When I was an assistant, I enjoyed the Panastar very much for two reasons: 1. Except for the body and magazines, it was identical to set up like a Gold II or Platinum. Not having to wrap my head around an entirely different camera made a much easier day for me. 2. As far as I know, the Panastar is the most reliable 120 FPS camera with a 1000' foot load out there. Less reloads, longer takes, more chance to get the shot, I thought this was much better for production. Also I wasn?t worrying so much about camera jams and being exasperated by endless reloadings.
For some reason however, the camera is not popular in New York. I believe that is mostly attributable to its rarity here versus the ubiquity of the Arri 435. (I don?t think Panavision New York even has one without shipping from LA). AC?s, being out of their comfort zone of the familiar 435 would complain of the Panastar not being up to date, being heavy, and having to oil it after high speed takes.
As far a noise level goes, at 24 FPS, it is very quiet compared to a 435. In a noisily environment, like a city street, the mics will not hear it at all. Even on stage, go on a longer lens, throw a furniture pad on it, and shoot sound takes. Also on pure MOS jobs, the lack of noise makes for a much nicer set experience for everyone. You of course hear it at 120 FPS, but still it is much less so than other cameras and thus more pleasant to work with.
Dennis A. Livesey
