It’s something I hear a lot of, that the AF100 is not as cinematic as the 5D. I think that’s putting it a wrong way, of course it’s cinematic in the right hands with the right optics – and cinematic is such a broad term. But there is something to be said for the feel of each camera, and they are very different beasts.
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Buy it now I’ve been shooting in Berlin this winter with my LOMO anamorphic cinemascope lens. This is a Russian anamorphic used by Andrei Tarkovsky, who shot Solaris amongst many others with it on Konvas 35mm film cameras.
Above: Nikon D7000 mainboard Nikon’s director of lab research in Japan has just conducted a very candid interview with Focus Numerique where we learn many inside facts. Now that is a good interview candidate!
I just spoke to a source at Panasonic and touched on the possibility of the GH2 hack, and why Panasonic wanted to make it hard for Vitaliy Kiselev to improve functionality on the camera, for free and unpaid.
“As you may know, I have GH2 firmware now. But it is encrypted, and uses compacts UPD format [same as Panasonic’s latest compacts]. It’ll require bunch of resources and expertise to try to dump [firmware from compacts] and learn how encryption is performed. [So it can be reverse engineered]. Please publish this info with bold request for all engineers [with expertise in] NOR flash (and especially LSI with NOR) to…
Click here for my post at Converge I keep hearing squeaks from an industry creaking under the weight of heavy professional gear, proclaiming that DSLRs will never last and that people will all move onto heavy and expensive digital cinema cameras. Rubbish!
Top hollywood editor Walter Murch thinks 3D is broken by design, and he has the proof.
On the back of the official AF100 firmware update (available here at Panasonic), it appears unofficial high bit rates and 1080/60p are coming to the AF100 in the form of a Vitaliy Kiselev hack. When asked of the hack was doable, Vitaliy replied “definitely”.