Size matters: Sky News Beijing bureau cameraman Andy Portch reports on a year with the Panasonic AF101 and GH2 cameras.

By Andy Portch

A full size HD broadcast camera is picture perfect and looks impressive. The large camera also screams “TV Crew” and too often gives a ‘warped’ view as people react to the big camera or simply turn it away. My previous experience shooting news with the Canon 5D mkII was a visual triumph, but the paraphernalia and workflow was overwhelming. I want to keep the big camera craft, but in compact form.  Twelve months ago the Micro four thirds (MFT) system caught my eye. The Panasonic AF101 and smaller GH2 stills/video hybrid cameras are cross compatible, sharing lenses and shooting the same AVCHD format. The AF101 is also significantly cheaper and smaller than the alternative Sony F3.

I went ahead and purchased the AF101 (AF100 in the USA) because it has all the video camera features: Neutral Density (ND) filter wheel, XLR audio inputs, Variable Frame Rate, SDI output and a dial in white balance. The AF101 ND filter wheel is the critical plus factor for me. I would not recommend any video camera without built in ND filters. I almost love the AF101 except for this – focus, focus and focus. Achieving critically sharp images is extremely difficult. I lobbied Panasonic hard for a better Electronic Viewfinder (EVF) and one-to-one pixel mapping magnification to no avail. I guess it will likely be in Panasonic’s next large sensor camera and I’ve now accepted the need for an external Zacuto EVF in my kit.

In the bureau with the Panasonic GH2

Working alongside my AF101 I have the GH2 which is small and discrete, with improved video functions over my old Canon 5D mkII. The GH2 has a crisp EVF with image magnification which means you don’t need an LCD loupe. Depth of field is shallow, but more manageable for video than a full frame sensor. I can still use manual full frame lenses with low cost adapters. In fact the beauty is I can carry the same creative stack of lenses for use with my GH2, GF2 or AF101 video camera.

My trusty Billingham bag (16inches/40cm long) was the defining maximum size for the AF101 rig. If the compact camera concept ended up the same size as my shoulder mounted P2HD ENG camera then I’d failed. It had to be ready to record straight from the Billingham bag in broadcast HD quality. Plus I wanted to be able to put it either on my shoulder, on a tripod or on a flat surface without it falling over or needing any further assembly.

I’ve used the combination of GH2 and AF101 extensively this year and to illustrate various points and lessons learned about the cameras’ use I’m going to refer to a portfolio of five news stories which I’ve done. Each is shot with Holly Williams, my correspondent in the Sky Beijing bureau. She has supported my tireless and sometimes tiresome quest for better imagery:-

Chinese Hackers: (Shot with AF101 and Zeiss/Contax CY prime lenses)

EXTRACT Sky News Chinese Hackers and Baby Buying stories from Andy Portch on Vimeo.

This was an alarming story given the ease this young computer hacker accessed our email and credit card passwords! I shot in a darkened room with a bit of Kessler Pocketdolly slider movement. I loved it. Despite recording in AVCHD I had comments from colleagues about how wonderfully sharp it was.

The Kesslercrane Pocketdolly/AF101 combo works well

Most manual focus stills full frame 35mm lenses are perfectly adaptable to MFT with a two times magnification factor (x1.86 with GH2). The Zeiss CY are easily cine modified, aperture de-clicked and damped. They have a comfortable focus throw and gorgeous Zeiss image quality.  The old Zeiss CY 50mm f1.4 is a gem. Canon FD is also a good manual lens option if you don’t have the budget for Zeiss. More expensive adapters now exist for Canon EF lenses with their electronic aperture. I haven’t personally used Nikon lenses because they focus in the opposite direction.

Low light shooting on the Chinese hacker story

Shooting in low light with raised ISO has not been a problem for me with the AF101. I did one shoot in a very dark whisky bar and was pleased how little video noise showed in the shadows. However the AF101 does not handle highlights well. In it’s Cine gamma modes camera knee is disabled. Unless blown highlights are out of focus they look awful. Underexpose a touch and the problem goes away. I’ve tweaked my Cine Gamma settings, and still have fairly vivid colour and contrast. I do grade, but if I like the ‘look’ straight from the camera I have the option not to grade for a rush news edit.

