I cover Cameras, Lenses, Camera Support, Audio, Lights and the Rest of the Kit. You’ll find solid, usable information about what I’ve found that works during the 30 years or so I’ve been a video producer.

You’ll find recommendations for Beginner, Intermediate and Advanced shooters. Plus I make specific comments for Photographers, Video shooters and Aspiring Film Makers for each category.

Now Available on Kindle!

Previous versions of the DSLR Video Buyer’s Guide have been available as a PDF only, purchased through ClickBank.com. I made a decision to move distribution to Amazon.com and you benefit in several ways:

• If you’re an Amazon Prime member you can download the entire DSLR Video Buyer’s Guide at no cost – zero, nada, for nothing! The Guide was accepted into Amazon’s new Kindle Owner’s Lending Library program and that means you can read the book at no cost on any Kindle reader.
• The price has been reduced to almost half of the PDF version so even if you decide to buy from Amazon you’ll save more than 50% of the previous price.
• You still get all the great information, all the links to the equipment online resources, and you can read it on most any computer with free readers.
• I give you a link in the book where you can subscribe to all future updates. And you can download a PDF copy at no cost when you subscribe.

Here’s the best overview and tutorial I’ve seen yet on Final Cut Pro X.

It’s over at Ken Stone’s blog and covers everything you need to know about this amazing update.

The big question is… do you need to get it right now?

If you’re editing projects regularly with the old Final Cut Pro you can’t import them into the new version. And you can’t export projects from FCP X to the previous version.

That means you’ll need to make a fresh start for projects that you’re sure can be completed in FCP X.

You also can’t do ’round trips’ between any of the apps bundled in the old version of Final Cut. If that’s part of your workflow this is not the time to make the switch.

But, if you’re just getting into DSLR video you’re going to love FCP X!

Bringing all kinds of footage into the editor is easy and simple. That’s the theme for everything here – easy and simple.

This tool will bring the power of high end video editing to millions of people. Just not the professionals who already use the suite of tools in the old Final Cut Pro.

Will I use it?

Yes, I’ll test it out on projects that make sense for this tool. And, from what I can tell, there are things here that may make it my first choice for future projects. Especially when some of the 3rd party vendors get their plugins ported to the new system.

Check out the overview and tutorial. The download a copy and let me know what you think.

If you’re looking at to get into DSLR video you’ve come to the party at a great time. The Panasonic GH2 and Canon 60D are high quality still cameras that designed to shoot video better than anything else on the market. That’s right, I said better than anything else on the market.

Then one reader asked:

I was wondering if you could compare the Canon 60D and the Panasonic GH2. I would mainly be using the camera for video production. Am torn between them. Any insights or advice you could provide? Thanks!

So, here’s how this looks to me.

Panasonic GH2 – DSLR?

Okay, let’s get this out of the way right now. Yes, the Panasonic GH2 is not a really a DSLR. It has no optical viewfinder fed by a mirror that flips up out of the way when you take a picture. Is this an important distinction? Not if you’re shooting video.

When you shoot video with a DSLR the mirror is locked into the up position and you use the LCD screen to frame your shot. If you’re shooting stills for a living you’ll likely be more comfortable with a the optical viewfinder but for video you’re either using the LCD or tapping the camera for an external monitor. And that’s true of all DSLR’s.

Take A Look At This…

And, speaking of LCD’s, this is one of the reasons why these two cameras are better for video than other DSLR’s. Both have articulating LCD screens. You can flip the LCD out and adjust it like virtually all video camcorders. You now longer have to keep the camera at eye level to see what you’re shooting.

And, speaking of seeing what you’re shooting, one of the features of the GH2 is clean HDMI output. Not only is it perfect for feeding an external HD monitor, the HDMI output on the GH2 is uncompressed 4:2:2 8bit like the AF100. That means you can add an external recorder like the KiPro and the GH2 delivers 100Mbit ProRes 422 video.

