Movie Making Examples2

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The film Kamihate ShotenShinji Ogawa, Japanese Society of Cinematographers (JSC),

Film director and associate professor at Kyoto University of Art and Design

Using the AG-AF100 series: Example 1

What I Was Looking For: “Just Like Movie Film”

In addition to my work as director, I have a position as an

associate professor at Kyoto University of Art and Design.

For the past three years, I have been conducting a project in

which I produce a movie with my students and show it at a

public theater, once a year. As a single course of study at a

small university, we don’t have the budget to record on film.

We produced the last two movies by recording in DVCPRO HD

1080/24p format on a Panasonic AG-HPX500 series owned

by the university. Our first effort, Ogonbana (“Golden Flower”)

directed by Takeo Kimura, was converted to film using akinescope and was shown in movie theaters across Japan in

2010. The following year we produced our second opus, Made

in Japan—Kora!, directed by Banmei Takahashi. This time the

movie was completely packaged in the DVCPRO HD 1080/24p

format and debuted September 24, 2011. After the premiere at

Kyoto Cinema, the movie will be presented at other venues in

succession.

The third project in our series is Kamihate Shoten, directed

by Tatsuya Yamamoto. This time I had really hoped to record on

film for the students’ sake, but I abandoned the idea because

of some reasons. Instead, I plumped for the AG-AF100 series

almost as soon as it was released, as it can record with results

similar to a 35 mm film camera. I felt secure in acquiring by this

camera recorder, as the students were already used to using

the AG-DVX100B series, another Panasonic camera.

■Gamma and gain settings

Because we were using the camera for the first time, we

began by carefully conducting repeated test shoots and rushes

in order to check gamma and gain levels. For gamma, we

decided to use Cine-Like D or B.Press, depending on the

situation.

The matrix we used was cine-like, H-detail and V-detail both

–2, Chroma –3 and normal for everything else. To establish

the right gain, we watched the feed on multiple monitors andprojectors as well as waveform monitors. We concluded that the

actual gain was about twice the ISO indicated on the camera

settings, so we chose to use ISO 200 generally and measure

the gain on the exposure meter using ISO 400. In fact, we used

the exposure meter to create the light balance and determine

iris settings. We then confirmed these settings using the camera

and monitor waveforms to decide the final aperture values.

We connected the camera recorder to a Panasonic

BT-LH80W 200.66 mm (7.9 inches) LCD monitor using an

HD SDI interface. No major difference exists in the waveform

monitor’s levels on the camera recorder and BT-LH80W, and

the waveform monitor built into the camera was quite effective

in determining aperture.



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Look down shot with the 25 mm lens. Even with a wide-angle lens,

focus was rather unforgiving. We had to check the focus with a

measuring tape every time.

The Cine Varotal zoom is bulky and heavy, requiring considerable

dexterity and effort to mount. Because we didn’t have genuine

support parts, we had to tie the lower support rod in place with

rubber bands and fix it in place above with a free arm normally

used for monitors.

We changed lenses dozens of times a day. The professional lenses

were quite stiff, so students who were not used to them had a hard

time mounting them.

could not be used at the same time as the monitor and

the waveform and vector scope could be displayed on the

monitor only.

I usually don’t use the LCD monitor, as it varies

depending on the shooting environment, so in most

cases I use the viewfinder to operate the camera

recorder. Capability to simultaneously use both the

monitor for waveforms and the viewfinder for images

would have been desirable.

■Shooting with a cine lens

I wanted to shoot in the style close to a film cameramovie, so we separated the audio from the video

recording. We switched off the camera mike and did not

connect the audio output onto the camera recorder. All

lenses used were 35 mm film camera lenses. The second

camera assistant (one of the students) adjusted the

focus.

For lenses, I recruited the help of the friends to borrow

a set of Cooke lenses, a 10x zoom lens from Cine

Varotal, and another 10x zoom made by Angenieux,

besides the university’s set of Carl Zeiss lenses (18, 25,

35, 50 and 85 mm) . We selected among these lenses

on a scene-by-scene basis. We obtained a Micro Four

Thirds/PL mount and the additional New Arri/PL mount for

the Carl Zeiss set lenses because their mount were New

Arri.

