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My AF100 ENG Kit is Shaping Up

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.

Panasonic AF100 ENG Kit with Fujinon 10x4.8 Super-wide lens, Cineroid Metal EVF, and Atomos Samurai recorder
Panasonic AF100 ENG Kit with Fujinon 10x4.8 Super-wide lens, Cineroid Metal EVF, and Atomos Samurai recorder. Anton Bauer battery powers the ENG lens' servo zoom.

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 Atomos Samurai 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…

Panasonic AF100 ENG Kit with Fujinon 10x4.8 Super-wide lens, Cineroid Metal EVF, and Atomos Samurai recorder. Anton Bauer battery powers the ENG lens' servo zoom.
Panasonic AF100 ENG Kit with Fujinon 10x4.8 Super-wide lens, Cineroid Metal EVF, and Atomos Samurai recorder. Anton Bauer battery powers the ENG lens' servo zoom.

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.

AF100 ENG lens support stud mounted under Fujinon 10x4.8 SD lens
Home Depot Special: AF100 support stud mounted under Fujinon 10x4.8 SD ENG lens

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.

Screen Grab: Fujinon 10x4.8 SD ENG lens on Panasonic AF100 recorded ProRes422 to Atomos Samurai
Post-grade Screen Grab: Fujinon 10x4.8 SD ENG lens on Panasonic AF100 recorded ProRes422 to Atomos Samurai.Click through to see a 100% crop.
Screen Grab: Fujinon 10x4.8 SD ENG lens on Panasonic AF100 recorded ProRes422 (HQ) to Atomos Samurai
Post-grade Screen Grab: Fujinon 10x4.8 SD ENG lens on Panasonic AF100 recorded ProRes422 (HQ) to Atomos Samurai.Click through to see a 100% crop.

* 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.

NAB Confirmed

Panasonic AF100 at the Panasonic booth at NAB 2011.
Panasonic AF100 at the Panasonic booth at NAB 2011.

It’s confirmed! The AF100Central crew is going to NAB again this year. We’re looking forward to conducting some good product reviews and interviews from the show floor at the Las Vegas Convention Center. Last year, we had a couple of great impromptu interviews with Jan Crittenden of Panasonic, and Matthew Duclos of Duclos Lenses, who showed us his prototype of the Duclos 70-200 T3 zoom. I ran into him by chance at the Angenieux booth, when I spotted the beautiful Zeiss 21mm Distagon on his Nikon. This year, we’re going to have a lot more content, all filmed on the AF100, of course. 🙂 It is my intent to get a lot more content from the Panasonic booth. Jan was very gracious and extremely helpful last year, and I hope she will be open to conducting another interview. I can’t stress how cool she is in person; Panasonic is lucky to have her as a representative.

So now is your chance to let us know what you all would like to see us report on from NAB 2012. Reply in the comments below and tell us who you’d like us to interview, and what products you would like to see showcased! Remember, everyone who is anyone in the video/cinema industry will be at NAB, so now is your chance to place your order for custom-tailored information!

Panasonic’s Jan Crittenden Talks With Us at NAB

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.