Ergonomically the camera had been proving hard for me to handhold but I had a ‘eureka’ moment when I started using a side support bracket and wooden handle/video trigger made by Olof Ekberg of Westside AV. The AF101 top and side handles unscrew to add accessories or brackets very easily. Not only was Olof’s side handle more comfortable, but at last I knew where the record start/stop button was. I’m also using a short padded tail plate to the side bracket that places the AF101 camera on my shoulder, but without moving the centre of gravity forward. It makes a real difference when trying to get stable handheld shots.  

Baby Buying: (AF101 and Nanoflash recorder)

The police arrive on the scene during our baby buying story

I shot sequences for a story about a Chinese baby buying scandal, mainly with a Voigtlander Nokton 25mm f0.95 and Zeiss primes. Again the Kessler Pocketdolly gave lots of positive feedback. The slider is a creative bonus, but when your interview subject is jumpy and really wants to head for the door, it takes nerve to create steady moves. There is a ‘should we use a slider for news’ debate (not least on this very blog). I use the slider with an awareness of when perhaps it is not appropriate as much as when it is physically possible. 

The twin sister of a girl who was taken

The compact system is extremely lightweight and my back loves it. Lighter cameras mean lighter accessories. Everything on my AF101 and GH2 has the same Manfrotto 394 quick release plates. I can move easily from one piece of kit to another. For a tripod I use a Miller DS10 head on Solo carbon fibre legs; lighter, higher and lower than my regular Sachtler Video18P. Along with it I carry the compact Kessler V2 Pockedolly that works a treat (especially now I have fitted the optional carriage brake).  If I’m in a controlled environment then I use the SmallHD DP6 which is a rugged and sharp field monitor. A single Canon LPE6 battery will last a morning on the DP6. The only downside to my dp6 is a yellow cast when you first switch on.

China Tibetan region: Self Immolating monks. (GH2 video DSLR)

A monk prays

I’m used to working as a journalist in China – being harassed and my work interfered with by police and plain clothes thugs. The GH2 has shown its value, getting quality video in sensitive locations. (Its baby brother the GF2 has also been used by out team, including for a Bangkok ‘Lady boys’ documentary). In Sichuan province the police were all over us. We did every dodge in the book and over a couple of days managed to get images of temples and monks to tell this story. We also shot material we could not broadcast for fear of what would happen to those we’d met. Security is so tight in the Tibetan areas of Sichuan province. Monasteries have police stations and the authorities knew exactly where we’d been. We were soon sent to the airport.

EXTRACT Sky News Stories Tibetan Monks and Boeing Dreamliner from Andy Portch on Vimeo.

For this story the GH2 did its job, but the lack of built in ND filters was a mess. I’d opted against the variable ND (which I’d found soft on my 5DmkII) in favour of screw in ND8 (3 stop) filters. I thought I’d be either outside or inside for lengths of time. In fact it turned into a real pain as we repeatedly sneaked quickly from indoors to outdoors and vice versa. This mean’t I had a lot of panicky filter changes. That said it wasn’t just my GH2 that had problems with the light. It is unbelievably bright in the mountains and I also had a tiny Sony AVCHD Handycam (with IR capability for night vision) with me. It couldn’t stop it’s aperture down enough to shoot outdoors at noon! I did use some shots from that camera and had a lot of work to match them to the superior GH2.

A monk demonstrates the extremes of light on the Tibetan region story

Another factor with the GH2 was that the small size made it hard to hold without vibration from the blood pumping through your hands. Admittedly I was a bit stressed, but these are visible bumps in the shot even with the wide angle lens fitted.

For this assignment I also used the Voightlander 25mm Nokton lens wide open at f0.95, at least two f-stops wider than I would normally do. It was late dusk and I was hand held. To find the narrow plain of focus l found I had to sway gently back and forth. The GH2 is a surprisingly good low light performer. You can crank up the ISO and use the ‘nostalgia’ film mode (which has nothing to do with nostalgia) but lifts the shadows considerably. Strangely I find the GH2 easier to focus than AF101. The one press EVF image magnification gives instant focus confidence and you can hit record.

