For those of you who missed the live stream, I'll be posting the EVA1 press release asap.

5.7K sensor, Dual Native ISO, EF lens mount, under 3 pounds, less than $8000

Edit: press release is up; see http://www.dvinfo.net/news/panasonic-previews-compact-5-7k-super-35mm-au-eva1-cinema-camera.html

Does it have IBIS?

Canon Cwhathundred?

EVERYONE SHUT UP AND TAKE MY MONEY!!!

Does it have IBIS?

Apparently only electronic IS. Interesting mix of features compared to the C200; missing the EVF, dual pixel AF and internal Raw of the latter, but otherwise looks like a very compelling package.

Canon Cwhathundred?

EVERYONE SHUT UP AND TAKE MY MONEY!!!

Of course the Canon is actually a camera, that takes pictures.. the Panasonic didn't even have a sensor in it. Looks a little like a c300, an fs7, and a dvx100 had a threesome. Impressive specs for an sd card camera. Will have to wait awhile to see some imagery. Stayed for the c200 presentation. The footage is some of the most impressive of any of the canon demos I've seen projected.

Stayed for the c200 presentation. The footage is some of the most impressive of any of the canon demos I've seen projected.

Barry, is there any chance to watch the C200's new footage online?

Odd sensor size at 5.7 megapixels if that's what that figure is referring to, total sensor pixels? How many are active I wonder?

This is obviously s new sensor of some design and it doesn't sound like anything that Panasonic's broadcast division has ever produced before. The camera as a whole looks like DVX-200 "Max" and the DVX-200 came out of Panasonic's consumer division. Just surmising that this is why this camera won't carry a "Varicam" label as it possibly has nothing to to do with the Varicam's lineage which is purely from the broadcast division. Also unlike the Varicams that are AVC-Intra and AVC Long GOP based this EVA1 sounds like it is an MP4/MOV based camera using similar codecs to its stable mate the GH5. Has this been confirmed yet?

Back to the sensor it seems a bit light on at 5.7 megapixels for a Super 35 sensor isn't it? If that is what this 5.7 number refers to. A bit crafty they way Panasonic are using this 5.7 number. For some lesser informed observers they might think that this number refers to an actual output value a la the 4.5K of the Canon C700 sensor. This is not a going to be a 5.7K active sensor.. I highly doubt it anyway.

The new C200 has 9.84 megapixels total, 4206 x 2340, for an active (effective) sensor area of 8.847 megapixels (4096 x 2160.) Same spec as the C300 Mk II.

The Sony FS5/7/F5/ cameras run a sensor of 11.6 megapixel total with an 8.9 megapixel active (effective) area.

What magic is it that Panasonic have that can convince us that this camera can produce a fully Debayered 4K image, after a demosaicing/debayer loss of about 30%, from a 5.7 megapixel sensor?

The likes of Canon and Sony are using much higher pixel counts of around 8.9 active megapixels to achieve their respective 4K outputs.

I don't want to prejudge but I've been in this business a long time and at times become a bit cynical about some claims that float around. I am very curious about this camera's sincerity of intention when it claims to be a full true 4k camera with the tech specs published so far.

I would love to know more about this camera if anyone has any further info that may make me a little less sceptical.

Chris Young
CYV Productions
Sydney

Mitch Gross said during the presentation that they plan to add a 5.7k raw output in the future, and that the 4K is oversampled from the 5.7k.

This camera proves Panasonic CAN record ultra high bitrate 4K 10bit 422 60p to SDXC UHS-II cards. Now if only we got a DVX200B with the guts of the GH5 (with no crop factor) and the same level of 10bit support and I would buy one of those in an instant. Even if it didn't have 12G-SDI, a DVX200B with 10bit internal would be the logical next move.

I'm ready to leave the Sony camp. It's been a fun ride, but purposely not going 4K 60p below your prosumer flagship, the FS7, means Panasonic has my business.

Odd sensor size at 5.7 megapixels if that's what that figure is referring to, total sensor pixels? How many are active I wonder?

Where do you get the idea that a 5.7K raw image means a 5.7MP sensor?

Barry, is there any chance to watch the C200's new footage online?


I added it here the day the C200 was announced.