Having been manufactured over 40 years earlier, both

the Cooke and Angenieux lenses exuded a soft, retro

look, so we used them mainly for the flashback scenes.

The Carl Zeiss lenses were similarly over 30 years old

and features a triangular iris, but the lens turned out

beautiful, crisp, sharp images, so these became our main

lenses. The Cine Varotal was new and had no unusual

characteristics, so we reserved it chiefly for location

shots. When we had the camera and lenses in order, it

was a week before the start of shooting. In a rush to

buy everything we needed, I had to settle for DSLR

accessories, which we modified to create a lens support.

As the AG-AF100 series had just been released, there

were not many third-party support parts to choose from.

We guess the mounts lineup will be expanded in the

future, I believe that a lens support is necessary for

the larger lenses. We recommend also using a lens

support for consumer still camera lenses when using it

with the zooming feature. With our array of 13 lenses,

we allocated each lens to its appropriate task, changing

lenses dozens of times a day.



Thankfully, we did not suffer a single abnormality the whole month.

■Controlling the depth of eld according to the situation

Our biggest reason for using a camera recorder with a large image sensor was to achieve a shallow depth of eld. The

difculty of moving focus point correctly in a shallow depth of eld is something that only those who have experienced it

can appreciate. I wanted my students to experience this, as I believe it is a crucial part of the art of moviemaking.

Open aperture was F1.2–1.4 on the fixed focal lenses and F4 on the zoom lenses; during shooting, we set the

aperture to F2.8–4 on the xed focal lenses and to F4–8 on the zooms. The idea was not to open the aperture up and

make the depth of eld shallow, but rather to control depth of eld appropriately according to conditions.

As it is the case with DSLRs, a shallow depth of eld is appealing, but frequent shooting close to open aperture often

causes failures, such as indistinct focus and long sequences of images that are too soft, giving them a dull. On this point

the AG-AF100 series was easy to handle, as the sensor is large but not too large. If we had needed a shallower depth of

eld, however, the AG-AF100 sereis might have proved inadequate in some cases.

Creating Movie-like Quality in Underexposed Conditions

The AG-AF100 series is a beneciary of Panasonic’s expertise in cine-like gamma, acquired through products such as

the Varicam and DVX series. The camera recorder delivered smooth gradation in dark area. It was a good relief for us

who gave up shooting in lm.

However, recording the movie

entirely in dark conditions would

tend to make noise a problem.

To our eyes, the SN ratio in dark

conditions did not seem to be

improved over earlier models

such as the AG-HVX200A series

and AG-HPX170 series. Noise

from underexposure seems to

be much less of a problem when

using solut ions such as HD

NORM (normal gamma) or CINE-LIKE V.

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Cine-Like D was selected to convey the cold, lonely mood of winter on the Sea of Japan. We set the image darker andreduced the chroma.

Even with the 25 mm (F2.8), a relatively wide-angle cinematic lens, bokeh is natural, and theintended area comes nicely into focus.



CINE-LIKE D offers the widest dynamic range but the

worst performance in terms of noise in dark area.

Because we launched this project with the aim of

creating a theater-ready lm, I wanted to use gamma

that was as close to the dynamic range of film as

possible. We chose to avoid creating a movie with

dark scenes only, to reduce the noise occurring in

underexposed scenes, and created a well-balanced

opus with the feel of a cinema-grade movie. Of

course, we also had to control the area and strength

of overexposed (bright) portions, so we tried not to

generate too many of these either. Our basic aim was

to create a beautiful, nicely balanced production.

With the waveform monitor at 100%, detail was

expressed, but from 105% upward, detail declined

rapidly. Above 110%, no detail was expressed and

some color inversion was seen. It is commonly said

that high-exposure (bright) portions are weaker

in video than in film, digital video has moved from

CCD to CMOS and from SD to HD, transforming

the expressive power at the high-exposure (bright)

end. Before starting to acquire, it is always vital to

conduct extensive testing and to plan your production

appropriately.

