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Photo 1: Micro Four Thirds–mountable lenses are available from Panasonic, Olympus, Cosina and Carl Zeiss.

Kujo Sanbongi, Freelance Photographer

AG-AF100 series: Impressions & ReviewsIn place of introduction

　The Panasonic AG-AF100 series is an interchangeable lens HD video camera recorder equipped with a Four Thirds image sensor. The lens mount adopts the Micro Four Thirds system with a short flange back distance. When combined with a mount adapter, a wide range of lens groups can be used.　The recording format is AVCHD, with multi-format support for worldwide use that includes 1920 x 1080/60i, 50i, 30p, 25p, 24p or 1280 x 720/60p, 50p, 30p, 25p, 24p. In PH mode, the camera recorder can record at maximum 24 Mbps.　SD/SDHC/SDXC memory cards are all usable as recording media. With the dual card slot, recording up to 12 hours is possible (when using two 64 GB SDXC memory cards in PH mode).A Lens Group Rich in Micro Four Thirds Offerings　A wide variety of lenses is available today for the Micro Four Thirds mount, with offerings from Panasonic, Olympus and Cosina, as well as Carl Zeiss. While lenses optimized for the camera recorder are still few, the selection is expected to multiply (Photo 1).

　The Panasonic Lumix G Vario HD 14–140 mm / F4.0–5.8 Asph. / Mega OIS lens incorporates handy features such as optical image stabilizer and autofocus (AF). However, the open F-stop varies greatly from F4.0 at the wide-angle end to F5.8 at maximum telephoto, so this lens is poorly suited for images requiring fine exposure. I’d rather choose a lens that gives a consistent F value at all zoom levels.　The Lumix G Fisheye 8 mm / F3.5 lens is so compact and even too compact for the AG-100 series body, but its imaging performance is superior to the alternative of fitting a fish-eye converter to a normal lens (Photo 2).　The supple imaging and shallow depth of field of the Voigtländer Nokton 25 mm F0.95 lens, sold by Cosina, is something only this lens can offer (Photo 3).

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Photo 2: It is easy to use a fish-eye lens such as the Lumix G Fisheye 8 mm/F3.5.

Photo 3: The Voigtländer Nok ton 25 mm F0 .95 delivers shallow depth of field at standard angles of view.

Ease of Use as a Video Camera Recorder　The greatest advantage of the AG-AF100 series is to be handled as a video camera recorder (Photo 4).■Well-balanced body　The body design is wide (left to right) and short (front to rear). Though results vary depending on the lens mounted, the AG-AF100 series is easy to hold and nicely balanced. The side grips and top handle are removable, so you can accessorize according to your shooting style. Because the grips are removable, the REC buttons are configured on both the side and top of the body.■Shutter speed settings　Whereas the shutter speed settings, which include synchro scan, were available using a button format on its previous models, in the AG-AF100 series they are operated using a dial at the rear. This dial can be locked to avoid unintentional jogging of the dial.■Built-in ND filter　An ND f i l t e r i s se lec ted by ro ta t i ng among Clear—1/4—1/16—1/64, and the operation feels like that

of a shoulder-mounted professional model.The ND filter does not need to be re-mounted every time the lens is changed, so settings can be made quickly in situations where time is precious.■LCD monitor and various assist displays　The high-resolution monitor correctly catches the highlights of the focus area, but the glossy screen is too reflective, making it difficult to view outdoors. In such cases, it is advisable to use the AG-AF100 series in conjunction with an electronic viewfinder (EVF).　Fortunately, the AG-AF100 seires is rich in features to assist with exposure and focusing during shooting, with a focus bar and exposure guide displayed at all times at the bottom of the screen. Also, if you switch on the EVF DTL display to emphasize contours and use the Focus-in-Red feature allocated to the User button, you will see the object in focus highlighted in red. This combination of features significantly reduces the stress of focusing using a small LCD.

　I was surprised to see that the AG-AF100 series comes standard-equipped with a measuring hook that helps to measure the distance between the object and the camera. For camera crew who need to focus with a shallow depth of field, this item is essential. Other powerful features include the waveform monitor and vector scope (Photos 5, 6).　The newly included Area Focus/Area Iris feature allows the user to select any area on the screen and perform focusing, ir is adjustment and Y (brightness) measurement on that area (Photo 7). Focus on the area automatically using auto focus, or search for focus peaks in manual focus while watching the focus assist bar. Area settings can be made easily and flexibly by means of the function knob.■Set your desired color temperature 　As with previous models, color temperature presets of 3200K and 5600K are available, as well as two manual settings, A and B. In addtion AG-AF100 series can set any desired color temperature. The A and B manual white balance settings also follow previous models in permitting adjustment of color temperature in seven steps up and seven down. However, I wish it were possible to adjust this in K steps, too.■HD-SDI output supports 24PsF output and Auto Rec　The AG-AF100 series comes equipped with HDMI and HD-SDI output, which supports embedded audio. With HD-SDI, 24PsF output is enabled during shooting in 24p mode. The AG-AF100 series can also simultaneously back up to an Auto Rec-friendly external recorder, such as the AG-HPD24, during shooting.FILM CAM Mode　The AG-AF100 series is equipped with a FILM CAM mode that is familiar with the Panasonic P2 camera recorder. In this mode, the P2 handles like a film camera, with variable frame rate (VFR), shutter angle settings, ISO film speed and other powerful features for professional, cinema-style video production. Formerly limited to 720p, its VFR function supports full HD (1920 x 1080) resolution thanks to the accelerated prcessing unit. 　The synchro scan of the shutter speed displays in shutter angle. I was pleased to find the preset of 172.8°, so that shutter speed is set to 1/50 sec., which syncs with the 50 Hz power frequency.