The Voightlander 25mm f0.95 and Westside AV side handle

After the pain of 5D mkII audio I have largely stopped using a mini audio adapter with the GH2. I let the camera record with manual levels displayed in the viewfinder. Simultaneously I use a separate Olympus LS11 audio recorder with Tram lavaliere mic placed on my reporter or talent. It can record for eleven hours and it is easy to sync image and audio afterwards especially if you have Plural Eyes software.

Boeing Dreamliner Inaugural flight: (AF101 with Nanoflash)

My 7-14mm Lumix F4 got a good outing on this trip. The lens is lots of fun (as long as it’s bright) and it’s easy to get extraordinary images. Holly’s ‘piece to camera’ on the jet was centre frame, filmed from one metre away seated across the aisle. The shot was so wide it included two passengers seated either side! The only problem was choosing an angle not to make her look cross eyed! The opening sequence has banding from flash photography which the CMOS chip struggles with, but nowhere near as bad as the 5D mkII flash banding.

Holly shot with the 7-14mm lens on the Boeing Dreamliner

The Micro Four Thirds system is dominated by Panasonic and Olympus but other manufacturers have thankfully joined in and new lenses are popping up. I’ve ordered the new SLR Magic 12mm F1.6 with cine aperture ring (with no click stops). The Voigtlander Nokton 25mm F0.95 has already become one of my firm favourites. De-clicking is possible, but less straight forward as the aperture ring is at the front. I like the Nokton and it’s images sit well alongside the Zeiss.

The results from Lumix and Olympus lenses are mixed. They feature some if not all of these issues – clicking electronic apertures, twiddly control wheels, zooms that aren’t parfocal (even if they’re supposed to be), latency with focus by wire and focus rings that spin endlessly. I hope the promised 2012 Lumix X Pro 12-35mm and 35-100mm are fast and sharp zooms. For now beware lenses with a tiny focus throw.  The Olympus 12-60mm f2.8-4 for example has a great range, manual focus markings, but focuses from infinity down to one metre with just one centimetre throw. Compare that with a ten centimetre throw for the same focusing distance from my broadcast camera’s Canon HJ22 lens. I know some people use follow focus devices, but again that defeats my compact goal. 

The Dreamliner by the way turned out to be identical to any other plane. I called it the ‘Binliner’, with slightly larger overhead lockers. To think Boeing was aiming supersonic before 9/11.

Bangkok floods: (AF101 with Nanoflash)

Children playing on Bangkok flood water

This was a regular news scramble. I had to shoot, load, edit and transmit quality daily pieces by lunchtime every day. Following the packaged reports with hourly live crosses with Holly and then another shoot to update the package for later. The AF101 has analogue video out, HDMI and HDSDI output – but no firewire. The system we use for live satellite reports from a Mac needs a firewire input. Thankfully the Canopus ADVC-55 analogue to firewire box bridges the gap for streaming lives.   

EXTRACT Sky News Bangkok Floods stories from Andy Portch on Vimeo.

Lens juggling standing in flood water added a frisson to changing lenses.  I’ve adapted a small bum bag with padded compartments that holds three or four lenses and those are the ones I have on the go. Rubber lens hoods are fitted to all my lenses to speed up changes. In Bangkok I tried using the 14-140mm Lumix zoom with image stabilizing, but had trouble getting it sharp. Autofocus I haven’t really explored – I can’t bring myself to trust it. There is focus assist on the AF101, which puts a red fringe to whatever is sharp (or as I’ve found almost but not quite sharp). The AF101’s built in EVF and LCD ‘detail’ feature helps, but should not to be used at the same time as red focus assist.

A Canon HJ22 broadcast lens with an adapter for use in the AF101

The lens mount of AF101 is rated for 1kg. Fast and heavy Canon and Olympus telephoto zooms need supporting. As did my broadcast Canon HJ22 and HJ11 lenses I tried with an adapter. In reality I don’t want 15mm rails on my compact rig, so lens choice had to be sub 1kg. The Olympus Zuiko 50-200mm f2.8-3.5 is my heaviest lens and is sharp and good to focus, but lacks image stabilising and aperture ring.