The Canon 60D has a higher quality LCD on the camera but it suffers the same fate as other Canon DSLRs (except for the 7D). When you hit the record button the HDMI output drops from HD to SD.

So, this point goes to the GH2. In some matches, the ability to output clean HDMI alone would be the end of the story, making the GH2 the game winner.

Testing 1, 2, 3…

Both of these cameras give you simple manual control of the incoming audio level and they both have a stereo microphone input. Even if all you use it for is reference audio, it’s great to have that reference be a usable audio track when you get to edit. And if you plug in a decent microphone you can get much better than just usable audio.

The GH2 also has on screen audio levels which makes it even easier to get good audio. While I recommend treating on screen meters as an indicator that you’re getting audio rather than accurate tools like professional VU meters, it’s way better than nothing.

Production units are not easy to find yet so we don’t know if the audio is adjustable while shooting with the GH2. But a little testing before shooting and keeping the audio safely below peaking should do just fine.

And this point goes to the GH2.

Codec – Compressor/Decompressor

Also, my perspective about the two codecs these cameras use is simple: it doesn’t really matter.

• Neither codec is used by high end professional video camcorders.
• Both codecs lose important information.
• Both keep the most important details intact.
• Unless you’re editing with Adobe Premier CS5 you’re going to need to transcode your footage from either camera to a format better for editing

In the overall workflow of a production it doesn’t make any real difference. Whichever camera you use you’ll need to learn the limits of the system and how to get the best compromise for your type of production. Yes, it’s apples and oranges but they are both still fruit.

All this is true as long as you’re dealing with recording directly to the SD card in the camera. But with the GH2 you have the option of recording the HDMI output as 100Mbit ProRes 422 video. And, like I said, that makes it a superior choice.

Sorry Canon, point goes to the GH2.

We don’t need no stinking adapters

One of the biggest differences in these two cameras is the lens mount. The Canon 60D uses an EF mount while the Panasonic GH2 uses a micro four thirds. Note that this is “micro” four thirds – there is a normal four thirds mount as well.

On B&H right now, there are 237 lenses that match a Canon EF mount. There are 20 lenses for micro four thirds mounting.

Even more importantly, if you want to take advantage of the continuous auto-focus or the touch sensitive auto-focus features of the GH2 you’ll need to use the kit lens. Otherwise, you’ll need an adapter.

Panasonic says their DMW-MA1 Mount Adaptor “takes advantage of various functions of the DMC-GH2.” There are some Panasonic normal four thirds lenses that use some of the features meant to make video focus easier.

If you want to shoot with Canon or Nikon lenses on the GH2, you’re pretty well limited to an adapter with no electrical connection so you’ll need full manual control on the lens.

The Canon 60D will work with all EF lenses right out of the box. Of course, it doesn’t have all the auto focus features of the GH2 and you’ll still need an adapter to use those low-cost Nikon manual primes.

More options for lenses gives this point to the Canon 60D.

I’ll see your 1.6x crop and raise you 2x plus 1:1

Both of these cameras will crop the image of a full sensor lens. Cropping makes the lens look like a longer lens.

The Canon 60D has 1.6x crop while the Panasonic GH2 has a 2.0x crop. That means a 50mm lens on the 60D will look like an 80mm lens on a Canon 5D. The same 50mm lens on a GH2 will look like a 100mm lens on the 5D.

This is a good thing if you need more telephoto reach for your shots. It’s not a good thing if you need more wide angle coverage.

But, with either camera you’ll have to deal with this effect. If you absolutely need the wide angle full sensor look you’re going to have to go for the Canon 5D.

On the other hand, the sensor size of the Canon 60D and GH2 are closer to the standard for traditional motion picture film cameras and that “look” is acceptable around the world.

But wait – the GH2 has a special trick up it’s sleeve. It’s called the 1:1 (one to one) mode.

