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Thoughts on the AF100

By Fred Miller

The last couple of years have seen the advent of the DSLR revolution as cameras such as the relatively inexpensive Canon 5d Mark II, with it’s full frame CMOS sensor and the shallow depth of field that comes with it, have become the tool of choice for many filmmakers. The shallow DOF is the final breakthrough for putting those really truly inspiringly beautiful, cinematic images into the hands of filmmakers on a budget via affordable prosumer cameras. Hallelujah! This is it! We finally have all that we need in a 5-pound package that fits in the palm of your hand! Ahhh, but it isn’t... Because the truth is we need so much more.

While DSLRs are wonderful tools for filmmakers, they are also beset by many compromising limitations – rolling shutter, limited record time, limited frame rates, and a lack of quality audio inputs which renders single system audio recording virtually impossible. Simply put, the DSLR camera is a step in the evolutionary process that will eventually bring independent filmmakers the affordable camera of their dreams. And maybe, possibly that camera is already here.

In December, Panasonic revealed the AG-AF100, which showcases a micro 4/3” CMOS sensor, like that found on the Lumix GH1. The AF100 resolves many of the issues that plague DSLRs because it is a real camcorder with a large chip and not simply a large chip DSLR that can also record video. The AF100 houses 2 XLR inputs, a built-in ND filter, and a stunning flip out LCD monitor on its diminutive and sturdy frame. The rolling shutter issues seen in DSLR CMOS sensors are dramatically improved upon and virtually unnoticed.

The AF100 has a similar form factor to Panasonic’s HVX200 and HPX170. The menu structure is very similar to the previous models, but with a new UI that makes moving through the menu clear and easy. One very pleasant surprise is that switching between record mode and playback mode on the AF100 is much faster than on the HPX170 and HVX200. The camera can be used in two modes, film mode and video mode. In film mode, you can adjust the sensitivity of the sensor by changing the ISO setting with 200 being the lowest. When comparing to a Canon 7D, and both cameras set to ISO 200, the AF100 seemed to be a bit more sensitive, by almost 1.25 stops. However, when the ISO was increased past 800, the image on the AF100 appeared to be quite noisy. Another thing to note is that there is a crop factor when determining your lens focal lengths. If you were to compare a Canon 7D and AF100, you would find that a 35mm lens on the 7D is roughly a 30mm lens on the AF100.

I found that the Dynamic response on the AF100, is very similar to most cameras in its price range. However, a really interesting feature has been brought over from some of the larger ENG Panasonic P2 cameras, called DRS (Dynamic Range Stretch), which is an easy way to increase the camera’s dynamic range by simply hitting a few buttons. When shooting in conditions of high contrast, DRS stretched the level of the highlights and shadows to balance out the exposure in a quick and easy manner.

In conclusion, the Panasonic AF100 is a giant step forward for affordable HD acquisition. It’s a true competitor for HDSLRs with a few advancements that make it the obvious choice for many people. I look forward to seeing what the future versions of this camera have in store and hopefully Panasonic will continue to release high-end features in small bodies like the AF100.