I’ve been dialing in my ENG-ized AF100 for some time now. Recently, I added a Varavon lens support to relieve some tension from the not-so-robust Micro 4/3 mount. The Varavon works really well, and I especially like that it has a rubber strap that holds the lens down onto the post suport. This not only provides negative-G stability, but also prevents the lens from torquing the mount when I’m using the ENG hand grip.
On July 4th, I was hired by the San Antonio Scorpions professional soccer team to shoot some b-roll before and during their game against FC Edmonton. I thought this would be the perfect chance to try out the new rig. I wanted to make it as light as possible, so I elected to remove the Anton Bauer plate and battery, which powers the lens’ servo zoom, and just roll using manual zoom instead. The total package consisted of AF100 body, Fujinon 10×4.8 Super-wide ENG lens, rails, Atomos Samurai, and a Cineroid Metal HD-SDI EVF.
The client wanted 720/30p for web and broadcast use. I set the Samurai to record ProRes422 LT and it looked great. A lot of people overlook LT but it’s superb when you want to save space and you’re not going to be doing heavy color moves in post. Even though it’s “LT” it’s still a heck of a lot better than AVCHD. I recently switched to Intel X25 SSDs in the Samurai, and I couldn’t be happier with them. Fast and tough. That’s all I can ask for. I was using a Corsair SSD, and after three RMAs from failed drives, the switch to Intel was needed.
Here is a two-minute reel of raw clips from Wednesday night. These are ungraded, straight from the camera:
I’ve been modifying my Panasonic AF100 to work with ENG lenses, and it’s finally taking shape. The only thing I have left to install is a Y-cable that will power the lens as well as connect to the camera’s LANC port in order to activate REC start/stop from the lens. Abel Cine makes such a cable, but it’s 260.00, which is considerably more than I was hoping to pay. However, I don’t think anyone else is making it, so it looks like I’m going to have to fork over the cash to them.
The latest addition to the kit is a Cineroid Metal HD-SDI electronic viewfinder, mounted on a NOGA articulated arm. The Cineroid arrived a couple of days ago from B&H and it really makes all the difference regarding usability of this rig in the field. Prior to getting the Cineroid, I pretty much had to mount the camera on a tripod to shoot anything. Moving the entire rig back on my shoulder and using the EVF makes all the difference, obviously. When I mounted the Cineroid, I moved the AtomosSamurai recorder from the front-left rail to the right-rear since I no longer needed to use it as a monitor when shooting. In its new position, it can serve as a secondary monitor for the director, and also provides some needed counter weight to the right side of the rig, since the EVF made everything shift left a bit. The Samurai is very reliable, and the battery life averages ten hours on a full charge, so I’m not too worried about not being able to see it while shooting hand-held footage. I know that if the camera is rolling, the Samurai is rolling. It tucks in nicely next to the Anton Bauer battery. You may recognize the AJA accessory plate and rail mount that the battery is bolted to; it used to hold my AJA Ki Pro Mini, which I ditched in favor of the Samurai. BTW, if anyone wants one, I’m selling a Ki Pro Mini…
To mount the ENG style Fujinon lens, I ordered an adapter from eBay user ciecio7. I highly recommend his adapters, as they seem to be very well built. In fact, this B4-M4/3 adapter is the highest quality I’ve yet seen from any of the adapters I’ve ordered for my AF100; I wish I’d found him earlier. Ciecio7 offers two flavors of this adapter; one with and one without the tripod collar. I ordered the one WITH the tripod collar, as I knew I was going to have to fashion some sort of lens support, since the camera’s lens mount is only rated at four pounds. Otherwise, it’s a sure bet I’d rip the mount right out the first time I used it in the field. I initially feared that it was going to be costly to get a really good lens support that would secure the lens in all directions so I could use the ENG grip, but as it turned out, the threaded 3/8″ hole in the mount adapter’s tripod collar (it also has a 1/4-20 hole) aligned perfectly with a threaded 3/8″ hole in the Redrock Micro M2 baseplate, so all I had to do was get a threaded stud from Home Depot and hacksaw it to 2.75″. That was $1.75 well-spent.
