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Old May 10th, 2010, 07:13 AM   #151
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For filmmaking, I think it is good that people learn how to move the camera. But for a lot of situations, you just need to deal with that happens in front of you, and don't have time to think out shots. For those situations, skew is not a welcome by-effect of the CMOS sensor.

Also, I am quite bored with all the Philip Bloom clones on Vimeo. He started with those slow, timelapse shots of landscapes and people and now everyone is doing it. Maybe all those things can be labeled 'cinematic', but they are very boring to watch (some postive exceptions). I would rather watch a good story with lots of depth of field rather than al those bokeh porn movies we are being flooded with without proper stories.

Just my thoughts. I am looking forward to see what this camera can do.
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Old May 10th, 2010, 08:05 AM   #152
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Floris I have the same feelings. Nothing beats a good story and they are hard to find.
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Old May 10th, 2010, 10:38 AM   #153
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Quote:
Originally Posted by Floris van Eck View Post
for a lot of situations, you just need to deal with that happens in front of you, and don't have time to think out shots.
im sure youre right but it makes me really curious which kind of shots you guys mean(!).. guerilla style journalism or??

after using a dslr for a while in my opinion you really dont need super slow moving locked down tripod or cinematic shots to avoid the problem so thats why im curious..
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Old May 10th, 2010, 11:17 AM   #154
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Rolling shutter skew...

I could see it being problematic on handheld shoots with long lenses. I mean lets say you're going for a Bourne Supremecy sort of look, they shot that on a 80-200 after all. But high movement or even purposely shaky camera work (Cloverfield, Horror or thriller in general) could result in vertical skew, making it look completely unnatural and distracting even for the non-professional audience.

I've seen skew out of red shoots, but the vertical skew never, and if you're planning on doing that type of hyper-kinetic shooting, I can imagine the problems associated.
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Old June 7th, 2010, 11:16 PM   #155
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Panny's Dual Exposure Sensor

Maybe I missed it, but did anyone connect the AG-AF100 announcement to the earlier announcement of a prototype "dual exposure" sensor by Panasonic back in February 2010? It caused a stir among folks who assumed it was for the GH2, which it may be, but since the sensor was designed to enhance VIDEO capabilities (specifically dynamic range - i.e. another "film look" requirement), when you pair the new sensor with the AG-AF100 announcement it's pretty clear where it's going.

Now if they develop a global shutter and ASICS fast enough to capture all pixel info (thus avoiding line-skipping), at the price point anticipated they will indeed have a monster.
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Old June 9th, 2010, 01:43 PM   #156
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Last news are saying the Af100 will feed the HD-SDI with 4:2:0, not 4:2:2...

The NanoFlash will be useless, and so is the SDI output.

I hope it's a mistake. If it's not, I don't think Panasonic will sell a lot.
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Old June 12th, 2010, 10:51 PM   #157
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Quote:
Originally Posted by Casey Krugman View Post
But high movement or even purposely shaky camera work (Cloverfield, Horror or thriller in general) could result in vertical skew, making it look completely unnatural and distracting even for the non-professional audience.
vertical skew is called 'wobble' and it's a huge problem with consumer-grade cmos cameras
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Old June 21st, 2010, 10:08 AM   #158
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Panasonic reveals more details of AG-AF100

Panasonic reveals more details of AG-AF100

hmmm... sounds promising.

Panasonic reveals more details of AG-AF100 Frank Glencairn
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Old June 22nd, 2010, 04:25 AM   #159
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Definitely.... looks like it could be a great cam
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Old June 22nd, 2010, 10:54 AM   #160
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More info in a marketing brochure from Panasonic.
It mentions that it takes SDXC cards, for instance.

http://mirror.dpreview.com.s3.amazon...m/AG-AF100.pdf
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Old June 22nd, 2010, 05:55 PM   #161
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Why is it designed to look like a fisher price toy painted black? Specs are awesome!
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Old June 22nd, 2010, 08:24 PM   #162
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Help me understand this. A 1920x1080 chip is roughly 16:9. A 4/3 chip is more "square" in shape than a 16:9 yet it can shoot 1920x1080. Is it cropping the top and bottom of the image, essentially throwing away all those extra pixels, or is it re-scaling the entire image area to fit 16:9? Does anyone know?
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Old June 22nd, 2010, 10:29 PM   #163
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Here's some info on the way the four thirds 16:9 sensor works in the panasonic Digital SLR.

The biggest Four Thirds sensor yet (Four Thirds User)
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Old June 28th, 2010, 05:10 AM   #164
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Doesn't the camera support HD SDI out?
If you have that, you could put other recording solutions on the back of the camera, and don't worry about the low bitrate of the supplied codec.

The more competition, the better. It will remain interesting to see how the camera-landscape looks at the end of the year.
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Old June 28th, 2010, 12:23 PM   #165
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yeah that is true, but 3000 plus for a nonoflash added to the camera/lens price puts you in a whole new price point for a camera.

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