EidolonFilms
Well-known member
It's been a while since I've been on here, but both for some shameless self-promotion and to keep the dying spirit of the AF100 alive a little longer, I'm proud to announce that my last film, Fate of a Salesman, which was shot nearly 100% on the AF100 (except for the 2nd interview angles shot on a GH1) was just nominated for a national News & Documentary Emmy. I think it goes to show two things:
1.) The AF100 was, and is, such a powerful and capable camera. I've always been a defender of the AF100, and I've always loved the footage it produced. In fact, I'm still solely using it on the production of a feature length doc that will hopefully have a national PBS broadcast in 2017. And you know what everyone asks when they see the in-progress samples? "Wow what camera did you shoot that on?" I now look forward to that question and really get a kick out of seeing their reactions and faces when I tell them. Hardly anyone has heard of the AF100, whether they be shooters, directors or executive producers. After I tell them, they'll either write it down or go look it up online. Imagine that, a 5 year old camera sending producers and directors to the internet to find out "what camera is that?" What many have decried as the deficits of the AF100 have given my films have a unique (and seemingly desirable) look not found in other films.
2.) Story is the most important thing. As much as I love cinematography and geeking out on gear, in the end the only thing that matters is story. And if the camera you choose allows you to best tell that story, then it's the best camera there is, regardless of what model. And for the last 5 years the AF100 has been that for me.
All that said, I really wish Panasonic had come out with an AF200, because as much as I love this little workhorse, it can always be better!
1.) The AF100 was, and is, such a powerful and capable camera. I've always been a defender of the AF100, and I've always loved the footage it produced. In fact, I'm still solely using it on the production of a feature length doc that will hopefully have a national PBS broadcast in 2017. And you know what everyone asks when they see the in-progress samples? "Wow what camera did you shoot that on?" I now look forward to that question and really get a kick out of seeing their reactions and faces when I tell them. Hardly anyone has heard of the AF100, whether they be shooters, directors or executive producers. After I tell them, they'll either write it down or go look it up online. Imagine that, a 5 year old camera sending producers and directors to the internet to find out "what camera is that?" What many have decried as the deficits of the AF100 have given my films have a unique (and seemingly desirable) look not found in other films.
2.) Story is the most important thing. As much as I love cinematography and geeking out on gear, in the end the only thing that matters is story. And if the camera you choose allows you to best tell that story, then it's the best camera there is, regardless of what model. And for the last 5 years the AF100 has been that for me.
All that said, I really wish Panasonic had come out with an AF200, because as much as I love this little workhorse, it can always be better!
I'm a big AF100 fan too. I've shot a lot with it and it has been a tremendous camera for me, all the way around.