See http://www.dvinfo.net/forum/canon-cinema-eos-camera-systems/534177-canon-eos-c200-c200b-video-overview.html

It's called "Dish to Dock." The BTS is there as well.

...it doesn't sound like anything that Panasonic's broadcast division has ever produced before.

The EVA1 was designed by Takahiro Mitsui, who is Panasonic's chief VariCam engineer.

Back to the sensor it seems a bit light on at 5.7 megapixels for a Super 35 sensor isn't it? If that is what this 5.7 number refers to.

Actually it is a "native 5.7K" sensor. The 5.7 number does not refer to megapixels.

This is not a going to be a 5.7K active sensor.

As Barry has already pointed out: according to Mitch Gross, who is the Panasonic cinema products manager, the EVA1 will be 4K active at first and later on after a firmware update is released then it will be 5.7K.

It may be helpful to watch the livestream presentation from yesterday. I can't embed it here, but I have added it as a video clip in the EVA1 press release on the static side of the site. It's linked in my first post up at the top of this thread.

As an FS5 owner, this camera intrigues me, more so than the C200. Why? Because of the timecode in/out and strong internal codec.

Much of my work is in broadcast, at times with multiple camera shoots. As much as I like my FS5, the lack of a timecode in/out has hampered my shoots on several occasions. Broadcast and/or multiple camera shoots really expect timecode sharing.

I guess Sony and Canon see this type of small digi-cinema cameras as not needing a timecode feature. They see these cameras as ideal for small, independent film makers and small productions.
But they also must realize us small business owners need our cameras to work in every production situation, including broadcast and multi-camera shoots. I can only afford one camera, it needs to be all things to me.

A good, strong, internal codec is also a big plus. The specs aren't out yet, but it seems it will have a strong codec. I want one that is acceptable to the most demanding broadcast client. I hope the EVA1 delivers on this. The FS5's codec is so-so. And I dislike add-on recorders.

Speaking of codecs, I personally have no need for RAW video. The majority of my work is shot in 1080/60i. I have never shot in RAW and have never had a request to do so. So, the feature on the C200 is nice, but I have no need of it. That may change in a few years, who knows.

So, the timecode port and possible strong internal codec may cause me to trade in my beloved FS5 for the EVA1. I could just upgrade to the FS7, but I really like the size of the FS5. Plus, I'd need to add the $2,000 back for timecode. Then I'd need to buy more expensive V-mount or A/B batteries. Ugh, more expenses.

I do wish the EVA1 had a rear EVF. I use my FS5's EVF a lot. But I'll trade that for the timecode port.

Odd sensor size at 5.7 megapixels if that's what that figure is referring to, total sensor pixels? How many are active I wonder?

Sorry Christopher but you read that sensor spec wrong. Its not 5.7 megapixel. Its 5.7K. It's way beyond 4k resolution. This is far more han a simple 1:1 readout.

This should produce highly deatiled 4k images

It's called "Dish to Dock." Thanks, I was hoping for new footage other than "Dish to Dock.", it would be nice if they showed more at Cinegear.

Dock to dish is all they are showing. My point was regarding projection. The paramount screen is big and I was sitting pretty close. I've seen a number of canon cameras demoed there. Other than some questionable color on the chef/fire shots, the hdr and lowlight shots were simply jaw dropping. Especially considering that the grade was extremely natural (some have said dull), it's easy for the eyes to drift into the middle shadows looking for noise and banding..as there weren't any crushed shadows or "graded colors". Remarkably clean. This is an impressively powerful camera given the price point.

From talking to a rep in the booth (rep=not always 100% accurate). FCPX should be supported at launch, and CRM files should be handled there like any other clip. (My eyebrows lifted at this -- hope to dig further today). Premiere apparently won't get the same treatment.

It's called "Dish to Dock."

:-)..... that's sounds like a completely different movie than I saw, Chris.

D'oh!!

I got it *backwards!*

Actually it is a "native 5.7K" sensor. The 5.7 number does not refer to megapixels.


Thank you for the heads up Chris. Will check out the video.

A 5.7 K RAW output. This is why I was a bit incredulous. I was thinking it must be a 5.7 megapixel reference so yes I got it wrong through disbelief.