The full set of pixels in the GH2 sensor will create a 16 megapixel still. That’s a lot more than HD video can handle so the camera down-samples the image to make it fit.

The GH2′s 1:1 mode takes a 1920 x 1080 image from the center pixels on the sensor and sends it direct to video. It makes your lenses even more telephoto but it also captures a stunning HD video image with no artifacts from down-sampling.

No contest here – GH2 gets the point.

Shift Happens

On of the reasons people love DSLR video is the shallow depth of field. And what good is shallow depth of field if you don’t shift the focus while you’re filming, taking the viewer with you from the distant vineyard covered hills down to the lip of the wine glass on the table.

For most people, this means investing in a follow-focus so they can precisely and smoothly control the focus. You can spend from hundreds to thousands of dollars on a follow-focus and you’ll need to spend many hours to become a master of using one.

The Panasonic GH2 offers touch screen auto-focus which shifts the focus from whatever you touched to whatever you touch next. You won’t get the same precision you’ll get with an experienced hand on a high quality follow-focus but it’s likely to do the job for most people.

Panasonic claims it will even hold focus on faces when people move through the frame. This type of auto-focus for video can really makes sense for most projects.

This point goes to the Panasonic GH2.

The Bottom Line

Adding up the score we get five points for the GH2 and one for the Canon 60D. I didn’t even get into the “intelligent” GH2 features that may help you shoot better video. And then there’s Panasonic’s Cinema Mode which not only shoots 24p, it sets up the camera for a very film-like profile. There’s just no other DLSR that comes close if you’re planning to use it for shooting video.

And that is a point worth considering for one more moment.

The Panasonic AG-AF100 uses the same sensor as the GH2. But it comes in a body made for shooting video. It has the same micro four thirds lens mount so you can work with a variety of lenses. Add in XLR microphone inputs, headphone jack, etc., etc., etc. and you’ve got a high quality, film-like video camcorder for professional use.

The GH2 is a still camera that shoots video. Amazing video, especially for the money. But it’s not a video camcorder.

So, it you have the budget or if you’re shooting video as a professional you’ll likely be happier with the AF-AG100.

But, if you’re looking for a DSLR that shoots great HD video the Panasonic GH2 is the only way to go.

Leave your comments and let me know what you think.

-a-

PS – just to be clear… I have not shot side by side comparisons of these two cameras. The GH2 is just now being released on the market and there’s not much real-world experience with it. My conclusions are drawn from personal experience and tons of research. Also, my values and perspective are not the same as yours. I always recommend getting your hands on the gear and finding out what works best for you.

First official look at the Panasonic AG-AF100 – will this be the end of DSLR video?

There’s no footage on the site, no release date and no price.

But it’s clear that Panasonic is going to be the first camera manufacturer to release a camera that shoots like a DSLR but has features made for professional film and video production.

Here’s what you’ll like about this:

• HD-SDI output for true HD monitoring and recording direct to disc (uncompressed output? not defined at this point).
• XLR mic inputs supporting professional mics and systems (can we assume standard audio controls and meters? – it would seem likely).
• Records to two SD cards rather than CF cards and can work with 64GB SD/SDHC/SDXC cards.
• Records continuously to the two cards – no more 12 minute limit for clips.
• 1080 from 59.94i to 23.98p and 720 from 50p to 23.98p to fit most project requirements.
• Dynamic Range, Gamma Select and other image features inherited from previous Panasonic professional camcorders means you can get the look you want in-camera or create your own super-flat profile for more flexibility in post.
• Designed like a professional video camcorder with a form made for shooting video and variety of buttons and controls (full functionality not defined at this point).
• Standard 4/3′s DSLR lens mount plus adaptor for standard PL mount film lenses – your current lenses may work and you can go for professional film lenses when you need them.