I really, really love having a proper ENG lens to use on the AF100. It really takes this camera from being quirky and odd to being a serious camera for pro video work. When Panasonic released the AF100, I was elated at the thought of what was basically a large-format HPX170 (although without my beloved P2 media), but then I was immediately puzzled when they kept demo-ing the camera with those horrible, slow, M4/3 stills lenses. What?! No servo lens? Unbelievable. So, for a long time, I used my Canon EF 16-35/2.8 L zoom with the Redrock Micro Live Lens adapter as my go-to run and gun lens, and it worked great. Not much reach, but it had the wide-to-medium area covered fairly well, and it was just fast enough to use in low light. It sucked not having a servo zoom though. With this ENG setup, now I have the best of both worlds. Granted, with all of the kit, it makes the AF100 about the same size as my HPX2000, but it’s still lighter.
So, what about image quality? ENG lenses are designed to be used on three-chip cameras, which means the glass projects onto a prism that separates the image into red, green and blue paths. There are two methods of adapting your ENG lens to a Micro 4/3 camera: the “cheap” way, which is to use a lens with a built-in 2X extender that will double the size of the image circle to cover M4/3, or the “proper” way, which is to use Abel Cine’s HDX2 adapter, which not only doubles the size of the image circle but also optically corrects for the three-chip projection so you don’t get color fringing in your highlights. Considering that, it seems to be a no-brainer on which method you would choose, until you consider cost. I got my B4-M43 adapter from ciecio7 for 240.00. That’s the entire cost of the “cheap” method. The “proper’ method is going to belt you for $5500.00 for the relay lens plus the cost of a PL adapter, because – btw – the HDX2 relay lens only comes in PL mount. SO, including the cost of PL/rails support for your AF100, we’re looking at a total cost of $7000.00 to be “proper” if you go with the HotRod-esque option. Ciecio7 also makes a PL-M43 adapter if you already have rails that would work, like I did.
I figured from the start that I was just going to put up with a little color fringing in my highlights. But then, I had a pleasant surprise. The Fujinon 10×4.8* is a really high quality piece of glass, and also considering that it’s so wide, fringing is very minimal. In fact, I don’t notice it at all unless my highlights are totally blown out, and even then, not all the time. In short, the picture looks pretty damned good. I’m sure the “proper” method is better, but I’m not positive that it’s $7000-better. Note that if you use the cheap method, your ENG lens MUST have a built-in 2X extender. With the HDX2, your lens does not need an extender, as the HDX2 doubles the size of the lens’ image circle.
* A note about the Fujinon 10×4.8 ENG SD lens: Some variants of it have a 1.7X extender and NOT a 2X extender. These will NOT WORK. You must have a 2X extender to expand the image circle to 22mm in order to cover the Micro 4/3 sensor.
A few months before getting my AF100, I started testing various C-Mount lenses on my GF1, because I knew that [economical] modern cine-style zoom lens options on a Micro 4/3 video camera were going to be somewhat rare. An old TV-C lens can be had really cheap, and I thought that there might be one or two 1″ lenses that wouldn’t vignette too much on the 4/3″ sensor.
I started with a 16-160 f/1.6 Tokina CCTV zoom, which is a tank of a lens. I was really praying that it would work, because I would love to have a 10X f/1.6 lens to play with. I also picked up a Fujinon TV zoom and a Canon TV-16 zoom. As I suspected, the Tokina and Fujinon lenses vignetted very badly, but the Canon actually wasn’t too bad. It vignettes, but I can see how that in some shooting situations, it could be usable. In the mid zoom range, the black edge comes inside of the frame in the corners, but it isn’t as pronounced in the wide and tele positions. It’s there, but it doesn’t punch you in the face; it’s more of a gentle slap. Either way, it still stings a bit. I will post some real-world clips from it soon.
I think that if I could enlarge the image circle 1.4X, the problem would be corrected. I could handle losing the stop of light, but that would mean it would become a 70-280mm (FF 35 equiv). I don’t really want a zoom that long on the wide end. I may have to relegate the Canon to being a special occasion lens.
I’ve seen mods to mount a B4 2/3″ servo lens onto the AF100. That seems a sound option, especially if you get one of the lenses that has the built-in teleconverter because it solves your image circle problem right off the bat. 2/3″ lenses are wider, which allows more general use after magnification.
Another solution is Abel CineTech’s HDX2 adapter, which is an optical B4 to PL adapter that enlarges the lens image circle from 11mm to 22mm (soaking up two stops of light in the process), and also corrects the 3xCCD optics to project for a single sensor. But, at MSRP US$5500.00, it’s hardly the economical option for low-budget users. On the other hand, if it allows a $15,000.00 servo lens to become usable on larger format cameras, I can easily see how it can earn its keep in a production environment.
So, my search continues. If anyone knows of a C-Mount lens that will actually cover a 4/3″ sensor, please let me know!