The Panasonic AF100 is a versatile camera that can capture HD at frame rates up to 60fps. The Micro 4/3 format allows for the use of many different cine and stills lenses through various adapters. But how can you use it for ENG-style shooting?

AbelCine originally developed the HDx2 B4/PL Optical Adapter for the Phantom Flex and v640. On those cameras, the HDx2 allows a B4-mount 2/3” lens to cover the 1920×1080 area of the sensor. On the AF100, a B4-mount lens in combination with the HDx2 will cover the camera’s entire sensor, yielding a similar field of view as when the lens is used on a standard 2/3” camera, but now showing the depth of field characteristics of the 4/3 format.

We used a Hot Rod Tuner Kit to attach the HDx2, which also supports the lens properly and allows additional mounting off lightweight 15mm rods. We then used the rods to mount an arm for the Cineroid EVF and a Zacuto Anton Bauer battery plate, which powered the camera, viewfinder and the zoom servo on any ENG-style B4-mount lens (the Abel custom cable also attaches to the camera for record/stop control from the lens handgrip). The result is a camera setup which is quite small, very lightweight, balances comfortably on the shoulder (the adjustable EVF really helps in finding your personal sweet spot), uses any of the excellent and plentiful 2/3” lenses out on the market – all while giving 4/3 depth of field. Since the camera would be handheld using the lens’s servo handgrip, the AF100’s removable handgrip can be replaced with accessories such as a nanoFlash recorder, which can then be powered by the accessory battery. All this is possible at a price that’s surprisingly low compared to similarly-featured 2/3” camera systems.

Take a look at the video to see just how sleek the complete AF100 ENG Kit turned out.

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To see some demo footage I shot with this kit, check out my follow-up blog.

Recently Jem Schofield, from theC47.com, came by to check out the Panasonic AF100 and show us the new Sekonic 308DC light meter. This little light meter has several modes including one that makes it work perfectly with the AF100. In this mode the ISO, frame rate and shutter value can be set for matching to the camera. Previously, these features were only available in more expensive meters. Watch the video above to learn more about the meter and see how we used it to light a scene.

A few weeks ago, Jesse Rosen wrote an article explaining the technical definition of LOG-encoded video and how it differs from a viewing gamma such as REC709. To better understand how you might use LOG capture in production, I shot this video illustrating the differences.

REC709 is a monitoring standard for a final image; it is the contrast and color that generally replicates what you see to eye. But, it doesn’t necessarily show everything the camera’s sensor is capable of capturing. With the latest wave of Digital Cinema cameras, such as the ARRI ALEXA, the Dynamic Range detectable by our shooting devices has expanded dramatically, approaching that of film and pushing past what REC709 is capable of showing. To capture the imaging capabilities of these latest generation sensors, a LOG gamma can be used.

There are many situations where you do not have full control over lighting conditions, such as a bright window in the background or a city street at night. Even with full control, it is still common to color correct a project once it is edited together. If the image is captured in REC709, the ability to adjust the final image is limited by the contrast range already imposed on the image. LOG is a flatter contrast, allowing far greater image manipulation. Take a look at the video to get a sense of the difference.

The new Sony PMW-F3 has all of the functions of an XDCAM EX camera, and a beautiful Super-35mm size sensor. The camera is extremely versatile with a shallow flange depth, which means that a wide variety of lenses can be used with it. It also has a small form factor, which means it can easily be used for a variety of applications. In my F3 roundup article, I review all the available accessory options. The article details some of the most popular lens choices, such as the ZF.2 and CP.2 lenses from Zeiss, as well as their compatible adapters. I’ve also received many questions about how best to rig the F3 for accessories, so I discuss seven different setups that I’ve tested with the camera, including kits from ARRI, OConnor and Chrosziel. Read the entire Sony F3 Lens & Accessory article over on the Abel website.