lights though.
I honestly don't know the answer to this question - I can say that from what I'm shooting - again, documentary and not being overly critical - the image holds up and doesn't appear to change significantly during the zoom, and I have stressed it. If 4K is the goal, this advantage disappears - but in my work that's years, maybe even a decade, away - it's content and not perceived resolution that counts in non-fiction.
If - big IF, I suppose - it's the same sensor and IF they use variable geometry, it should have 1080p with pixel binning in full frame, 4K in s35, then again 1080p with an additional center crop, et cetera. Panasonic has the variable aspects in GH4 too (it was a firmware upgrade), so there's no reason why they wouldn't do this in this model.
This also relates to the higher frame rates. From the bandwidth angle, 24p in 4K can turn into 60p in 2.5K or 96p in 2K.
Gary Senda
Well-known member
Here you can have an idea about JLog highlights handling, even in overexposed footage
Regards
Gary
was there supposed to be a link or something? What I'm referring to is a very specific issue with a halo around overexposed or over saturated colors, not just a white sky. I think it would require shooting something specifically that would cause that to determine if JLOG1 can actually handle it better.
Gary Senda
Well-known member
I will try to shoot something for you, but I can ensure that there isn't any halo around overexposed color in original footage, as others have said. For the moment you can look at this video also: it is full of colored and overexposed lamps
Regards
gary