Some of your finer work.

that is an affordable lens...google it!!

I guess but that's about the same price as the PB Pocket Dolly and you know that I will choose the dolly first ;) BTW When is the next batch coming out?

Can you put test shots with the 20mm F1.7? Sold my 5D2/85L and waiting for the GH2 + PB Pocket dolly :)

On Thursday will test with all the lenses I can.

Next Pocket Dolly in about 10 days I believe!

Awesome thanks Philip!

A $1000 lens is out of a lot of peoples budgets.
however I just did cursory search so it may be available for lower.
Also I don't know how much non third party lens cost for that mount system.

And I guess that is probably low pricing for an f1.1 lens

Wow! I like the smooth look of this camera. Could you do a side by side test with the GH1, and the canons you own?

How about testing it with some "low-end" 50 mm F1.4 and F1.8.

And how about just pointing the AF100 at a chart or two.

What will JJ@RED say now. That the body of the cam does not look futuristic enough for "pro-gear" geeks.

I believe the Noktor F0.95 works on that system... about $700. noktor.com

don't forget it's compressed MP4

best not to judge on the either the flash or the mp4 version...

Will reserve my judgement until I see full quality clip...so bring on the nanoflash, I know you got one! ;)

7d has a bigger sensor so I doubt the pixel density is much different

The uncompressed version is impressive.

The important factor is the area per pixel on the sensor. And the gap on line skipping sensors, like on Canons HDSLR. But it's also important to take into account the limitation and 12 - 22Mpix sensor, since it can not have any 2Mix filter on top of the sensor like any FullHD camcorder has. Using such a filter would smooth hi-res still photos.

It IS however a bigger problem that the Canons sensors skip lines, since this makes any issues in the sampling systematic and annoying. Such issues are not easy to solve in the chips in the HDSLR before compressing the signal. But such issues have been solved by science in several fields, such as "seismic exploration". The most common "quick-fix" is adding some randomness to the sample pattern. I wonder if Panasonic would try anything like this.

I agree with the comment about clipping. DSLRs seem to hold onto the color a little better when the brights are clipped. Am I way off base?

No way that is a 18mp sensor, if so that would be seriously impressive. A larger pixelcount than 1080p on a video cam would just be a hassle anyways because they would have to scale/downres it somehow to get it to match 1080p, a process that will probably downgrade the imagequality. In the 7d/5d they use lineskipping as a method to "downscale" to 1080p and that causes massive issues with rolling shutter and aliasing/moirè.

The AF100 is based on the Lumix G line of NMOS sensors I believe, I don't think Panasonic would have gone to the expense of a new sensor from the ground up - but they HAVE optimised it for video. The resolution in the other tests I've seen from HD-SDI to Prores is extraordinary, check out the Crew.TV one as well.

Great work Philip, loved the footage.

Was the GH2 this good at ISO 3200?

as good as those new Canons are they are not the response to this camera. They only have 1/3" chips. the whole point of this camera is the large micro four third chip!

don't judge on the compression here Miles. It's a lot better in Pro Res

Of course, it's crunched through H.264 as an intermediate for uploading. Great point. My bad. And many thanks for all your fantastic work, Philip.

I was curious about several things regarding this camera, hoping someone could shed some light. According to several statements I've heard from pany reps, they claim to have completely fixed any aliasing or moire issues that come into play with the DSLR's--is this an entirely true statement or are they just blowing smoke to try and get people to buy their product.

Also, one of the reps mentioned that it was possible to get a higher data rate than 24 Mbps, possibly with the use of some external recording devise, something that didn't use the SDXC format? The rep was rather vague, but I just wanted to ask if there was any truth to that?

For the 5,000 dollar price tag (not including a lens), I think I'd rather stick with a 5D mark II (approx. $2,300), Zeiss ZE 50mm F1.4 ($725 b&h), Zacuto Fast Draw shoulder rig ($1,500), Redrock Micro Follow Focus ($525), a LCDVF ($175), and a Zoom H4n Recorder w/ Rode shotgun mic. and XLR ($600). That setup come out to just under six grand, which if you include the cost of a lens with the panasonic, you're looking at precisely the same price range for what is, in my opinion, a way more optimum setup.

This camera is impressive and tends to a lot of the issues cinematographers have been facing with the DSLR's, but until a company either makes this camera for the price of say a 5D or some company stuns us with a camera that includes everything this has, but also has a true S35mm sensor, high bit rate, no moire and aliasing, great low light image quality, strong weather sealed casing, preferably frame rates up to 120fps, would love to see 3K (but definitely not the most important). There are definitely other things that could be improved as well.

I'm just throwing it out there, I want a complete package if I'm going to trade in my DSLR.

Justin,

First, Philip is on top of testing out the very questions you have, today and shortly. Read his first impression blog and see that he's already addressing the 24Mbps (to NanoFLASH), and so forth.

My personal take is "we get what we pay for." You're describing a RED, Alexa, or other much more expensive package. Yet, the 5D, even this version, is no dinosaur, not by a long shot, for a long time - primary use, b-cam to other new bodies, etc. etc.

I understand your point, but I still think the 5D package I described is a better setup than just getting this camera and one zoom or prime lens. I think that, as the technology advances, these features I'm describing are going to become more and more attainable at a lower price. Right now I feel like Nikon, Canon, Panasonic, and all the other pro/prosumer camera companies are in heavy competition to create a camera that can beat the rest at a low price tag. I think panasonic gave it a shot with this camera, but I predict that as these companies try to compete, high-end professional camera companies like Arri and RED are going to want to enter this market and create something that gives the indy or freelance film maker what we've all been asking for. RED seems to be trying with the scarlet, although everyone knows that's had about half a decade of hiccups during about every aspect of the development process. Maybe I'm being overly optimistic, but I think with in the next year or year and a half some company is going to step up and drop a camera that will turn heads. So, for the time being I'm gonna stick with my 5D, wait it out, and see what lies ahead.

Depends on your needs/budget/uses at this time. Hey, I'm getting a 60D. You've got a full frame, the mini Rolls Royce! Until...um...next week? ;~) In ten years, we'll be trying to figure out how to do a decent holographic using our 3D's with attachments.

Agree fully. I actually have a T2i, but shoot most of my work on a 5D out of preference. There is just about every kind of DSLR you can imagine within the group of film makers I work with, so we sort of have a collective of film equipment that we all share and use, plus as a student I have unlimited access to all our schools equipment, and they just invested in DSLR equipment, but right now, I'm saving my money for an upgrade, and I'm just not overly excited about the AF100, rather use what I have for now, until I see something I'm really excited about.

Lots more tests to come!

You can not say $5000.00 and $15000.00 in the same conversation. You got a link to this EX35.

But Blake. I love your face. Why can't you love mine too?!?

Yep I second that, would have been a better video without the grimacing.

I believe its equal to +18db

hey! that's my face!

Ice burn! Haha