Clean monitoring at full 1920×1080 resolution, suitable for recording to an external recorder

Clean HDMI output at full resolution even during recording, suitable for recording

Professional HD-SDI output

1080/24pSf output

A composite video output jack

SMPTE timecode

LTC timecode synchronizing, for multiple-camera shoots or for using an external audio recorder or timecode slate

A headphone jack for monitoring audio

RCA audio outputs

Professional XLR audio inputs

Line/Mic selectable

Can supply phantom power for microphones

Manual audio level control with no AGC

Option of engaging an automatic limiter to prevent against sudden overmodulation

High-quality audio pre-amps

1080/60i and 1080/50i recording modes

Variable frame rates in 20 steps, from 1080/12p up to 1080/60p, for various levels of slow-motion and fast-motion

720/24p and 720/25p and 720/30p recording modes (in addition to 1080/24p, 1080/25p, 1080/30p, 720/50p, 720/60p, 1080/50i and 1080/60i)

P2/AVCCAM Metadata

Two card slots

Professional image controls

Filmlike Cinegamma gamma curves

Selectable color matrices

Adjustable knee point and master pedestal controls right in camera

Dynamic Range Stretching feature

Color-matched with other Panasonic professional cameras, such as the VariCams

Pre-record, for catching events occurring even before you press the record button

Continuous recording capacity of over 12 hours in economy mode, and continuous recording of six hours in best-quality mode on a single card (no 12-minute time limit!)

Complete freedom from overheating issues

Colored Focus Assist that can be used >while recording<

Capable of video-camera-like autofocus (when used with an appropriate lens)

Face-detection autofocus that can track focus on a moving face

Peaking/EVF DTL for easier manual focus

High-definition color LCD panel

High-definition color viewfinder

Viewfinder that can actually be used during video recording

Two sets of zebras, which can be set from anywhere from 50 to 105 IRE in 5-IRE steps

A built-in Waveform Monitor(!)

A built-in Vectorscope

A built-in Spotmeter (the “Marker” which tells you the IRE brightness of what’s in the center of the screen)

Different aspect ratio markings in the LCD, including 16:9, 4:3, 14:9, 1.85:1 and 2.35:1

A 90% “safety zone” for making sure your framing will be visible on all TVs

Film-style variable shutter angles from 1 to 360 degrees, which track automatically with the variable frame rates to always provide consistent motion blur

Syncro-Scan shutter in video mode, giving you nearly infinitely-settable shutter speeds from 1/24.0 to 1/250.0

Built-in optical neutral density filters, including ND .6, ND 1.2, and ND 1.8

SMPTE color bar generator

Cleaner/sharper images with a substantial reduction in aliasing

Elimination of the purple/orange moire that happens on all Canon DSLRs

A much more robust recording format (AVCCAM PH mode) which is more resilient and better than the h.264 on the DSLRs

Elimination of the fixed pattern noise and “vertical streaking”

Greatly improved rolling shutter performance

Ability to assign index points within clips, so you can mark a subsection of a clip and easily jump from spot to spot within that clip

Ability to mark clips “Good” or “No Good” at the press of a button, and that marker will show up in your NLE (depending, of course, on your NLE)

Ability to delete the last clip you just shot, at a button press

Ability to assign custom user names to clips as they get recorded, automatically

Ability to save and exchange “scene files” with other users, for easy matching between multiple cameras

Ability to take any PL-mount lens (not just a few limited telephoto lenses, or having to physically remove the mirror out of your DSLR)

Ability to take c-mount cinema lenses

Ability to take much larger batteries, including 6000mah batteries

Wireless infrared remote controller

Remote iris/focus/start/stop controller sockets

Can perform a manual black balance, with a dedicated physical iris

Fully articulated LCD panel (only the Canon 60D offers this, the others don’t)

And, to top it all off, a three-year warranty

Original msg by Barry Green here

Here are a list of Lenses and adapters I would recommend.

1. Nikon G to Micro Four Thirds Adapter – Its the number one on my list as you can stick ANY Nikon Lens into the AF100.

2. Tokina 11-16mm f2.8  (Nikon Mount)- Perhaps the best and fastest wide zoom you could get at a decent price.  Since the sensor size of the AF100 is close to Cinema size, where wide lenses are of around the same range (10mm, 12mm, 14mm) but at a fraction of the price.

