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Special Contents : Excellence of Micro Four Thirds

In the movie industry, a larger sensor is not necessarily better. This is because it is essential to make use of the industry's existing assets, including the large number of expensive dedicated lenses and the cinematographic techniques developed over many years.
With an imaging area roughly equivalent in size to a 35mm cine film, Micro Four Thirds can effectively utilize existing lens assets, along with many standard techniques, including image trimming in no-viewfinder shooting established with the angle of view of PL-mount lenses as well as reading the depth of field.
The possibility of efficient, waste-free reservation of the imaging area required for high image quality is also advantageous in terms of power consumption. Since the first announcement of the standard, movie producers have been excited by the prospect of shooting long hours without worrying about image quality degradation due to battery consumption or heat generation. This has led to expectations from the industry for the development of multiple products.

The focus instability due to insufficiency of the depth of field causes very few problems in still image shooting. With movie shooting, however, it is not only a major cause of an unsatisfactory movie but also makes the image itself hard to view, producing a "visual sickness" in viewers similar to seasickness.
With Micro Four Thirds, important defocusing can be achieved by zooming into the telescopic size and, in other cases, natural defocusing and stable field depth can be obtained by simply stopping down the iris slightly. This means that it can respond to the needs of applications in which failure can't be tolerated, such as documentary production and newsgathering, and it is a big reason why MFT is attracting so much attention from the industry.

The first professional electronic movie camera to implement the superior movie recording characteristics of Micro Four Thirds in a practical form was the AG-AF105 (which is marketed as the AG-AF100 series outside Japan) released by Panasonic in the autumn of 2010 to widespread acclaim.
As a result, there has been a rush to join the standard among many movie industry professionals who recognize Micro Four Thirds' usability in movies, as well as well-established lens manufacturers such as Schneider and Carl Zeiss.

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Panasonic announcement at 2010 NAB Show
Carl Zeiss announcement at CP+2011
Schneider announcement at CP+2011

The AG-AF100 professional digital movie camera compliant with the Micro Four Thirds standard, announced by Panasonic at the NAB Show (world's largest broadcasting equipment exhibition) in April 2010 made a big impact and became the talk of the town because of the belief among those concerned that such a product was needed by the movie industry.
As this was followed by a succession of announcements from well-established professional lens manufacturers such as Schneider and Carl Zeiss that they intended to support the standard, the excitement and momentum continued into 2011, with one manufacturer after another stepping forward to announce that they too wished to join the Micro Four Thirds camp.

Today, images are no longer relegated to photo albums of still images shared by a few or home videos watched by family and friends. Today, the line between still and moving images has disappeared as technologies converge and new shooting styles emerge. With characteristics compatible with both requirements, Micro Four Thirds can respond to the needs of people from a wide range of industries.
It is no exaggeration to say that only Micro Four Thirds assures high image quality based on safety and flexibility for moving images as well as for still images.
With the availability of development information, and the ease of collaboration for development via collaborative support systems facilitated by Micro Four Thirds status as a common standard, as well as its outstanding overall performance, the circle of enterprises adhering to the Micro Four Thirds standard is expected to continue growing in the future.

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