the AF 101 killer ?

awelgraven said:
Has one camera ever killed another? Don't people still use DVX's? And HVX's? And 35mm? And 16mm?
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Great point. The DVX100 is a current model. And I'm using a 1980's era film camera on a project next month. And the HVX is a current model. And 35mm is still used for the vast majority of Hollywood films.
 
Bassman2003 said:
Actually if you look at Sony's line of HD cameras it is quite complete including 1/3", 1/2" and 2/3" cameras all but one being full raster under $20,000. If they come out with a larger sensor camera it will be tough to overlook the option if video is anywhere in your workflow.
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Since Sony had the 1/2" market pretty much to itself, with a pretty good price point, on the EX1/3; They could move the 2/3" down a notch to compete with the scarlet 2/3" and then introduce the new bigger sensor cam.
 
Barry_Green said:
Sony has said they're targeting the Red One, not the AF100. At NAB they were hinting that it would cost $19,000; at IBC they flat-out told us $50,000.

I guess we'll find out what the real story is on Nov. 17th.
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they're targeting the Red One with a Long-GOP, 10bit 422 "camera" that costs even more than non mx Red? Please tell me you're kidding.

hmm 17500 for raw + 12 bit 444 or 20000+ for long-gop b.s. and 10bit 422 LMAO!
 
Homunculus said:
they're targeting the Red One with a Long-GOP, 10bit 422 "camera" that costs even more than non mx Red? Please tell me you're kidding.

hmm 17500 for raw + 12 bit 444 or 20000+ for long-gop b.s. and 10bit 422 LMAO!
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Yes but it is made by "SONY" :)
 
Thomas Church said:
So there's a chance of Scarlet S35 coming out late next year.
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Don't count on it. Not trying to be a "Debbie Downer", but I don't see it happening. Also I find it interesting that the cameras are being released with "not every feature is currently enabled" being attached in the sentence. Where have we heard this before?
 
Jesse Brauning said:
I think the sony is about 10x uglier than the af100, as well.
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This is what really matters.

Homunculus said:
they're targeting the Red One with a Long-GOP, 10bit 422 "camera" that costs even more than non mx Red? Please tell me you're kidding.

hmm 17500 for raw + 12 bit 444 or 20000+ for long-gop b.s. and 10bit 422 LMAO!
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Remember, the RED ONE is only available now as the M-X camera. For $25,000. There is no $17,500. And, to be fair, you aren't taking into account the additional costs of purchasing a RED. For instance, it looks like that Sony camera comes with an EVF and LCD for the listed price. RED requires additional cost for those items.

Joe Walker said:
Don't count on it. Not trying to be a "Debbie Downer", but I don't see it happening. Also I find it interesting that the cameras are being released with "not every feature is currently enabled" being attached in the sentence. Where have we heard this before?
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Seems it's the thing to do with digi-cine cams. Arri did it with ALEXA, RED did it with the ONE. And RED has said the first people with Epics probably won't have HDRx immediately.

I think what they are getting at is that the hardware is good to go into production. While that process is being completed, the software will continue being improved and the feature roadmap will be finished up. And, of course, RED has a history of improving imaging capability through software and offering firmware updates as they progress. It will be interested to see how "finished" the cameras are when delivery starts up.

What interests me is that some (supposedly large/major) productions have decided to shoot with a pre-release EPIC that is obviously incomplete in terms of software over M-X, Alexa, F35, or film. People must be really sure RED is getting this right, or they are really into taking risks.


--

All in all, it will be interesting to see what this camera offers. The 900PL and the F35 are pretty popular cameras that deliver great images. It's not like Sony can't competently build good cameras...
 
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Homunculus said:
they're targeting the Red One with a Long-GOP, 10bit 422 "camera" that costs even more than non mx Red? Please tell me you're kidding.

hmm 17500 for raw + 12 bit 444 or 20000+ for long-gop b.s. and 10bit 422 LMAO!
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Who says the Sony is long-GoP? Who says it's 10-bit? Who says it's 4:2:2? Nobody knows any of that. Stop listening to unfounded speculation, and instead listen to what they said -- they said it's a "baby F35".
 
If the camera defines your project maybe you should get into knitting..... Just sayin'.....
 
Bassman2003 said:
The photo from the link does look like two cameras are under the sheet. As to be expected. The AF-100 is not a secret. As far as companies crippling their products, well they all do it, even Panasonic. Sony chooses to cripple the codec and Panasonic chooses to cripple the resolution up until now. HPX-300 & AF-100 break that trend. Actually if you look at Sony's line of HD cameras it is quite complete including 1/3", 1/2" and 2/3" cameras all but one being full raster under $20,000. If they come out with a larger sensor camera it will be tough to overlook the option if video is anywhere in your workflow.
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The Panasonic AVCCam codec is MPEG 4 h264.....pretty much the same as the 5D & 7D. Phil Bloom pointed this out and suggested one should got out HD SDI and record to a high codec eg: Nano, etc
 
Yes, he said that. And he then said that he shot with the Nano and decided that the footage looked identical to the AVCCAM footage. So therefore, no need for a Nano.
 
Barry_Green said:
Yes, he said that. And he then said that he shot with the Nano and decided that the footage looked identical to the AVCCAM footage. So therefore, no need for a Nano.
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Not trying to stir the pot, just investigating. Do you know if Phil blew these images up (say around 400%) and compared them on the same timeline, or was he just "eye-balling" it?
 
Jim Martin said:
The Panasonic AVCCam codec is MPEG 4 h264.....pretty much the same as the 5D & 7D.
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Woah, woah - stop there.

Panasonic are exploiting all (or most of) the temporal redundancy features of AVC/H.264. From what I've heard it's using I, P and B frames. Canon are only using I and P (I assume for simplified encoder design).
Even with that difference agreed upon, there is much more to encoder design than the name.
 
Jim Martin said:
The Panasonic AVCCam codec is MPEG 4 h264.....pretty much the same as the 5D & 7D. Phil Bloom pointed this out and suggested one should got out HD SDI and record to a high codec eg: Nano, etc
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And in the same review someone asked him to "compare the AVCHD and nanoflash footage."

His response?

"i have and i cannot tell a difference…"
 
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