Here’s what you may not like about this:

• AVCHD recording format means high compression – the copy on the site does promise “maximum AVCHD bit rate” in a professional PH mode but exactly what that means is not defined.
• 4/3-inch sensor will not have the same look as a full size sensor on the Canon 5D and it’s even more cropped than the 7D and T2i – 2x versus 1.6x (more on this later).
• Price is an unknown but, as reported here and other sites, the list price when this camera was announced was $6K USD – less than a pro video camcorder but more than the cost of three Canon 7D bodies or eight Canon T2i bodies.

Let’s talk about the effects of the sensor size first.

The Micro 4/3 sensor on the AG-AF100 measures 17.3mm x 13mm. The APS-C sensor on a Canon 7D measures 22.2mm x 14.8. That means the Panasonic has a 2.0 crop factor. And that means a 50mm lens on the AG-AF100 will look like an 80mm lens on a 7D and a 100mm lens on the Canon 5D.

If you need a wide angle shot, you’re going to need an extremely wide angle lens.

On the other hand, you’ll get great telephoto shots with normal lenses with this camera. It all depends on how you look at it and what your needs are.

More information about sensor size here.

As for image quality, that’s the sum of many factors.

A Micro 4/3 sensor is still much larger than the sensors in most high-end HD camcorders so you’ll still be able to get the shallow DOF we love in DSLR cameras. Not as much as on a 5D but more than a regular video camcorder by far.

Another important factor in image quality is the compression rate of the camera. If you can tap the HD-SDI port on this camera and record uncompressed video straight to a disk the resulting image will be stunning. You would need to spend many times over the cost of the AF-AG100 to get a higher quality image. That’s a big “if” right now as we have no data.

However, the files recorded to the SD card system in this camera will be highly compressed. Until we see actual footage we won’t know how well Panasonic managed the compression.

And, while it is possible to edit AVCHD clips directly in a timeline of some editing systems, you will almost always gain more than enough flexibility to make transcoding a good idea. You may even save enough in final render time to regain the lost time in your overall workflow.

What’s Interesting

• While there’s a view finder on the back of the camera, there’s no LCD monitor visible on the camera. It looks like there’s a fold-out panel on the side that is likely an LCD monitor.
• There will be no auto-focus. While this means nothing to all film and professional video shooters, I’m always amazed at the interest in auto-focus while shooting with a DSLR. It must be something that photographers are into but they won’t find it here. All the lenses that fit this camera are manual focus only. Looks like you’ll need a decent follow-focus for the budget as well.
• No electronic zoom either. The film shooters and photographers don’t care about this one but those video guys are so used to just hitting the zoom rocker for lovely sloooow zooms. Zooming while shooting on this camera will take a very steady hand.

I expect a lot of moaning and groaning from all sides. The T2i market will complain about the price and the 5D market will complain about the sensor size and the price. The video market will complain about AVCHD compression versus RED codecs. Sony lovers will complain about Panasonic user interfaces and wonder why the Sony didn’t include XLR and HD-SDI connectors on their new camera.

And, in the middle of all this, a bunch of people looking for a great camera at a great price will jump on this and start making the films they’ve been dreaming of.

With the original announcement, the release date for the Panasonic AG-AF100 was “the end of 2010.” It looks like they are serious about that date. We’ll stay tuned for more information.

And, no, this isn’t the end of DSLR video. I believe it’s the start of a transition to a new category of video cameras and it’s a great thing.

Magic Lantern is coming to the Canon T2i (550D).

Magic Lantern – 550D/T2i port from Trammell Hudson on Vimeo.

If you want to shoot high-end video with this camera you’ve had to use a separate microphone and audio recorder to capture high-end audio. That’s all changing.

Magic Lantern is a firmware hack for the Canon 5D MarkII that turns off the auto-gain in the audio recording section of the camera. It adds stereo audio meters, audio level control and other features to make the camera more usable for professional video recording. Now it’s coming to the Canon T2i (55oD).