Backing Up Recorded Data

The recording media consisted of five 16 GB

SanDisk SDHC memory cards (class 10). Given the

AVCHD 1080/24p format, 16 GB is sufcient to hold

90 minutes of video recorded in PH mode at the AG-

AF100 series’ highest image quality. Perhaps because

each cut was no longer than 5 minutes, we encountered

no single writing/reading abnormality.

We recorded onto each card in turn until it was lled.

Each evening, after the day’s shooting, we backed up that

day’s original data onto three hard disks via a MacBook

Pro. On one of these hard disks, we used Final Cut Pro

to convert the data and save it in ProRes 422 format.

Reflecting that all work was conducted on location, we

will continue to hold all data on the SDHC memory cards

without any deletions. You may think it is an exaggeration, but it is our rule to

backup the video les onto at least two hard disks when

using a camera recorder with a memory card to shoot a

video. In fact, earlier we had lost the data for last year’s

opus in editing, and had to recover it from one of the hard

disks. Our plan was to edit the ProRes 422 data on hard

disk, storing the other two disks as backup in a separate

location.

★★★

Compared with the world of film, which has barely

changed in 100 years, electronic video has undergone

tumultuous changes. The signal has changed from

analog to digital, performance advances constantly,

and formats are always changing. A dizzying variety of

recording media are offered by a plenty of companies.

Video producers would love to see a commonly adopted,

long-lasting format, but this is a difcult prospect.

The AG-AF100 series, which records AVCHD files

onto SD memory, uses the Micro Four Thirds mount,

so it can use everything from amateur still lenses to

professional cinematic lenses. It will be interesting to see

whether the AG-AF100 series nds widespread favor with

professionals the way the DVX series has.

■Kamihate Shoten: To be completed in fall 2011.Scheduled for movie theater release in 2012.

Plot summary: A bus stop named “Kamihate” in a small,

lonely port on the Sea of Japan. Beyond, there are

a lonely shop run by an elderly woman and a sheer

precipice, a place known for suicides. In this little shop

in the cold winter, the old woman speaks to an unknown

customer who has happened to drop in…

Produced by: Kitashirakawaha

Distributed by: Magic Hour Inc.

Directed by: Tatsuya Yamamoto

Starring: Keiko Takahashi, Susumu Terajima, Morio

Agata, others

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AVCHD uses a hi gh compress ion ratio, ye t the trees in the fa r

background are clearly reproduced. Movie theater audiences would

never know they are watching a digital movie.

Shot with the 35 mm (F5.6) lens. On this fine day outside, the ND filter

was used to control aperture. Bokeh was easy to control regardless of

the lens used.



Action-film director Yuji Shimomura is renowned for

such films as Shinobi and Dororo, and in spring 2011

he released Gantz, a movie starring Kazuya Ninomiya.

Recently, Shimomura directed Pink Spider, a short

movie for distribution in North America, with the aim of

familiarizing North American audiences with Japan’s new

style of moviemaking. He chose to record his opus using

the AG-AF100 series. Key factors in the action director’s

selection of the AG-AF100 series were its ability to record

in 1920 x 1080 full HD with variable frame rate; ability to

select zoom lenses as short as 7 mm; the lightweight,

compact design; and the camera recorder’s snappy

response.

In recording the action scenes, the camera crew made

maximum use of the AG-AF100 series’ combination of

responsive body and short zoom. In handheld use,they

could move about freely, quickly recording vivid, high-

impact video. As with a film camera, the AG-AF100

series makes it easy to

change the number offrames per cut when

recording. Moreover,

it delivers highly

efficient recording, as

it is capable of rapid

preview checking

onsite.

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When recording action

scenes , the camera

crew made maximum

use of the AG-AF100series’ combination of

responsive body and

short zoom.