3. Panasonic 20mm f1.7 – Semi- wide angle lens that I would probably use most of the time. The fact that it’s micro four thirds is that you can both control the aperture AND auto-focus is a big plus.  Great for close ups or medium shots.

4. Panasonic 14mm f2.5 – Wide lens. If you check our lens list, Its sort of redundant to have 14 when you already have it covered with the Tokina but if you want a lens perfect for hand held or steadicam, this is great specially with the auto-focus and facial recognition by the AF100, you need not worry about keeping your subject in focus as the camera will keep it for you.

5. Sigma 30mm 1.4 – Standard Fast lens. For those Portrait shots. yeah the 20mm would be good enough for portraits shots but if you want to be alittle farther from your subject, this is great. Its pretty fast too.

6. Nikon 50mm f1.4 – Long shots and creamy bokeh? This is your lens. For shots a bit far, this one would definitely work.

7. Panasonic 14-140mm f4.0 – 5.6 – Anybody who sees this lens, one word comes to their mind. SLOW. This lens however is the only available lens that has video auto-focus and with its long range its definitely a good lens for those shots in daylight or well lit scenes. Its main selling point is that it is has awesome auto-focus specially with the faccial detection. You can say bye-bye to focus pullers with this lens!

OPTIONAL:

1. Nikon 70-200 f2.8 – For those scenes where you need super shallow DOF or you’re shooting someone far away, this is definitely your lens. You could also buy the older push pull one which is much affordable. Be wary and use a tripod though as you will definitely encounter Rolling shutter skew with tele lenses.

2. Olympus 14-35mm f2.0 & 35-100mm f2.0 – Not exactly cheap but if you have both, you’re good to go. full range of zoom at f2.0. definitely the lenses to have. $4000+

3. Tamron 17-55mm 2.8 (Nikon Mount) – A cheap alternative if you want fast zoom at standard zoom range.

Whats great about these APS-C lenses is that they’re also cropped which means, you’ll less likely to have vignette AND APS-C lenses tends to be sharper  & have less distortion in the middle.

After getting 24p for the 5d mkII, nothing much. Audio recording still sucks. Aliasing and moire is still there. But the image that people get from these cams are really gorgeous that they chose to ignore everything else just for that shallow DOF.

Like Stu Maschwitz says, “Buttons and features and resolution charts just had their ass handed to them by sex appeal.”

Recently I was part of a shoot that used the 5D mk II and other Canon HDSLRs for a feature film. Yes, the advantage of it is that its so tiny and handy. But the downside for me out weigh the benefits. First was the separate audio recording.  Second was the overheating of the sensor delays the shoot and finally the Aliasing/Moire is rampant. If you have had the chance to shoot a jungle with wide and deep focus with the 5d mk II, DONT. Bring an extra cam. Hell, a consumer HD cam (Canon HF-S20 or Panasonic TM700) would look way better than the aliasing fest that I got.

Of course we did get several really good footages. Mostly are natural lighting and shallow depth of field. That’s what these cams are good at. Focusing was a real pain though.  Good luck keeping your subject in focus on handheld/steadicam shots.

I’m not dissing HDSLRs. Not at all. in fact I own one of these. I’m one of the few who jumped through hoops just to get a hold of the only prototype 7D in my country back in October 2009. I love me some HDSLR, more particularly the price point but sometimes people need to know when a camera should and should not be used. HDSLRs wont work at all situations and filmmakers should be aware of that.  Some filmmakers see great footages coming from these camera and they think that it will magically make their film look great. If you didn’t do the research on the camera’s limitation and problems, Your films wont look good.

One particular production that used mixed cameras like the HPX500, HVX200, HPX300, Arri D21 and Nikon d90 was able to make a great looking film by doing their homework.

So stop drinking the HDSLR Kool aid and do your homework.

After 2 years and several months, finally its done and over with. I’ve finished my first ever animated short film!

you can check it’s site out at:
http://www.impengnegro.com/ or http://www.facebook.com/ImpengNegroAnimation

The animated short film has been selected as a finalist in the Philippine Animation Festival, Animahenasyon 2010.

It will be held in Nov. 23, 2010 to Nov. 27, 2010 at Naga City, Camarines Sur.

Sometimes it really helps to have stuff put in it.

So here we are again but this time I’m committing to posting stuff on this blog.

Expect reviews, film making news and opinion from yours truly.