By: Derek J. Allen for GearJones.com
2011 is shaping up to be the year of the large sensor camera. With the launch of affordable, large sensor, “video” cameras like the AF100 and the F3, the days of the 2/3″ camera may be short lived. Ok, well not really, but these large sensor rigs have turned out to be great alternatives for a variety of production.
Features like outstanding low light performance and the ability to have better control of and creative use of shallow depth of field have made this class of camera very popular for, narrative films, music videos, commercials, and documentaries. Not to mention the ability to use very affordable still photo lens or even better, high quality cinema lenses. But sometimes, cinema style lenses and shallow depth of field can be a bit limiting in a fast pace production environment. Sometimes you just need one lens that can go from super wide to super long at the flick of the rocker. The ENG lens we’ve been using for years are just the ticket.
The good folks over at Abel Cine offer a solution that works with both the AF100 and the F3 (also Alexa & Red). Its actually a collection of components, but at it’s core is at the HDx2 B4/PL Optical Adapter. The HDx2 allows you to mount a 2/3″ ENG style lens and it optically expands the image projection to cover the large 4/3″ and s35 sensors.
Sounds good on paper, but how does the whole rig work out in the real world. I had a talk with fellow cameraman, Sean Simmons, who has been using the AF100 ENG Kit for a few months now, to get his impressions.
GearJones: Sean, tell me a little about the Rig. What gear was necessary to make ENG lens work with your AF100?
Sean Simons: The main points of the rig are that we have Canon HJ series lenses working with the camera through the Abel Cine HDx2 adapter. This allows the 2/3 lens to project onto the Micro 4/3 CMOS chip. The Hot Rod 15mm rod system, supports the PL adapter and accommodates an Cineroid viewfinder and Anton Bauer Battery adapter which powers the camera, the ENG lens servo and all of the other accessories.
The add on viewfinder with an articulating arm is an absolute necessity for shooting off the shoulder in this configuration, because both the flip-out LCD and the on camera eyepiece end up behind your head when you have the camera balanced on your shoulder. It’s impossible to operate without it.
A rod based lens support is also necessary. The ENG lens is just too heavy to be supported by the AF100 lens mount alone.
GearJones: What extra bits have you added to improve the ergonomics of the rig?
The Ergonomics is something we are still figuring out. The weight of the rig is a little less that 15 pounds and it is front heavy with the ENG lens hanging off the front. At this point I am operating with a hand towel on my right shoulder as a pad, which works out fine for me.
The balance of the rig is the bigger issue. I’ve found that the battery adapter (with dionic batteries) helps. In addition I am able to slide that battery unit back by extending the rails in the back of the camera and pulling the the battery back on those rails. By doing this I have been able to adjust the center of gravity of the camera to exactly above my shoulder.
GearJones: What are your thoughts on giving up the MFT DoF that the AF100 is known for?
Sean Simons: The ENG lens gives me the exact same DoF it would on a native 2/3 camera. I find it agreeable in run ‘n’ gun/verite’ situations. Interviews and high concept pieces are another matter.
2/3″ format will allow you to blur the background to an extent that suites the needs of many projects. It doesn’t get the same selective focus that Micro 4/3 does. The question is ‘how far do I need to go with this look?’ It is really a ‘right tool for the job’s situation. If I find that I need a look for the interview (to stick with the primary example) I swap out for the larger format lens. The good news, as I have found it, is that I can go back to my ENG lens for the b-roll and it matches just fine.
GearJones: How does it compare to the standard ENG setup?
Sean Simons: There not many disadvantages from the starndard ENG setup. I would say the biggest difference is the fact that there are quit a few cables to manage. The form factor and the operation is almost identical.
GearJones: What is its greatest advantage?
Sean Simons: The greatest advantages are having the flexibility of an ENG lens that many primes and variable primes just don’t have. The ability to operate with an 11x or 21x lens with a servo is an asset that I find hard to come by otherwise. Also there is the fact that ENG lenses are engineered to hold focus as you zoom. I have found many variable focus lenses out there to be awkward because whenever I turn the zoom ring my picture goes soft, forcing me to quickly refocus.
GearJones: What is its greatest disadvantage?
Sean Simons: The single greatest disadvantage it the 1 ½ stop loss that I get with the HDx2 adapter. The camera is very quiet (in terms of images noise) and I am usually able to find a way around it.
GearJones: Has the rig allowed you to do anything that would have been difficult with a typical AF100Cine configuration?
Sean Simons: Those smooth subtle pushes or quick focal length adjustments can’t be substituted in many cases. Add a lens with a decent 2x extender and your shot selection expands manifold.
Sean Simmons is a DP/Camera Operator working in the Washington, DC Metro area.
Derek J. Allen is a Washington, DC area DP and owner of Silhouette Digital Media.
