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Andrew Reid

My open letter to Panasonic. DVX200 will be lonely, needs a brother called AF200!

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Sorry Andrew, while your letter to Panasonic may reflect 'your' views, alluding that Panasonic has made a 'mistake' is a bit rich.

While I won't buy a camera with a fixed lens for my use, at work, I see plenty of ENG crews around the world using these types of fixed lens cameras every day.

The one camera doesn't do all jobs. 

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Every run and gun production I work for has a sony ex3 with whatever lens...4k will not be a production standard for a while, but I can easily see all those productions switching to this camera. theres a huge market for it. The company I work for the most has like 10 ex3s...once they are not viable to service any more they just might get 10 of these. 

Gh4 is fine for indie film makers, a m43 mount on this camera would sell as well I think, but not for productions. A 4000€ is not a consumer market as gh4. Production companies don't stress as much about lenses they just buy "kits". The ex3 that has been used for 6 years has a lens that would not be used on a new camera either because it's done its time.

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I hated the DVX100. I remember shooting real estate videos on that thing for a few weeks. It was an awkwardly bulky camera to use, and hard to focus with. Hopefully this thing is much lighter and easier to work with.. Not that I would buy one anyway. But I'm sure soon enough, compact cameras like the LX100 will shoot 4K 50/60P too.

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Sorry Andrew, while your letter to Panasonic may reflect 'your' views, alluding that Panasonic has made a 'mistake' is a bit rich.

While I won't buy a camera with a fixed lens for my use, at work, I see plenty of ENG crews around the world using these types of fixed lens cameras every day.

The one camera doesn't do all jobs. 

​We are in 2015: watching TV news we don't mind if the images are from a 4K camera, from a Sony MiniDv or from an iPhone, because we search informations, contents, not cinematography.

I think that Andrew (and 99% of this community) talks about cameras thinking how to "bend" them for artistic/cinematic purposes, not for ENG (just my opinion).

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Then don't suggest an ENG camera is a mistake. It's just not the tool for you.

I certainly don't want to watch the news shot on a iphone. How information is presented is also important. Does your newspaper print its pages on toilet roll?

Im sure many people could make great images with this camera.

And while ENG might stand for Electronic News Gathering, ENG cameras are used for more than just 'news'.

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The world is full of GREAT ENG cameras with amazing quality. Did we need a 5000$ new one with 4k? Yes, maybe, but at least with interchangable lenses!

I'm not rich, so if I will need one, probably the DVX200 is not exactly a bargain. Maybe the mini URSA is a better solution! 

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The world is full of GREAT ENG cameras with amazing quality. Did we need a 5000$ new one with 4k? Yes, maybe, but at least with interchangable lenses!

I'm not rich, so if I will need one, probably the DVX200 is not exactly a bargain. Maybe the mini URSA is a better solution! 

JazzBox,  current MFT lenses really aren't suitable for eng style shooting reliably. The decent ones have no servo and are limited in their range.  

Original eng cameras had the B4 mount and interchangeable lenses (and most still do)  but usually only one lens is bought or carried with each camera.  You rarely see eng crews changing lenses in the field.  The lens on this camera has a great range and due to its design,  they have been able to include 5axis stabilisation which you don't get in traditional b4 lenses.  

This is obviously not the camera for you but believe me it will find plenty of customers.  Eng crews just want something that works,  reliably,  ergonomically and with minimal fuss.  Being able to attach a 25 1.4 prime is really not a priority for them.  For you,  it might be,  so choose the camera that allows it. 

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Why would you want an ENG camera with interchangeable lenses? The idea is to get out there and shoot, not say "oh, this fire would look better with my wide lens instead of my normal - please don't do anything cool for a couple minutes, firemen..."

I get the very strong feeling that people ragging on this camera have never done a real run/gun shoot of a fast moving & unscripted event, where they have to run between indoors and outdoors, get all the shots from sunrise to dusk, be grabbed for quick interviews in the middle of it all, etc. Like I said earlier, some quarters that's 70-80% of my income. Yeah, I wish I could pay 100% of my mortgage with awesome music videos, but it beats sitting in a cubicle.

The Ursa Mini for ENG/run & gun? Sure, if it has ND, focus, iris and zoom that can be controlled from shoulder mount handle (or crane back), very good stabilization, multiple gain levels via switch, 1-press manual white balance, a great EVF with useable peaking, affordable media, long-lasting battery, and a very wide zoom range, light enough to live on the shoulder all day if needed. That's what (at least) I need for event shooting (hell, I don't even need AF or any auto functions).

Realistically, you're talking two different cameras for two very different uses.

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It's not that simple Andrew, panasonic has no remarkable sensor tech, they buy it from Sony or whoever is willing to sell, also, they have no serious glass factory like Canon or Nikon, sure adapters work but look how far canon got with dual pixel autofocus.

Panasonic is the underdog for low budget productions, when you have the money you get the c300 mk2, the sony fs7 or higher.

For now, panasonic has my money, best bang for my buck, in the future i see eigher sony or canon.

 

 

 

 

 

 

 

 

 

 

 

 

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It's not that simple Andrew, panasonic has no remarkable sensor tech, they buy it from Sony or whoever is willing to sell, also, they have no serious glass factory like Canon or Nikon, sure adapters work but look how far canon got with dual pixel autofocus.

Panasonic is the underdog for low budget productions, when you have the money you get the c300 mk2, the sony fs7 or higher.

For now, panasonic has my money, best bang for my buck, in the future i see eigher sony or canon.

 

 

 

 

 

 

 

 

 

 

 

 

​Panasonic has great lens tech, and they're patented anti-onioning aspheric lens design is the future everyone will be emulating.  I believe their sensor tech is only slightly behind Sony's currently, and ahead of Canon's. 