Short Movie: Pink Spider

Tadashi Watanabe, Multicamlaboratory




Recording with Two Lumix Lenses

Thanks to its short ange back, the Micro Four Thirds

system enables a wide range of low-cost still lenses to be

mounted on the AG-AF100 series via a mount adapter.

While I was attracted by the AG-AF100 series’ strengthin producing shallow focus video, I also placed priority

on responsiveness, a key factor when shooting an action

movie. For this reason, I restricted my lens selection to

just two Lumix zoom lenses: the Lumix G Vario 7–14

mm/F4.0 Asph. and the Lumix G Vario HD 14–140 mm/

F4.0–5.8 Asph./Mega OIS.

The Lumix G Vario 7–14 mm/F4.0 Asph. achieves the

world’s smallest size in a daily-use lens and amply covers

the wide-angle range with a diagonal angle of view of

114°. Its recordable range is 25cm from the imaging

surface across the entire zoom range, and the lensmakes full use of perspective.

On the other hand, the Lumix G Vario HD 14–140 mm/

F4.0–5.8 Asph./Mega OIS is a zoom lens that features

a lens conguration of 17 lenses in 13 lens groups (four

aspherical lenses/two ED lenses). Covering a wide angle

of view 28–280 mm (35 mm equivalent), this zoom lens

incorporates as much angle of view as a standard zoom

lens plus a telephoto zoom lens, in the body of a single

zoom lens. Contrast AF precision is high and focus is

quick. Moreover, the lens is equipped with Mega OIS

optical image stabilization, repressing camera shake

even in low light, indoor shooting conditions.

■Pink Spider

Plot summary: Tokyo, 20XX. In a world overrun by

goblins, a team of goblin slayers, called the Pink Spiders,

ghts to protect humankind from the goblin menace. TheSpiders, a corps of three young women, wield special

powers that belie their charming appearance, and are

engaged in a life-and-death struggle with the goblins

day and night. After hiding in the shadows for centuries,

the goblins have at last emerged to declare war against

humanity. The balance of power between humans and

goblins has begun to crumble…

Produced by: WORSAL Co., Ltd.

Production company: North CKY, Inc.

Producer: Masaru YabeDirector and screenplay: Yuji Shimomura

Video director: Tetsuya Kudo

Action director: Kensuke Sonomura

Starring: Hikari Takara, Misaki Momose, Ayame Misaki (all

of HoriPro Inc.)

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In our production of Pink Spider, mobility was the top

priority. All shooting was conducted using the Lumix G Vario

7–14 mm/F4.0 Asph. and Lumix G Vario HD 14–140 mm/

F4.0–5.8 Asph./Mega OIS.



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Movie: Lari, Sayang, Lari

Produced and directed by: Kazuya Hayashi, Studio DU


Sequence of Events behind Adoption of the AG-AF100

series and Selection of Lenses

In spring 2011, I produced a made-for-TV movie

for Astro, a cable-TV network in Malaysia. I used the

Panasonic AG-AF100 series for this project (model name

in Malaysia is AG-AF102). The title of the movie was Lari,

Sayang, Lari.

My director for this project was Yasuhiko Tanaka, a

scenario writer and analyst with extensive experience in

Hollywood. I took part as video director. Planning began

in early summer 2010, and we selected our resourcesbased on the budget and storyline. Even without an

extravagant budget, we wanted to create a product we

could distribute to other countries besides Malaysia. To

create the high-impact video we needed, we took the

basic approach of focusing on fixed focal lens shooting.

Of course, as this was the zenith of the DSLR movie-

making era, we anticipated using a DSLR for this project.

Still we hesitated to do so, as the support rig required

for DSLR moviemaking would pose a problem, given the

great number of moving shots we needed to make.

Just then, Panasonic announced the AG-AF100

series, a camera recorder that builds on the success of

the DMC-GH1 and DMC-GH2, mirrorless digital SLR

cameras based on the Micro Four Thirds standard. The

DMC-GH1 series had taken the world by storm; this

compact digital SLR camera offers the video producer

considerable freedom, as its short flange back enables

virtually any lens to be mounted using a mount adapter.