This is what I was trying to clarify by posing the question in my post because it seemed pretty amazing hearing of this 5.7K RAW output. In view of the fact that the 35 and the LT, which we have tried out successfully, top out at 4K RAW.

I have also been informed elsewhere that the EVA1 will have a 6G SDI out to support the 5.7K RAW and that the Shogun Inferno will be able to record directly to Apple ProRes or DNxHR via that 6G output. This is good to know.

This is the first time I've heard all of this info so all is much clearer now. As far as I know no other Panasonic camera supports this SMPTE ST 2081-1: 6G-SDI 5.9Gbps standard as yet. Am I correct in this assumption?

Which I guess leads me to my next question. Will the LT and 35 get similar upgrades? Is it possible even?

Chris Young
CYV Productions
Sydney

EDIT:
Having now watched the video I am now much better informed. Will look forward to checking the EVA1 out.

Based upon what Mitch and Co. presented, I predict the EVA will be a big hit. It looks like a killer set of specs for a very low cost. I find it interesting that their research indicated that enough users either dislike or don't care about an EVF to have not included one, personally, I would miss it. A Zacuto Gratical will add $2k or more to the price of the camera, which is not appealing if you want to shoot it shoulder mounted but that is what the market indicates to them. 2K 240 and 400 Mbps are impressive, especially shooting to the much less expensive Gen II SDXC cards. The dual ISO and Varicam color science sounds amazing on an $8k camera. I think Panasonic is going to sell a ton of the EVA1s, it raises the bar for the price range and class of camera.

I'm not sure how many bars this camera is raising. It seems clearly aimed at the young, entry level, Ursa Mini / Fs5 user offering a relatively low bitrate solution for 4k60p and "faster is better" 240p. Canon's 10bit 4k30p runs at about 410mbps and so to match that quality at 60p the EVA1 would need an 800mbps codec. At this stage given that Panasonic is stating "up to" 400mbps and going out to SD cards, we should probably assume that their 10bit 4k30 will run at close to half that data rate.

This announcement is pure Panasonic, in that they showed another camera that doesn't work yet, and gave us a limited "highlight" driven spec list that doesn't delve too far into the details. Even their demonstration of dual ISO readout (truly this is a novel, effective, approach, similar to how Canon games it's iso's on the C300II) was fudged. We never see a comparison of the two ISO's directly...only a comparison of 800iso gained to 2500 and the 5000iso with negative gain down to 2500. (and of course all examples were shot on Varicam, not the actual camera or sensor in question).

As a former Panasonic user, I've always loved their colors, and I'm sure this will be a great camera. I don't think it's as compelling of a paradigm shift as the C200 is.

Sony, Canon and now Panasonic have now all taken their shots at the "upstarts" BlackMagic Design, AJA, even RED to some extent, targeting the entry level of the cinema market. To me, only Canon seems to have gotten the message, and, again, it seems, has brought a truly innovative feature (internal RAW to a card) to the table. These young users I think are less concerned about broadcast quality codecs, as for the most part...they aren't dreaming of seeing their stuff on ABC NBC...they're looking at Netflix, Amazon, iTunes and Youtube.

Panasonic EVA1 Interview with Mitch Gross.
Panasonic EVA1 Interview with Mitch Gross, Cine Gear 2017 - YouTube

This announcement is pure Panasonic, in that they showed another camera that doesn't work yet, and gave us a limited "highlight" driven spec list that doesn't delve too far into the details.

Sony, Canon and now Panasonic have now all taken their shots at the "upstarts" BlackMagic Design, AJA, even RED to some extent, targeting the entry level of the cinema market. To me, only Canon seems to have gotten the message. These young users I think are less concerned about broadcast quality codecs, as for the most part...they aren't dreaming of seeing their stuff on ABC NBC...they're looking at Netflix, Amazon, iTunes and Youtube.

I disagree that Canon has gotten the message at all. Canon has done what it always has done, introduced a new camera that gives an amazing new feature and yet holds back even more to protect it's higher models.

Now I agree Panasonic are guilty of doing exactly what they did with the GH5, announcing early before they've finalised the specifications of the camera. Hence the lack of detail. Still if it is like the GH5, it could be worth the wait.