I did get more daring shots with the lightweight AF101 than I would from my big news camera. Instead of a rig I used a Gorillapod with Manfrotto ball mount head as mini brace either on the shoulder or wrapped around things, even at water level.

So what can you do with the AF101 and GH2?

Both record to SDHC cards in AVCHD format up to 24Mbps. I conducted comparisons viewed on a 25 inch HD monitor with the same scene recorded with AVCHD and HD broadcast codecs. Most viewers could not tell the difference, some chose AVCHD over HD codecs and only a single video engineer spotted the higher bitrate HD codec footage.

AVCHD does not meet the minimum 50Mbps specified by most HD broadcasters – which is a pain! For me the answer has been the low power Convergent Nanoflash external recorder powered together with the SWIT S-8BG6 camera battery. The battery has an auxiliary socket and a single battery powers camera and Nano flash for hours. The Nano has power save mode, so you don’t have to keep plugging/unplugging. The resulting Nano flash XDCAM HD422 files are recorded to CF card in either MXF or .MOV. I did have a Nanoflash fail on location. A capacitor failed and was repaired by Convergent Design who said it was the first of four thousand units to fail this way. The Nanoflash is attached by locking arm to my AF101 side bracket and sits there perfectly out of the way.

Shooting a progressive image rather than interlaced looks less newsy. Some prefer this, but I think it makes the footage less ‘real’ for viewers watching our news broadcasts and so for now we have reverted to interlaced shooting. The compact AF101 camera is not suited to every shoot. Long lens stuff is most difficult. I wouldn’t choose it for a live press conference or a shoot over the North Korean border. Juggling lenses is troublesome. I started dreaming about an old cine camera revolving lens turret! I need to think clearly what shots I want and go after them with a specific focal length. I guess photographers coming to video would have two GH2 bodies with different lenses as they do for stills (I’m tempted!).

In conclusion with Micro four thirds I can do high quality work with a system that doesn’t cost very much. It is challenging for news, as is shooting anything with shallow depth of field. The beauty comes from the prime lenses, but for recording news ‘fast’ zooms are still required. I miss the ease of function and speed of a regular TV camera and broadcast zoom lenses. On the other hand there are creative benefits from that large MFT sensor. I hope it makes my pictures better and I love walking out the door with my Billingham bag. At least I don’t look like a TV cameraman.

Andy Portch is a senior cameraman for Sky News based in Beijing.

He is a broadcast pioneer helping to develop and shape camera and news gathering technology and has spent more than twenty years covering global news stories. A career Andy sums up as hard to beat – “It is a privilege to meet the people I’ve met, to travel to the places I’ve been and to see the extraordinary things I’ve seen.”

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Posted on December 14th, 2011 by Andy Portch | Category: Journalism, Panasonic AF100, Panasonic GH2 |

18 responses to "Size matters: Sky News Beijing bureau cameraman Andy Portch reports on a year with the Panasonic AF101 and GH2 cameras."

  1. chrisgibbs Says:
    December 14th, 2011 at 2:09 pm

    Thanks for sharing Andy!

    Inspirational article for those of us still floundering around in the stills world — those of us who *do not* wish to become entangled in oceans of video kit.

    Nice reporting too. Making Holly part of the visual story in the Baby Buying story was very engaging.


  2. Mark Dobson Says:
    December 15th, 2011 at 12:22 am

    Hi Andy,

    Yes, thanks for sharing this insight into your work.

    Really high quality images shot in difficult situations. I like the way you work with found light and the care you take to frame up your shots.

    I also like your attitude to the kit you use, aware of it’s limitations but chosen carefully for each situation. It’s refreshing to see a documentary approach applied to news pieces.

    Will you be looking at the EOS C300? It would certainly fit in your Billingham bag.