Here’s what the programmer of Magic Lantern has to say:

I am very proud to announce that we have started support for the Canon 550D / T2i in a branch of the Magic Lantern tree. Thanks to the assistance of arm.indy and an anonymous contributor, we were able to sign an initial Magic Lantern firmware image and port the existing code to work with the version 1.0.8 firmware in the 550D.

The first version will have audio meters, lens data and maybe manual audio gain plus monitoring on the A/V jack. I haven’t found the liveview video ram device yet, so zebra stripes and histograms won’t work for a little while. There might also not be a menuing system initially since there are no “spare” buttons on the 550D in movie mode and we still do not have a way to integrate with Canon’s menus.

Here’s the link to the thread on dvinfo.net.

This is “pre-alpha” – right now he’s demonstrating audio levels only and the installation process is complicated.

Here’s the link to the installation instructions and file download.

I do not recommend installing this version. Wait until the beta version with all the features is ready. You may be wise to wait until a fully tested 1.0 version is released.

Still, this is exciting news and I’ll be giving it a try as soon as the beta is ready.

Leave your comments and let me know what you think.

-a-

Canon has released a firmware update for the T2i (550D) that fixes a problem where the set aperture moves unexpectedly when shooting movies in manual exposure mode.

http://web.canon.jp/imaging/eosd/firm-e/eosdigital7/firmware.html

I had not updated my T2i since buying it so I was on version 1.6. The new firmware update is version 1.8. I missed a version.

When I buy software I always run the update checker to make sure I’ve got all the current changes. Sometimes I have to run it more than once for system software as the updates have to be installed in sequence.

I know some people rarely update their software deliberately. They may have had an experience where the update fixed one problem and caused a few more.

I’ve had that happen, too. But I find the software developers are usually working on clearing things like this up as quickly as possible so I’m believe in updating early and often.

Note that this firmware update is from a Japanese Canon site, not the main USA Canon site.

When I checked the main site I found no firmware update listed for the Canon T2i (550D). Everything on the Japanese site looks legitimate so I installed the update. So far, everything works perfectly.

The instructions are in English for Windows and Mac. It looks more complicated than it is. Basically, you download the update, copy it to an SD card, put the SD card in your camera and run the update.

Just make sure you’ve got a good battery or are using an AC adapter on the camera. Evidently lowing power in the middle of a firmware update can “disable the camera”. That means it’ll be dead and you’ll have to take it to a Canon repair shop.

Ah, the joys of modern technology!

-a-

While most attention in the DSLR video world focuses on Canon cameras, the Panasonic GH1 camera was an early contender in this market. A persistent programmer has hacked the firmware on this camera with stunning results.

Longshan’s People Part II – 50Mbit GH1 MJPEG from Andrew Reid on Vimeo.

Do yourself a favor and go to Vimeo to download this video. It’s worth watching in full HD.

Obviously, Andrew knows what he’s doing with a camera and has chosen a beautiful exotic subject. The sound track fits perfectly and his rough edit makes the most of his clips. And, considering his subject, I believe I can feel a sense of reverence in the work that carries through the video as well.

But the star of the show is a technical fact. The hacked firmware is allowing his GH1 to capture video at high data rates, as much as 50Mbit 1080p.

In other posts I’ve talked about how the quality of a video image from a camera is due to more than just the sensor size. The GH1 has a smaller sensor but this firmware hack results in less compression of the captured bits as they flow to the card. It’s a winning combination.

While the changes to the camera may not be easy for everyone they are programming changes and do not violate the warranty. You can change the programming back to the factory standard just as easily.

Also, the data rate is variable and the camera shifts the rate up to deal with more complex images. Evidently, it can shift the rate up enough that is can’t sustain the video recording for more than a few seconds on some shots.

To deal with this Andrew alternates between using the MJPEG video format and the 32Mbit AVCHD format. Like I said, this may be too much for some people to deal with but it’s very much in the spirit of exploration that is part of shooting DLSR video.