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​Panasonic has great lens tech, and they're patented anti-onioning aspheric lens design is the future everyone will be emulating.  I believe their sensor tech is only slightly behind Sony's currently, and ahead of Canon's. 

​I bet you Canon and Nikon have wayyy more patents in both sensor and lens tech, whether they are the future of not is to be seen.

I doubt Panasonic has any serious sensor tech, we are still waiting for that organic sensor, and waiting, and waiting.....

The lens and sensor tech define the winner in this market, i have yet to see a 35mm sensor from panasonic, maybe they did one but i don't recall.

 

 

 

 

 

 

 

 

 

 

 

 

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Unfortunately, this will be big in the ENG world. I say unfortunately, because I'll have to shoot with it one day. I'm fine with the all in one design, built in ND's, etc. all the the things that make run / gun, doc, ENG style work easier. But I have one major beef  with this design - the EVF should be where the monitor is and side mounted. What Panasonic, Canon and Sony forget with their EX3's, C100/300 and HVX's is that in ENG, Reality, Event and doc world you're often doing takes up to half an hour or more. Holding the camera with two hands out front and your eye on a rear mounted EVF is OK for five minutes or so, but once it goes longer you'll be begging for a 20b proper news camera balanced on your shoulder. I'm sure every ENG cameraman will agree, it's better to be heavy and balanced then light and all on your arms. 

If they'd just put the EVF where it should be, then it wouldn't take much to rest it on my shoulder with nothing more than minimal rigging (shoulder pad and handles). As it is, to get it on my shoulder will now require mounting a 3rd party EVF or monitor out front on some frankenrigging or slinging it on an easy rig. This obsession Sony, Canon and Panasonic have with the rear mounted EVF is beyond comprehension and shows they beta test with soccer moms and tourists.

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​I bet you Canon and Nikon have wayyy more patents in both sensor and lens tech, whether they are the future of not is to be seen.

I doubt Panasonic has any serious sensor tech, we are still waiting for that organic sensor, and waiting, and waiting.....

The lens and sensor tech define the winner in this market, i have yet to see a 35mm sensor from panasonic, maybe they did one but i don't recall.

Nikon uses Sony sensors and Canon is in consideration to use Sony sensors in future cams as well.   The question I have is who makes the Panasonic Varicam S35 Sensor? 

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Nikon uses Sony sensors and Canon is in consideration to use Sony sensors in future cams as well.   The question I have is who makes the Panasonic Varicam S35 Sensor? 

​Panasonic does. They've been making almost all their own sensors lately. I'm not sure what leo's smoking, but the boys at Panasonic have huge fab facilities and make tons of image sensors. Their tech is great--even the E-M1 uses a Panasonic sensor--and once organic sensors hit, they'll be even better.

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Every run and gun production I work for has a sony ex3 with whatever lens...4k will not be a production standard for a while, but I can easily see all those productions switching to this camera. theres a huge market for it. The company I work for the most has like 10 ex3s...once they are not viable to service any more they just might get 10 of these. 

Gh4 is fine for indie film makers, a m43 mount on this camera would sell as well I think, but not for productions. A 4000€ is not a consumer market as gh4. Production companies don't stress as much about lenses they just buy "kits". The ex3 that has been used for 6 years has a lens that would not be used on a new camera either because it's done its time.

​+1

Honestly I think I might be on the wrong forum....... DVX100 is a workhorse of a camera and a tool I was able to do A LOT of jobs on, from documentaries. weddings to commercial events for hotels and businesses of the like. I see this as an EXCELLENT option and feel it will do great. Sure having a changeable lens camera is cool for "artistic" work, but for the bread and butter of video productions you really don't use any of that kind of stuff. As noted in my above quoted post, several people I know using Sony Ex3 cameras still for reality shows, cooking, racing , etc. I see this camera doing great in that market and being an amazing tool.

Sure I love my Sony A7s, but lets be serious here and know that is a very very specialized tool and requires a lot of add ons for a shoot, let alone filming and documenting an actual project. This camera has XLR Inputs which is priceless as well + built in ND's etc. Now the ONLY thing I might think is the Canon C100 Mark II could be a better buy, but then again it doesn't shoot 4k like this camera does.....

 

 

Why not make two versions? Fine, sell this to ENG - then make a slightly different version with a mft mount for filmmakers that want to swap out lenses..

Have you shot a film? I would like to see some of your work done on interchangeable lens cameras if so....... For the record I worked on many productions where we used a DVX100, HVX, HPX, etc all fixed lenses. Film Maker is NOT about a camera, it's about telling a story through moving pictures.........

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​Panasonic does. They've been making almost all their own sensors lately. I'm not sure what leo's smoking, but the boys at Panasonic have huge fab facilities and make tons of image sensors. Their tech is great--even the E-M1 uses a Panasonic sensor--and once organic sensors hit, they'll be even better.

​They also make sensor for RED too..  http://www.towerjazz.com/jv.html

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Have you shot a film? I would like to see some of your work done on interchangeable lens cameras if so....... For the record I worked on many productions where we used a DVX100, HVX, HPX, etc all fixed lenses. Film Maker is NOT about a camera, it's about telling a story through moving pictures.........

​No point in stooping to a common tactic like that - I have great MFT lenses and would like to utilize those.. I also know a lot of people wanting to run Speedboosters etc - it opens up light gathering abilities and DoF possibilities, compared to whatever the built in zoom on this thing can do. Also, that way, the glass is separated out, so you don't pay for it when all you need is a camera, you can get better quality lenses, and if you want a better camera, you are not locked into spending more money than necessary again..

Not sure why you take offense with a simple comment about having two versions being preferable, but maybe you are just having a crappy day.

 

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