In case you were wondering just how sophisticated the autofocus system is going to be on Canon’s new flagship camera, the EOS 1DX, here is a link to download the EOS 1DX autofocus setting guidebook. It looks to be right fancy, indeed… It almost makes me wish I hadn’t switched to Nikon, after shooting Canon professionally for twenty years. Almost. Honestly, though, when the AF system in your camera is getting to be this sophisticated — and you need it to be — I dare say you might be using the AF system as a crutch and not a tool. I’ve been a press shooter for a long time, and I don’t think I’ve ever run into a situation (since the days of modern AF anyway – we’ll say around the time of the EOS 1V) that I couldn’t get my shot from because my AF system just wasn’t smart enough. Faster is always better, but this system has so many options, I’m almost certain that we’ve witnessed the birth of Skynet.
After using the Panasonic AF100 on a few productions now, I’m finally getting mine dialed in to where it is comfortable to use in a cinematic environment.
With the addition of the AJA rod mounting plate on my Ki Pro Mini, the rig finally feels stable enough to use in daily work. Before, the recorder was affixed to a Noga arm and simply rested on the rods. Now, it is securely fixed to them, and the Anton Bauer Hytron 140 battery is now secured to the second accessory plate on the Ki Pro Mini, and not zip-tied to the rods like before (hey, you gotta do what you gotta do on set sometimes…).
I’ll get a chance to try the rig out again this weekend when we continue filming for “Arose The Coward.”
More production stills to follow…
Last weekend saw the start of my latest project with Machina Cinema, a short entitled “Arose The Coward,” which is being filmed on my Panasonic AF100. I’ve recently made some upgrades to my system, and I’ve been looking forward to putting them into service. I switched out the Kipon Canon EF to M43 mount for the new Redrock Micro LiveLens mount adapter that allows electronic interface with the Canon lens aperture. It’s pretty cool, although it doesn’t work with all the EF lenses. Not sure why. It works great with the lens I need it for most, though, which is the 16-35/2.8 L. It also works with my 70-200/2.8L IS, and my 300/2.8 L IS. However, it does not work with my 24/1.4L, which is a serious bummer, as that’s my go-to low-light lens.
For the start of production, I outfitted the AF100 with a Ki Pro Mini ProRes422 recorder, which I’ve tacked a Hytron 140 battery onto for field work. A fully charged 140 will power the Ki Pro Mini for at least 5-6 hours… pretty handy on set.
Below are some photos from the first day on set. Friend Kevin Sloan recently acquired a Steadicam Provid and was looking forward to trying it out on set. As luck woud have it, the entire first day called for Steadicam.
In my professional life, I’m primarily a stills shooter. I shoot a lot of editorial and press work for folks like the Associated Press, Getty Images, newspapers, and the like. I also shoot a lot of commercial stills work, for PR firms, agencies, etc. I shoot with Canon DSLRs (and my old Canon F-1N) exclusively, except when I’m using one of my Leica rangefinders. So, I know how badass Canon’s cameras are. For video cameras, however, I’ve always preferred Panasonics. I like their design philosophy and the professional quality of their cameras.
I was excited to try the video capabilities of the EOS 5D Mark II when it was announced, and indeed, as soon as mine arrived after they had begun shipping, I shot a feature length film on it. I was pleased with the results (especially with my Zeiss ZE primes. Wow!), save the moiré and rolling shutter problems, and once Canon updated the firmware to allow for 24p and manual audio level control, it was even better. As soon as I saw how the 5D2 was changing the face of indie filmmaking – and let’s face it, the camera was a real game-changer – I immediately predicted that Canon would capitalize on the serendipitous success of their camera and design a professional camcorder body with a large imager that would provide the best of both worlds. Right away, I knew it was coming.
I did not predict, however, that Panasonic would beat them to the punch with the AF100, followed by Sony with the F3. I wasn’t really surprised, though, because it is in Canon’s nature to wait until the other players have shown their cards and then release something awesome that raises the bar again, which brings me to the subject of the new Canon EOS C300 cinema camera.
Admittedly, I have not yet extensively investigated the specs of the C300. I know that it outputs a 1080 HD picture and that it uses an 8MP S35-sized chip. I also know that it shoots 4:2:2 onto CF cards at a 50Mb/s data rate (I would have expected 100Mb/s). What I don’t know, however, is why it costs US $20,000. It seems to me that instead of dropping that kind of coin on a C300, my money would be better-spent buying a Sony F3, which can record 4:4:4 out to a dual-link HD-SDI recorder. Even with the S-LOG upgrade, the F3 costs less than the C300.
Obviously – hopefully – I’m missing something, and there are actually some good reasons why the Canon C300 is more expensive than a Sony F3. Is there a reader out there who has investigated the C300 thoroughly, and can shed some light on this subject?
Most of us video nerds already know who Jan Crittenden is, but for those of you who are just joining us, Jan is a product manager for Panasonic, and she’s always the one in the know when it comes to new gear and other juicy Panasonic news.
I spoke with Jan briefly at the Panasonic booth at NAB, and she graciously let me turn my camera on her. In this video, Jan talks about the possibility of a big brother to the AF100, a new plugin for Final Cut Pro that will allow AVCHD footage to be dropped directly into a timeline without transcoding to ProRes, and a new H.264-based codec on the horizon, called AVC-Ultra, that will come in above AVC-Intra.
If you haven’t met her in person, Jan is a great representative for Panasonic, and is a wealth of information for us Panny nerds. She’s also very cool to talk to, and I owe her one for saving my bacon with an audio issue on my second day at NAB.