Where's the New Panasonic Large Sensor Camera?

S

Sumfun

Veteran
I know it's been less than 2 years since the AF100 was released in December 2010, but since then, other manufacturers have made great strides with new large sensor cameras, while Panasonic has only released firmware upgrades. Since December 2010, here's what others released (or will shortly release):

Sony: F3, FS100, F65, FS700, VG20, VG30, VG900
Canon: C300, C500, C100
Red: Epic-X, Scarlet
BMD: BMCC

And now Sony is about to announce 2 more "New F" cameras.

Panasonic used to be the leader in cameras for indie filmmakers with the DVX100, HVX200, and yes, the AF100. I know the AF100 still occupies a small niche in the price/performance landscape, but it is getting a little long in the teeth. Where are the updates and upgrades to higher performance models? A lot of people are starting to think that Panasonic has dropped the ball with the large sensor cameras. Come on Panny, don't let us down.

Just my .02.
 
Where is Panasonic's next version of the GH series cameras? The GH3 was announced weeks and weeks ago. By the time it's actually available, Sony will have brought no fewer than 18 new cameras to market.

If they were wise, they would have skipped the GH3 and gone straight to the GH4 to really get the drop on the competition.
 
I agree that there are countless other threads on this subject, akin to the old saying about beating a dead horse - But it is a question that still needs to be asked (BTW, you left out the Varicam, the mid-budget-indie-filmmaker's go-to camera 10 years ago). However, there appears to be no answer other than the vague "wait and see".
 
Editman Sweden said:
I jumped to Sony recently and one of the reasons I saw greater potential in other brands than Panasonic.
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That is sadly what many are doing, and what I may have to do soon as well. I need to settle on a camera for an upcoming long-term project. However I really prefer MFT to S35, and am nervous about even considering the as yet not available BMDCC.

For now I am keeping my HPX250.. It's not a large sensor and it's terrible in low light, but it's 10 bit AVC-Intra and has the Panasonic look.

Point is, the question here is still valid - What is Panasonic doing? Not answering - or even hinting - is losing them loyal customers.
 
Even if I was financially able, I'm not certain how I'd justify a new, marginally improved camera every two years. Maybe having the PD150 and HVX stay viable as long as they did was a fluke and this incrementalism is just the sort of crap camera dudes will go through for a while.
 
I have been tempted by so many different cameras in the last few months but haven't bought or per-ordered any. Not even the MFT BMCC. I did come close to buying a battle tested Scarlet but for the type of work I do now its more camera than I can use and justify the cost as well as the workflow. If the MFT BMCC had a electronic mount I would have per-ordered it. I might still since it will work with all my PL lenses with my adapter.
I'm going to wait it out and see what Panasonic does with the next MFT digital cinema camera. I'm still very happy with the AF-100 even with some of the issues it has but all cameras have issues so no perfect camera.
I have to admit I do still have a little regret not getting in on the Scarlet deal. That really was a deal.
Lets see what the new Sony F is all about next week. It's going to be a pricy camera so still not in my budget, and how Reds new price reduction will compete with the new F. These will all have an effect on unreleased cameras from Panasonic. And I think it's safe to say Panasonic will have new cameras but when is still a big question. With everything going on you would most certainly think they are taking it all in and developing something or it's game over for quite some time.
 
I, too, am about to pull the trigger on *something*. I have two AF-100s and several M43 lenses, and would love to stick with the M43 format with a little encouragement from the Panasonic roadmap.
 
One of the tings I love about these posts is the range of human perception -- we have one group complaining that cameras go obsolete and loose their value too quickly and another group that says new cameras not coming out quickly enough.
We just wrapped our little film fest down here and were very surprised by how many ultra-low budget projects were produced on Reds. We even had one entry produced on a Panaflex. What really got us was that the entry that we all thought was the most amazingly beautiful of all was shot (in Rome) with a Panasonic 171 and a Lens adapter.

One of our breakout sessions featured a full grip truck with everything a producer could need for a successful shoot. Front and center was an Epic with a 24-290 2.8, mounted on a Fisher 10. Everyone literally ran past things on display that could have really helped their next project so that they could get their hands on the Epic. After a while we were able to pry them away from the camera and get them on a tour of everything else. I had a great time watching their jaws drop when they realized that some little specialized clamp could solve problems that no camera ever could. Gahda luvit.
 
I am hanging with the AF100 for a while. I'm having a lot of luck with it and really love the images I'm getting. I have been following the F3 announcements. I like the F3. We'll see. I hope something comes from Panasonic with the m4/3 mount. I really like it and have some nice lenses I'd like to continue to use.


NVentive said:
One of the tings I love about these posts is the range of human perception -- we have one group complaining that cameras go obsolete and loose their value too quickly and another group that says new cameras not coming out quickly enough.
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true

What really got us was that the entry that we all thought was the most amazingly beautiful of all was shot (in Rome) with a Panasonic 171 and a Lens adapter.
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It doesn't hurt to have beautiful locations, camera notwithstanding.