    Thanks again


  3. Andy Portch Says:
    December 15th, 2011 at 4:17 am

    Dear Mark, I chopped up our news items to fit on Vimeo and the structure of the stories is not the same as the original news broadcast. Some I deliberately cut out disturbing material that needed to be seen in context of the whole news piece.
    Still, thank you for your kind comment and no I’m not rushing to the C300. On paper it seems expensive. The design looks awkward. It does have built in minimum HD codec, but why have external XLR inputs and monitor stuck on top? To be fair I have not touched one or seen any results first hand, so I can’t comment further.
    What I want is broadcast HD codec and a usable viewfinder. Or the option to buy a professional viewfinder as an upgrade. If you have external accessories dangling off like a Christmas tree then you are sure to have problems with batteries and cables. That is the ‘Achilles heal’ of all the rigs and combinations we are putting together. They may work fine in your living room, but get them on location at the critical moment and the locking arms come loose, batteries fail or cables come out.
    I switched from Canon to Micro Four Thirds because of the GH2 and AF101 combination. Full frame lenses easily adapt and MFT lenses are smaller. That said I do really need the 2012 Lumix X Pro lenses (12-35mm and 35-100mm) to deliver.
    Best, Andy Portch, Sky News Beijing

  4. gilwoodley Says:
    December 15th, 2011 at 6:32 am

    Hi Andy,

    Great article – I really enjoyed it and it was great to read a very thorough and well-written review of the capacities of the AF101 in the field. I’ve been looking at this camera and the Sony FS100 for a while – the lack of ND filters on the Sony is a real problem. Just wondering – have you tried the Sony F3?

    Anyway, thanks for your work – it’s already on Twitter, so you’ll get referenced plenty and deservedly so.

    Oh and hi from a fellow Beijinger too!


  5. Andy Portch Says:
    December 15th, 2011 at 7:08 am

    Dear Gil, Freezing in Beijing. I was outside shooting most of the day and the wind was a killer. My finger and thumb are permanently damaged after frost bite in Mongolia a couple of year ago (that was minus 36C) and they hurt like hell. Anyway as I mention in my article I would not buy a video camera without built in filter wheel. It is hard enough finding an ND solution for the GH2. I often wonder why we can’t use tiny iso’s? Must be some reason?
    I used AF101, GH2 and my big P2HD shoulder mounted camera today. Using the P2HD is like falling off a log it is so easy. I have this big P2HD camera and broadcast lenses, so I’m not looking for another expensive system based around the F3. I have used an F3 and looked at it very closely, but if it hasn’t got the broadcast HD codec I don’t actually see the point of spending more.
    I think cameras and lenses are a bit like wine. Pay a decent amount and you get a decent product. Pay more and the benefits start to be marginal. On paper an F3 is better than an AF101. For the reasons I want a compact camera the F3 isn’t going to make a significant difference.
    The AF101 is half the camera it could be because of the inferior viewfinder. Sadly that seems to be the case with all these ‘low cost’ large sensor cameras including the F3.
    Crazy really as the creative purpose of the large sensor is shallow depth of field which requires critical focus.
    Hope you don’t get blown away tonight. Best, Andy Portch

  6. miseducation Says:
    December 15th, 2011 at 11:06 am

    Hi Andy,

    Thanks for the detailed article, it was a real pleasure to read and see your excellent work. On the subject of GH2 shot vibration, I’ve found a minor bit of the Warp Stabilization effect in After Effects CS5.5 does a great job of eliminating this type of micro jitter. I know that’s probably an impractical solution in your line of work but I’ve certainly found it handy.


  7. aresek1234 Says:
    December 15th, 2011 at 11:55 am

    Hi Andy,

    Thanks for the great article, from one Andy to another. I’m a gh2 user. Just wondering if you could share a bit more about your experience using the broadcast b4 mount lenses. I’ve been intrigued by this for tripod mounted documentary situations (guessing it wouldn’t be so good handheld, and obviously it compromises the small form factor). At times i miss the long zoom range of my old dvx-100b, plus my dad used to do corporate video work, so he has some old b4 mount lenses lying around.

    1) I’ve heard there might be issues with image quality, as I believe these lenses were designed for ccd sensors. Did you experience image issues?

    2) I believe you need to use a doubler for these lenses, with that in place do they cover the 4/3 sensor well? I’m sure the doubler introduces light loss, do you remember how much?