You can read the full details on his blog post.

Will someone come up with the same hack for Canon cameras? After seeing this, I hope someone is working on it.

Want a quick look into the future of video camcorders from Sony?

I think you’ll like what you see.

In my last post I talked about the just announced Sony NEX-3 and NEX-5 cameras and why their HD video functions were not quite going to cut it for ‘real’ video production.

But Sony has released a sneak peek video of a camcorder in development that is likely to be worth a serious look. No specs yet.

Well, there is a little bit of info on the Sony blog.

This video is a very early look at a AVCHD high definition camcorder featuring an interchangeable lens system still in development at Sony. The details are few, but we can tell you it will be equipped with the same “Exmor” APS HD CMOS sensor used in Sony’s newest digital still cameras, models NEX-5 and NEX-3.

Followed by…

In addition, the camcorder will be compatible with “E Mount” interchangeable lenses developed for NEX-5 and NEX-3, and also the wealth of “A Mount” interchangeable lenses from the existing “α” DSLR camera lineup via a mount adapter.

Okay, here’s a look at their video.

How’s the view so far?

• It looks like a camcorder and that means it should have mic inputs, audio level adjustments, headphone jack, and meters so you can record decent sound.
• It should shoot longer than 12 minutes for a clip so you can record events in the real world.
• And it shows a view finder that flips out, swivels and allows monitoring what you’re shooting when the camera is not at eye level.
• As a Sony camcorder it should have manual control over shutter speed and exposure. They’re using so much of the same tech as the NEX-3 and NEX-5 I’d bet on the same autofocus system. Hopefully it will have an easy way to turn it off.
• And you’ll be able to mount manual focus lenses to the body even if it means using an adapter – like that nice Zeiss lens they flash through the scene.

So far, so good.

• The issues of rolling shutter from a CMOS sensor will hopefully be dealt with successfully but we’ll have to see how well Sony does. But they have other CMOS camcorders that have minimal rolling shutter issues so there’s hope.
• And there’s the AVCHD format for the recorded video. I’m working on a post about this format as so many cameras are using it and it’s still difficult to work with in a computer. That depends on the computer and software you’re using – Premier on Windows seems to be okay. Still not much that’s great on Mac but I’m looking into this.
• You lose the cool DSLR stealth-video factor but I think that’s not really that important to most people.
• This will still be a very light camera so you’ll need good camera support for steady shots. Especially if you load up one of those larger lenses on the front end of this thing and need to shoot for more than two minutes!

Am I excited?

You bet.

I know that camera choices are a religious issue and there are plenty of people who would never choose to shoot with a Sony much less own one.

But I’m on the other side of that. I’ve used Sony cameras for a long time and I’m very comfortable with how they feel, the menu structure, and the look of them. I like Sony, plain and simple.

It’s due out this fall and I’m sure we’ll see more of it before then. What do you think – would this kind of camera work for you?

Something about the Sony NEX-5 and NEX-3 caught my eye. Small, light weight, HD video, interchangeable lens…

I mean, just looking at the pix of these cameras made me want one. I decided to take a closer look. Here’s what I found.

On the positive side…

• The cameras sport a new lens mount with a trio of lens that cover a decent range plus an adapter so you can use other Sony lenses. Interchangeable lenses in a camera at this price and size is pretty cool.
• These cameras use Sony’s new CMOS Exmor sensor and processor technology designed for video as much as for stills. This means fairly low noise HD video.
• They record in stereo audio and have an optional external stereo mic that can be mounted on the camera hot shoe.
• They record to both the Sony Memory Stick PRO Duo (including Memory Stick PRO-HG Duo )and SD cards (including both SDHC and SDXC formats). Lots of choices for inexpensive media that matches what you already use.
• The LCD view finder tilts to help frame and focus when the camera is not at eye level.

