Tag Archives: Texas

Panasonic AJ-PX270 Footage Shot on Texas Coast

On Monday, I ventured down to Padre Island and Corpus Christi, Texas, to shoot some b-roll for a documentary project I’m doing this summer. I also wanted to take the opportunity to test out a couple of cameras: the new Panasonic AJ-PX270 P2 AVC-Ultra small-body broadcast camera, and the Blackmagic Pocket Cinema Camera, configured with a Century Optics 1.32X B4-to-Super16 converter and a Canon HD 18X ENG zoom lens.

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I’m more impressed with the PX270 every time I shoot with it. My last 1/3″ cam was the Panasonic HPX170, which was a great camera – for certain applications – but the PX270 is so much better, it’s usable in many more situations than the HPX170 was. To begin with, the picture is way better. The dynamic range and sharpness is greatly improved, as is the highlight roll-off, especially. Out of the box, the PX270 had a crappy image (over-sharp, gritty, and flat) because of the way the camera is set up from the factory, but after I spent a little time dialing in and customizing the picture by creating my own scene file, it became superb.

Shooting with the Panasonic AJ-PX270 at Padre Island, Texas
Shooting with the Panasonic AJ-PX270

The PX270 is the first small body camera in the Panasonic line that is AVC-Ultra equipped (AVC-Ultra is what Panasonic is calling its group of professional AVC codecs; there is no codec called AVC-Ultra). AVC-Ultra codecs include AVC-Intra 100 & 200 (upgradable option), AVC-Intra 50, & AVC-LongG 50/25/12. It also shoots in good old DVCProHD if you need it to. The PX270 also features many more professional menu options and picture/color tweaking capabilities than any previous small body Panasonic. I think it actually has the same menu structure and options as the new AJ-PX5000 2/3″ shoulder cam, which lists for about $25K, sans glass. The PX270 was intended to be used as a companion to the PX5000 if needed, and I can easily see how the quality could keep up with the big brother. The PX270 really is a broadcast-quality camera.

More Photos from the Set of “Lilia”

Friend and filmmaker Sam Lerma used my AF100 kit again last Saturday, for some pickup shots for his upcoming short, “Lilia,” which has now wrapped principal photography and has moved on to post. It promises to be a very nice film, indeed. More updates on its status will be posted here when they become available.

 

Photos from the set of "Lilia," a short film by San Antonio filmmaker Sam Lerma, shot with the Panasonic AF100.
DP Yuta Yamaguchi composes a shot.

“Lilia” director of photography, Yuta Yamaguchi, made use of a Canon EF 24-70 f/2.8L zoom mated to the AF100 via the Kipon EF adapter. Most of the shots were hand-held. The AF100, being such a light-weight camera, is quite balanced in the field.

 

Panasonic AF100 on the set of "Lilia," a short film by San Antonio filmmaker Sam Lerma.
Director Lerma improvises a slate.

 

Someone on the crew of "Lilia" had some fun with the slate.
Someone on the crew of "Lilia" had some fun with the slate.

 

Amby marks a scene on the set of "Lilia," a short film by San Antonio director Sam Lerma.
Amby marks a scene for "Lilia."

 

Sam Lerma directs his lead actors on the set of "Lilia".
Director Lerma talks to his lead actors on the set of "Lilia".

 

San Antonio photographer Darren Abate on the set of "Lilia," a short film by San Antonio filmmaker Sam Lerma.
Yours truly with my trusty Canon 1D Mark III.