I had a great time watching their jaws drop when they realized that some little specialized clamp could solve problems that no camera ever could. Gahda luvit.
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I'll bite, what clamp?
 
NVentive said:
What really got us was that the entry that we all thought was the most amazingly beautiful of all was shot (in Rome) with a Panasonic 171 and a Lens adapter.
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Not distinguishing between a film shot on a HPX171 using a DOF adaptor and a film shot on a Scarlet or Epic... I don't know... Seems like something I could do if you woke me up in the middle of the night. HPX171 and a DOF adaptor is a very specific look. Can't miss it (well, at least, that's my opinion).
 
I'm glad someone started this conversation again in present time. I know this concern about Panasonic not coming out with anything significantly new since the AF100 is valid but - lets take a breath here; Panasonic releases are usually game changers: the 24p DVX100, HVX200 with the introduction of the P2 format, and the somewhat groundbreaking AF100 - all at an affordable price point.
These other new cameras "are not the droids you're looking for"
Patience my friends.
 
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I agree with all of the above - I really do like my AF100.. However, the problem for people like me that make long-schedule documentaries is the need to plan for perceived obsolescence, and I mean "perceived" literally. I am currently having some problems with a feature documentary that I shot with my HPX500 starting in 2007, 720/24pn (excellent looking BTW, completed in ProRes HQ). All of the negativity surrounding that camera - and 720 - has reached the desks of broadcasters, making the film a harder sell. I tell them to just look at the content, but it falls on deaf ears in these days of HD hype. It's kind of like "don't ask, don't tell".

If I was shooting next week for something meant to air next month, no problem... But with all the AF bashing I am reluctant to start something that may kick back on me in two or three years. Ironically, another show I shot in HDV on a Canon HV40 has been passed. Go figure.

I've said it before - we're not the only ones reading these forums.
 
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Mac said:
I agree with all of the above - I really do like my AF100.. However, the problem for people like me that make long-schedule documentaries is the need to plan for perceived obsolescence, and I mean "perceived" literally. I am currently having some problems with a feature documentary that I shot with my HPX500 starting in 2007, 720/24pn (excellent looking BTW, completed in ProRes HQ). All of the negativity surrounding that camera - and 720 - has reached the desks of broadcasters, making the film a harder sell. I tell them to just look at the content, but it falls on deaf ears in these days of HD hype. It's kind of like "don't ask, don't tell".

If I was shooting next week for something meant to air next month, no problem... But with all the AF bashing I am reluctant to start something that may kick back on me in two or three years. Ironically, another show I shot in HDV on a Canon HV40 has been passed. Go figure.

I've said it before - we're not the only ones reading these forums.
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This is very much my conundrum. I'm shooting for *archive*. I know that there will always be something better in the future, but it would be great to shoot a camera that everybody agrees is "good enough". Seeing the resolution results from the C300 make me think "if I were committed to 1080p, that camera does it really, really well". The AF100...we all know it's not there. But it could be, with the right refresh...
 
Mac said:
I agree with all of the above - I really do like my AF100.. However, the problem for people like me that make long-schedule documentaries is the need to plan for perceived obsolescence, and I mean "perceived" literally. I am currently having some problems with a feature documentary that I shot with my HPX500 starting in 2007, 720/24pn (excellent looking BTW, completed in ProRes HQ). All of the negativity surrounding that camera - and 720 - has reached the desks of broadcasters, making the film a harder sell. I tell them to just look at the content, but it falls on deaf ears in these days of HD hype. It's kind of like "don't ask, don't tell".

If I was shooting next week for something meant to air next month, no problem... But with all the AF bashing I am reluctant to start something that may kick back on me in two or three years. Ironically, another show I shot in HDV on a Canon HV40 has been passed. Go figure.

I've said it before - we're not the only ones reading these forums.
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I have not had anyone outside these forums ask me "what camera did you shoot this on?"
 
I've had it happen four times in the last three years - the check box is actually what format, but it leads to the camera when the answer is DVCPRO HD...
 
+1 to what McGee said.

I think it depends on what position you are in as well. Are you a DP/shooter that is always being asked by producers "I want the RED, C300, etc.", or are you a content producer working directly with clients who care first about messaging, story and content, and don't really have any idea what the latest camera is? I've yet to have a client ask for a specific camera, or say that the AF100 wasn't cutting it. They're just happy that the end product has strong content and looks/sounds great (and most of what makes video look great is not the specific camera model.) That being said, I still drool over new cameras like the F5/55. But I do have to ask myself, "why spend another $15k+ when everything I have now is working perfectly and the clients are happy?" I'd rather keep the money and spend it on a sweet trip to Burma.
 
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