　The VFR feature enables over- and undercranking in 1080p mode in a range from 12–60 fps. Slow motion up to 2.5 x and quick motion up to 2 x are available in 24p (VFR is not available in 720p mode).　The SD memory card used by the AG-AF100 series requires Class 6 or higher writing speed. The AG-AF100 series will not write to anything slower (a warning will be displayed). In VFR shooting, audio is not recorded onto the SD memory card. However, audio can be output via HDMI or HD-SDI terminal.

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Photo 4: AG-AF100 series and Lumix DMC-GH2. Both incorporate a Panasonic 4/3-type MOS sensor—a similarity between two otherwise very different cameras.

Photos 5, 6: Waveform/vector scope display

Photo 7: Area Focus/Area Iris Photo 8: ISO display in FILM CAM mode

　When the VFR feature is ON, AF is unavailable; the feature works with manual focus (MF) only. This is not a major drawback in my view, as most people who use this type of camera in FILM CAM mode are unlikely to use AF much.　The gain (sensitivity) switch has three settings—M, L and H—each of whose values can be set by the user (Photo 8). Gain is displayed in ISO in FILM CAM mode and in dB in VIDEO CAM mode. Showing ISO gain makes easy to use in conjunction with an external exposure meter. The effective gain of the AG-AF100 series sensor

is equivalent to ISO 400. Based on 0 dB in ISO 400, an ISO 200 corresponds to a negative gain of –6 dB in VIDEO CAM mode.Moderate, Easy-to-Use Bokeh　The large sensor, roughly equivalent to that of 35 mm movie film, makes it easy to express video effects using bokeh. I performed a comparison at the same aperture as the EOS 5D Mark II (35 mm full-size) and AG-HMC150 seires (1/3 type).　Video captured by the Four Thirds sensor is reasonably clear with moderate bokeh. The EOS 5D Mark II, whose

sensor area is roughly 4 times as big, creates much more bokeh. Previously, with the 35 mm full-size EOS 5D Mark II, I was often frustrated by video results that were too bokeh (too “photogenic,” to phrase it more generously). The Four Thirds sensor was just right for me, as the bokeh was much easier to handle. The AG-HMC150 seiris, incorporating a 1/3-type sensor, is no better than pan focus in my estimation (Photos 9–11).　Outstanding Imaging in a Video Camera Recorder■Image quality using ISO 3200　 ISO 3200 in F ILM CAM mode i s equivalent to a gain of 15 dB in VIDEO CAM mode. Increasing the gain in dim lighting may result in noise, so select an appropriate value according to the purpose of the shoot. Video captured on the DMC-GH2 with the same settings produces a darker result but little noise, possibly due to differences in video processing. The AG-AF100 series produces more natural imaging without undue darkness.■Rolling shutter　Compared with the DMC-GH2, which adopts the same 4/3-type MOS sensor, the sensor response on the AG-AF100 series is quicker, dramatically reducing the “rolling shutter” phenomenon (Photos 12, 13).　In my tests of cameras equipped with CMOS sensors, I adopted the simple but severe test of recording a train passing in front of me at high speed. When I saw the video I’d captured on the AG-AF100 series, I was amazed at its effectiveness in reducing distortion. Different shutter speeds also proved the same kind of results.

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AG-AF100 seiries, Voigtländer NOKTON 25 mm F0.95, with aperture F2.0

AG-HMC150 series, approx. 8 mm, with aperture F2.0

EOS 5D Mark II, EF50 mm F1.4 USM, with aperture F2.0

Photos 9–11: Bokeh is just right with the AG-AF100 series.

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Photos 12, 13: I confirmed that the AG-AF100 series significantly reduces the rolling-shutter effect.

Shooting with the DMC-GH2, Lumix G Vario HD 14–140 mm / F4.0–5.8 ASPH. / MEGAO.I.S., 25 mm

AG-AF100 series (Partly expanded below)

Photos 14–17: The AG-AF100 series adopts a low-pass filter optimized for HD video shooting, which successfully reduces color noise (aliasing).

EOS 5D Mark II (Partly expanded below)

Shooting with the AG-AF100 series, Lumix G Vario HD 14–140 mm / F4.0–5.8 ASPH. / MEGAO.I.S., 25 mm

■Antialiasing　One recurring problem in digital SLR video is aliasing, which is a false color noise that can occur in the details of fine contours in the subject. The AG-AF100 seiries adopts a low-pass filter optimized for HD video, which successfully defeats this problem. In actual comparisons of video results, the differences are immediately obvious, as this false color noise is almost completely eliminated (Photos 14–17).　★ ★ ★　First of all, I was struck by how the AG-AF100 series is not just a camera recorder version of the DMC-GH2, but is truly a complete camera recorder. Unlike previous digital SLRs with video recording features, this camera has the same ease of use as a camera recorder. Users of Panasonic’s AG-HPX170 series and AG-HMC150 series, which use the same interface, will be able to use the AG-AF100 series expertly with no difficulty. The ND filter is built-in, there are plenty of video adjustment options, and audio recording of XLR input is easy. The sensor does not overheat and shut down recording during extended live viewing, as happens with digital SLRs. I was pleased to see that the AG-AF100 series can be used normally as a camera recorder.　The aperture of the AG-AF100 series can be opened up for soothingly bokeh backgrounds, or closed for great pan-focus shooting, making this camera a great choice for creating high-quality video products with moviemaking styles.