Guy Mcloughlin
Forum Replies Created
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I will buy both of these new Olympus lenses later in the year when my budget allows for it, but in the meantime here is a link to some hand-held video shot with the Olympus 12mm f/2.0 lens using a Panasonic GH-2 with the high bitrate low GOP hack:
GH-2 65 Mbps 3GOP / Olympus 12mm F2 Handheld Test
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There is a big difference between professional AVCHD cameras like the Panasonic HMC-150, AC-130, AC-160, Sony NX5U, and the consumer AVCHD cameras.
Professional AVCHD beats HDV by a mile, but you have to know what you are doing.
Also, there are some very good high end consumer AVCHD cameras that produce a very high quality image that is close in quality to the Pro cameras: Canon G-10, Canon XA-10, Panasonic TM-700, Panasonic TM-900, Sony CX700V, Sony CX560V
One thing to keep in mind is that all blu-ray discs use AVCHD encoding for video, so proper AVCHD video can be about as good as it gets for playback.
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16×9 Inc produce a very good J-Clamp that attaches to the Panasonic camera handle to provide a second mounting spot for video attachments.
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If you want something very affordable, you should take a look at the LED lights from CoolLCD.com. They are light, bright, modular, can use rechargeable battery packs, and low cost.
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The FS-100 sensor size is very close to the size of the Super-35 Cine format which is approximately 1.25x larger than the AF-100 sensor. When shooting it’s not that big a difference in size.
Using the same lens on both cameras, the larger FS-100 sensor displays a wider angle of view ( good for wide-angle shots ), and the smaller AF-100 sensor displays a narrower angle of view. ( good for telephoto shots )
The Full Frame 35mm still photo format is huge, which can be a problem in low-light situations because you have to stop down 2 more F-Stops with a FF 35mm camera to achieve the SAME depth-of-field as a Micro 4/3 camera.
So if your M4/3 aperture is set to f/4.0, you have to use f/8.0 with a Full-frame 35mm camera to see the SAME depth-of-field.
I see a lot of people using the Canon 5D MK2 for low-light shooting, but their depth-of-field is often paper thin because they are shooting at almost wide open. This can create a kind of “claustrophobic” feel to the images because very very little is in focus. This is how the TV show “House MD” used the Canon 5D MK2 for the final episode for last year’s season.Here’s the full breakdown of the different sizes when shooting with a 16:9 ratio…
Panasonic GH-2 / AF-100 16:9 Sensor Size = 18.8mm x 10.6mmSony FS-100 16:9 Sensor Size = 23.6mm x 13.3mm ( 1.25x larger than AF-100 sensor )
Super-35 Cine Format = 24.9mm x 14mm ( 1.32x larger than AF-100 sensor )
FF 35mm Still Photo Sensor Size = 36mm x 24mm ( 1.90x larger than AF-100 sensor )
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The HMC-150 records HD video in digital format to it’s memory card.
The video that comes out of the HMC-150 AV port is analog, and thus needs to be digitized to use it for video streaming.
The video that comes out of the HMC-150 HDMI port is digital, but then you need a HDMI digital input port on your computer to use the HDMI video feed, and you will likely have to down-scale the HDMI HD image down to SD before it can be used for video streaming.
I looked in to this before and thought that I would buy a used DVX-100 camera for it’s SD Firewire port so that I could stream high quality SD video to the web.
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[Erik Naso] “I really wish more video orientated lenses would come out. I’m surprised that no new ones have been released yet.”
These 2 new Olympus lenses are designed for video work, in that they have very quiet focusing motors, and have large and smooth manual focus rings. I will probably buy both once they are out. The 12mm because there is nothing else out there, and the 45mm because it’s fairly cheap at $400.
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The AF-100 does not record sound when in variable frame rate mode, otherwise it records audio at all frame standard frame rates:
1080/60i, 1080/50i, 1080/30p (over 60i), 1080/25p (over 50i), 1080/24p (native)
720/60p, 720/50p, 720/24p (native), 720/25p (over 50i), 720/30p (over 60i)
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For future gigs I would set BOTH cameras to 24P and then conform BOTH videos to 25P afterwards. This is the only simple way to have both cameras in synch.
Eventually the GH-2 should get 25P, either from Panasonic or from a GH-2 Hack. I still don’t understand why Panasonic did not provide 25P right from the start. ( seems very strange )