The series has video capability, and I had used it in a

number of projects before and recieved positive reviews.

Looking at the specs for the AG-AF100 series, which

appeared to be a camera recorder version of the DMC-

GH1 series to me, I made it my top candidate. I realized

that this would be the camera that would enable me toproduce Lari, Sayang, Lari the way I wanted to. With the

product launch due within the year, I felt I would have

sufficient time to perform testing and begin production the

following year.

I began selecting lenses. In addition to the Lumix G Vario

7–14 mm/F4.0 Asph. and Lumix G Vario HD 14–140 mm/

F4.0–5.8 Asph./Mega OIS, both from Panasonic, I opted

for a number of New FD lenses from Canon with the FD

mount, choosing the 14 mm F2.8L, 20 mm F2.8, 24 mm

F1.4L, 35 mm F2, 50 mm F1.4, 85 mm F1.2L and 200

mm F2.8, as well as the Ai Nikkor 50 mm F1.4S and Ai

Zoom-Nikkor 80–200 mm F4S with the Nikon F mount,

for a total of 11 lenses.



Although lenses of the digital generation might have been

a possibility, I selected these lenses because I wanted

lenses with a unique character, even if I compromised

slightly on clarity of imaging.

For the mount adapter, I used a Miyamoto Seisakusho

Rayqual, handled by Kindai International. I was especially

glad for the Nikon-Micro Four Thirds adapter, an excellent

product with an iris ring that enabled me to use the

G-type lens series. This adapter was equipped with a

position maker, making it easy to adjust the aperture

when using a G-type lens.

As this product was the first commercial video for

which the AG-AF100 series was used in Malaysia, the

local Panasonic affiliate took an interest in my work and

agreed to cooperate with me in providing equipment.

■Focus work using the features of the AG-AF100 sereis

and the lenses

Having decided on the equipment, preproduction went

smoothly, and I started production in April 2011. On

location, I reconfirmed the conditions. Just as everything

seemed to be going well, something unexpected

happened at the local camera equipment shop where

I had obtained my gear. The monitor and related

equipment I had requested had gotten an accident and

could not be used. The shop had a replacement, but it

was an old Standard Definition CRT with a huge battery.

It was completely unsuitable for the nimble footwork I

would need to do for this movie.

The mishap turned out to be serendipitous, because I

would have to depend entirely on the AG-AF100 series’

assist features and my focus work using the lens. In

the end, this was a fortunate result, but I didn’t realize it

during shooting.

Using Assist Features to Achieve Efficient Shooting

Malaysia is located in a tropical rainforest zone. One

moment the sky would be brilliantly clear and blue,

the next it would cloud over and a torrential downpour

would begin, Needless to say, these conditions posed a

problem for continuity.

Nonetheless, I only had a limited number of days toshoot, so there was nothing for it but to keep shooting.

This was where the waveform monitor turned out to be

incredibly handy for maintaining continuity. I had to record

quickly. There was no time for measuring the light and

a thousand little adjustments. Moreover, the language

barrier led to frequent misunderstandings. I took a photo

of WFM on the LCD and established smooth transitions

between cuts.

In the bright conditions on open locations in the

endless summer of Malaysia, I set the gain SW settings

to L=200, M=320 and H=400. In the normal portrait shots

using the Canon New FD 24 mm F1.4L, 50 mm F1.4 and

85 mm F1.2L lenses, it is usual to set the ND to 3 or 4

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I used still photographs to record the WFM, comparing these to

ensure smooth transitions between cuts. This method proved

surprisingly efficient.

Unable to establish a proper monitoring environment, I used theassist features of the AG-AF100 series and focus work using thelenses.

The Rayqual Nikon-Micro Four Thirds adapater is equipped with

an iris ring and can be used with G-type lenses.



and never leave the iris open, but setting the aperture 1

or 2 stops lower.

However, for a wide angle, I used the Lumix G Vario

7–14 mm/F4.0 Asph. I fixed the ND at 3, and intentionally

used the aperture function in order to utilize pan focus.