    3)What kind of adapter did you use? Seems like there quite a few of the generic chinese ones out there, any good?

    Would love to hear your impressions, not too much info out there about b4 on micro 4/3!



  8. Tim Says:
    December 15th, 2011 at 3:20 pm

    Great stuff Andy. I come from an ENG background as well. It drives me crazy that “handheld” pro and broadcast cameras have tiny, poor quality viewfinders stuck on the back of the camera. I’m not familiar with the AF101 but have you tried sticking the Z-Finder on the LCD display?
    I hear the Canon C300 viewfinder is actually usable, but believe it when I see it.
    I really admire what you’re doing – especially juggling so many lenses, adapters, crop factors and cabling and powering the nano flash etc.
    I recently shot a broadcast job on my 5DMKII and it worked fine and of course looked so much better than a 2/3 inch chip ENG camera – BUT I found it very fiddly.
    Great write up. Thanks a lot.

  9. Andy Portch Says:
    December 16th, 2011 at 8:21 am

    Dear Andy, I was only playing with B4/MFT broadcast HD lenses on the101. The adapter works as you say with the doubler engaged to cover the MFT sensor. If you look at my photo I’m holding the unsupported lens very carefully. AF101 is rated for a 1kg max lens weight, so you’d need rails or something. That said image is very sharp, bright and easy to focus. Of course these lenses are parfocal and hold focus from tele to wide. No power zoom though. If Don’t know the mount brand, but I’ll ask. Best, Andy

    Dear Tim, I have also heard the CS300 viewfinder is better, but it couldn’t be worse. The update to my article is that having bought an EVF Flip to go with a Zacuto profinder I find it doesn’t really fit for me! I came up with a very cool and simple mount, but the extra weight of the evf is destabilizing. It twisted my wrist and isn’t going to work. Also because I use a Nanoflash with display info output turned off. I lose the on/off record tally in the Zacuto EVF. I can’t work without that. So I’m back to the SmallHD DP6, which is a great monitor (TV Logic is same resolution, but fewer power options). DP6 side mounts onto a ball mount and works really well. I can have the camera screen flipped out beneath it to see on/off tally. It works!
    Like you I used a 5D Mkii for news and found it very tricky. I wrote a blog for DSLRnewsshooter in November last year. I didn’t use my family name as we were sneeking about inBurma. The article was called ‘An inconvenient truth’ and kind of summed up how I felt about using the 5D.
    Shot some footage today with my AF101 and CY Zeiss 50mm F1.4 and the image looks gorgeous. Makes all the trouble worthwhile!
    Best, Andy Portch

  10. randynoland Says:
    December 18th, 2011 at 5:40 am

    I very much enjoyed your article. You speak honestly about your experience cutting to the core pros & cons while remaining optimistic. Sometimes it simply about wanting things to work and managing expectations.

    I own the 5DMII and found that I mostly use for photographs…. too fiddly for video, for me. I upgraded my JVCHM100u to the AF100 in May and love it. I have made a substantial Canon L investment so waiting on the Birger adapter but bought the Lumix 14-140, 20mm pancake and the Voightlander 25mm f0.95 to support the AF100 now. Looking forward to faster Lumix X lenses in 2012 and perhaps upgrade to a Canon C300b (8K or so :-) in a year. I also have the DP6 SDI & Atomos Samurai using a Miller Compass 15 head on Really Right Stuff Versa 33 Carbon legs so very similar.

    Again, great article and I look forward to more of your work.
    Randy Noland

  11. RobH Says:
    January 1st, 2012 at 3:59 pm

    Hi Andy,
    Excellent article, I also use the GH2 for client work as well as my trusty EX1R.
    You might want to have a look at the Atomos Samurai field recorder (, which I have just received. It’s got a pretty decent 800×480 5″ display and records into ProRes LT/422/HQ from HD-SDI and uses Hard drives or Solid State Drives, so with a 750GB HDD you’ll between 8 hours (ProRes HQ) to 18 hours (ProRes LT).
    Pull the drive out, slot into a Drive Caddy and begin editing ProRes immediately!
    All the best.