On the not-so-positive side…

• There is no manual control of audio, no 1/8″ external microphone jack and no headphone jack. If you want decent audio you’ll need a dual system like any of the DSLR cameras on the market today.
• While these cameras do a better-than-average job of autofocus while shooting video that is a feature only useful to a consumer. Autofocus is one of the first things you should turn off when shooting serious video. You don’t want the camera deciding what the focus of the shot should be.
• There is no manual control of exposure. They provide some easy-to-use exposure control running the great tech inside the lens. Good for consumers, not for setting up great video shots.
• There is no manual control of shutter speed. That’s fine for home movies. Not so fine when you’re trying to get great film-like clips for your short feature.
• The NEX-5 can shoot 1080i60 HD video recorded in AVCHD format or 720p30 HD video in MP4 format. The NEX-3 shoots in 720p30 in MP4 format only. You’ll want to transcode either of these formats for editing. If you’re on a Mac you’ll need an MTS video player like free open-source VLC just to view your clips. Transcoding AVCHD on a Mac is still an issue. Windows users are a little luckier.

Of course, you can always use an adapter and go with a full manual control Nikon lens. Older Sony alpha lenses should give more manual control – depending on the lens.

But it’s you’re doing that, why wouldn’t you spend a little bit more and get a Canon 7D with manual control over so much more that’s important for video?

Want to see how the video looks for yourself?

Here’s a link to a solid review including downloadable raw footage showing the 1080i60 and 720p30 modes of an NEX-5. Lots of good info from a photographer/home video perspective.

Here’s the official Sony press release

These cameras are  priced from USD $550 to $750, available for pre-order with delivery scheduled in June 2010

Bottom-line: If you need to shoot video for serious projects you’ll likely run into enough issues with either of these cameras to make you wish you’d gone with something else. Like I said, close but no cigar.

But they are so hot – I still want one!

Here’s a great video from FreshDV.com right from the NAB floor with a Panasonic executive giving solid info on the new AG-AF100 4/3″ camcorder.

freshdv_nab10_Panasonic

So, it looks like pricing has been announced at around $6,000 – more than I thought. This puts this camera into a range with several other highly respected cameras but the feature set it offers may make it worth every penny.

Jan Crittenden Livingston, the Panasonic executive being interviewed, confirmed that the HD-SDI out was uncompressed so if you want serious picture quality this baby will get it.

I’ll leave the AVC/H.264 discussion for another post but she did mention converting the footage from the camera into ProRes HQ for pulling a green screen key and that is likely the work flow you’ll need. Editing MPEG4 video directly in a timeline is not the most effective work flow making conversion to an editing format pretty well necessary.

But nothing new there. Like I said, I’ll take up this discussion in another post.

She also confirmed delivery for late in 2010. December was the month mentioned and product delivery schedules from here to there can slip a lot.

Although much of this camera can be built using off-the-shelf parts. There is no new technology here. From the sensor to the card slots, the mic inputs to the output selections, Panasonic has been building units with all these parts for a good bit.

I know it’s still more than just getting a prototype to work to have a unit actually in production but their aggressive schedule for delivery seems like it could happen.

Livingston mentioned that they brought in a lot of film makers and the requirements for this camera came from those discussions. One thing that caught my ear was a brief mention of including low-pass filters to eliminate aliasing. And then there is the inclusion of ND filters for shooting outside in the sun.

Having used ‘regular’ camcorders for years and shooting with a DSLR for the past year or so, it will be great to finally get the best of both worlds in one unit.

Personally, I like Sony video cameras. It’s not so much the technical performance, though Sony holds it’s own by any standard. It’s that I’m very comfortable with their ergonomics, menu structures and feel in my hand.

I spent over two hours trying to figure out a Panasonic camcorder recently and never completely succeeded at getting basic configuration settings in place.

But this camera could make it worth going through the learning curve to get used to Panasonic’s interface. I look forward to seeing real footage from it soon.