Having the ND filter built into the camera was an

enormous help. This factor alone was sufficient reason to

use the AG-AF100 series.

■Discovering FA’s wealth of advantages

Throughout the shoot, I was enormously assisted by

the AG-AF100 series’ Focus Assist (FA), a feature that

draws a red line around the area being focused on.

My director, Yasuhiko Tanaka, had a clear vision

for the project, made decisions quickly and put them

promptly into action. Our work on location made rapid

progress. Even so, at the beginning of shooting, time

constraints at the location meant that we had time only

for a dry rehearsal. Instead of a technical rehearsal, we

went straight to actual shooting. I felt we really needed

a technical rehearsal, but there was nothing for it but to

start shooting.

Receiving only the starting and ending positions, I

marked them on the focus ring. I adjusted the focus at

the same time as I did the framing. With FA on, I relied

on the red lines around the cast members’ eyelashes for

focusing. I performed all of these operations by myself. I’ll

spare the reader the background, but I felt it was better to

place all of these tasks under my own responsibility.

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The AG-AF105 is a compact camera recorder,so I could hold it in my hand wherever we went,

or easily install it on a crane or rail.

FA overcame any problems

presented by the rather

unforgiving focus.



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During nighttime shooting, I was able to obtain sufficient brightness with relatively little lighting equipment.

I had expected no less when I set out for Malaysia in the

first place.

I placed my faith in the performance of the FA, and it

did not let me down. One of the major factors in choosing

to shoot with the AG-AF100 series was this FA feature. It

really provided a wealth of features to lighten the burden

of video recording, reaffirming my conviction that I hadmade the right choice in the AG-AF100 series.

I can even say that I counld not finish the production

without AG-AF100 serires’ Focus Assist function. As

a result, I fell into a certain rhythm with the AG-AF100

series, continuing to use the same shooting techniques

in the second half of the shoot. Thanks to this camera

recorder, I was able to record a number of extra cuts,

more even than the numerous cuts I had originally

envisioned. It also made a tremendous difference that the

camera recorder was so easy to set up.

■Obtaining sufficient brightness even during nighttimeshooting in dark conditions

Though much of the shooting was done at night,

thanks to the fixed focal lenses, I was able to shoot with

a brightness that would have been unthinkable with

previous video projects. The ability to make do with a

minimum of lighting equipment was enormously helpful

in reducing the work time. Mainly relying on a gain of ISO

400, sometimes using ISO 800, I felt that the S/N ratio

was about right. Use of ISO 800 in daily use delivered

good quality.

Also, the AG-AF100 series is a compact camera

recorder, so I could hold it in my hand wherever we went,

or easily install it on a crane or rail. Occasionally I even

mounted it on the trunk of a car to shoot the following

vehicles or people.

★★★

The shooting schedule was so tight that I hesitated to

switch lenses. With the AG-AF100 series, I was able to

deliver satisfactory quality in such a tight schedule. This

was possible because the AG-AF100 series compressesthe handling of a camera recorder and the optical

performance of a DSLR into a compact body.

On the day after wrap, the local producers were so

delighted at the footage they saw in the preliminary

edit, they decided then and there to shoot a sequel.

The trailer for Lari, Sayang, Lari can be viewed at the

website of the production company, 42nd Pictures, at

http://www.42ndpictures.com. I invite everyone who is

interested to take a look.

■Lari, Sayang, LariPlot summary: Hakimi is under investigation on suspicion

of murdering the fiance of his lover Surina, who had been

engaged to her for a political marriage of convenience.

To prove his innocence and reunite with his beloved

Surina, Hakimi takes flight across the Malaysian

landscape. Surina’s wealthy family, convinced of Hakimi’s

wrongdoing, hires Jefri, a private detective and Surina’s

uncle, to track the fugitive Hakimi down.

Directed by: Yasuhiko Tanaka

Produced by: Bea Tanaka

Video direction by: Kazuya Hayashi

Starring: Alif Satar, Erin Malek, Roy Azman

Documents

Movie Making Examples2