  12. Andy Portch Says:
    January 2nd, 2012 at 1:47 am

    Dear Rob, pleased you enjoyed reading the AF101/GH2 posting. Everyone has their own ideas and mine is certainly a work in progress. I hope the Samurai works well for you. I haven’t used one, so can’t say much. Neither the Sound Devices Pix240 or Samurai were around when I bought the Nano. I actually hate the idea we have to fit external recorders to cameras. Anything with external battery and video connections is an accident waiting to happen.I just want the cameras to have internal HD broadcast codecs. I chose the Nano because I had to meet that minimum 50Mbps requirement. The Nano does tick boxes for me. It has ultra low power draw at 5.6W (0.2W in standby). One SWIT battery powers the camera and Nano all morning (longer if its in standyby a lot). Nano doesn’t have a screen, but Samurai screen is only really a viewing screen. Samurai with batts and drives fitted is bigger and almost twice the weight of Nano. Samurai only has mini BNC connector and a touch screen that at the moment seems very easy to accidentally press whilst shooting. Jury’s out for me. Plus two 64GB CF cards have been more than ample. Not instant editing, but cards copy fast to NLE. So right now I’d still buy a Nano!
    Fingers crossed we get internal HD codecs. I wish Panny would stick the 10bit AVCIntra100 P2 HD codec in an affordable large sensor camera. They might!
    Good luck for the Year of the Dragon. Who knows what exciting releases are coming our way.
    Best, Andy

  13. jguk Says:
    January 5th, 2012 at 8:56 am

    Great article Andy – a real insight into how these cameras can be used for doc/news type shooting.
    Out of interest – when using the GH2, are recording from that onto the nanoflash? Or recording in camera? Which recording mode are you using?

  14. Paul Ream Says:
    February 4th, 2012 at 6:16 pm

    Nice article Andy. Been admiring your work for some time now and great to see you’re into large sensors! Looking good.
    Regards, Paul

  15. mcbob Says:
    February 7th, 2012 at 2:45 pm

    Mr. Portch;

    I’m shooting docs and corporate work with this same combo, and would be eager to find out what scene file settings you use on each (or even if you have different scene settings for different situations). Thank you.

  16. Mike Harvey Says:
    February 7th, 2012 at 5:23 pm

    I’m with McBob (and I also asked this question on your Vimeo page). I would love to know what your scene file settings are, and if you did much color grading in post.

  17. Andy Portch Says:
    February 11th, 2012 at 4:16 am

    Dear Mike and McBob,
    Sorry I haven’t checked here for a while and Vimeo is banned in China, so didn’t see your post there.
    My settings are changing all the time! My basic master settings for AF101 are Cine-Like V and Matrix Norm 2. The GH2 likewise I change a fair bit. I have three settings on the top assign button. I actually normally use either Dynamic or Nostalgia. Strange you might think, but I like the vivid dynamic settings (unfashionable as that may be), but dynamic isn’t any use in lowlight, so I flick to nostalgia. Individual settings I change a fair bit.
    I have a piece running today on Sky News that I shot during the week entirely on GH2. No tripod, no lights and no time to muck about. It isn’t a masterpiece, but it shows what a GH2 can do even with low interlace bitrate recorded in camera. The tourist size of the GH2 is the only reason we could do this story in this style.
    Have a look here:
    The edit is a bit weird in the middle because our office decided to ‘cut’ the mobile phone self immolating nun footage. Probably the right decision. The original is very shocking and I sat bluring every frame in an attempt to make it broadcastable.
    Anyway have a look. That is what I did with the GH2 and flicked between dynamic and nostalgia.
    Best, Andy

  18. Mike Harvey Says:
    February 11th, 2012 at 2:05 pm

    Hi Andy,

    No worries on not responding right away. After posting on Vimeo, I saw the blurb about it being banned in China, and I saw this article was a month old so I wasn’t expecting an instant answer. The Gamma/Matrix settings were what I was really looking for. Thanks for answering, your footage looks good. =)

    Oh, and I also work in news (in studio), so I get the decision to cut/blur the nun footage. Most likely the right decision. Well done none the less.

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