As for young users, I wouldn't pigeon hole their needs. A codec that sits between 100/150mpbs 4:2:0 and 15bit RAW has value beyond Broadcast needs. Even shooting Weddings and basic Promos, I find 8 bit can be insufficient for some shots and welcome the range a 10 bit 4:2:2 codec can give. Shots that need greater amount of grading and the occasional green screen work are just 2 examples. RAW whilst perhaps addressing these issues, would be overkill for my needs.

I can't say which of the 2 cameras I prefer. Both have strengths and weaknesses. The dual ISO could favour low light over the Canon, plus the downsample from a 5.7k sensor would make for better 4K. Yet the Canon offers slightly better colours, better DR if using RAW internally and far superior Focusing - though Panasonic are somewhat coy with their focus details.

Thankfully I'm in no rush and as a purchase for next year, will have ample time to evaluate both their footage. I've seen several videos from the C200 and it looks impressive. However I also look forward to seeing how the EVA1 performs as well.

I disagree that Canon has gotten the message at all. Canon has done what it always has done, introduced a new camera that gives an amazing new feature and yet holds back even more to protect it's higher models.

Now I agree Panasonic are guilty of doing exactly what they did with the GH5, announcing early before they've finalised the specifications of the camera. Hence the lack of detail. Still if it is like the GH5, it could be worth the wait.

As for young users, I wouldn't pigeon hole their needs. A codec that sits between 100/150mpbs 4:2:0 and 15bit RAW has value beyond Broadcast needs. Even shooting Weddings and basic Promos, I find 8 bit can be insufficient for some shots and welcome the range a 10 bit 4:2:2 codec can give. Shots that need greater amount of grading and the occasional green screen work are just 2 examples. RAW whilst perhaps addressing these issues, would be overkill for my needs.

I can't say which of the 2 cameras I prefer. Both have strengths and weaknesses. The dual ISO could favour low light over the Canon, plus the downsample from a 5.7k sensor would make for better 4K. Yet the Canon offers slightly better colours, better DR if using RAW internally and far superior Focusing - though Panasonic are somewhat coy with their focus details.

Thankfully I'm in no rush and as a purchase for next year, will have ample time to evaluate both their footage. I've seen several videos from the C200 and it looks impressive. However I also look forward to seeing how the EVA1 performs as well.

If we could combine the best of these two cameras, we would truly have the best sub $10k camera ever made. Both have some super cool, amazing features and both seem to leave us wanting on several fronts at the same time.

I agree with you, Canon is doing what they always do, holding back to protect the next model up in the line, it can be frustrating, but Canon is probably the most conservative of all of the major camera manufacturers, that is mid-90s typical large Japanese marketing strategy. Sony used to do it even worse but they seem to have somewhat backed off on it in the past few years. I wish that they would simultaneously introduced the C300 MKIII, at $15k or $16k. It would have had or undoubtedly will have Cinema RAW Light, the same touchscreen and general layout and but will also have a raft of clever things (like dual CFast 2.0 Slots, 24-bit audio, perhaps the shoulder mounted form factor more like the C700, a superior EVF, 10-bit or 12-bit XF-AVC, etc.) that the C200 doesn't to justify double the cost or more.

As far as EVA1, I am pretty excited by what could be. The specs sound much more impressive than the C200 as far as codecs, frame rates, bit depth, dual ISO, Varicam colors but I am sad that they seem to be using EF lenses with what looks to be essentially a dummy mount with only iris control possible. If they at least supported the IS on Canon IS lenses, that would have been smart for poaching Canon and Sony owners, which is clearly the intent of the camera. Perhaps I don't understand if IS needs to be somehow supported by the camera or if the lens mount is supplying power, does the IS just turn on and work? The EIS? Hmm...I remain skeptical. If it has zero effect on image degradation, all is good but a lot of posters seems unconvinced. I used to like OIS on my HPX170 but I think EIS is different. As far as AF implementation, we are all holding our breath to see what The Mitch and Co. come up with. If the audio controls are all buried in the menus, that will be sad for much of the intended audience.

This competition is clearly of benefit to us all, can't wait to see what Sony comes up with to combat these two cameras.

More to digest on the EVA1.

"EVA" the beautiful girl. Sounds like...

The HD overcrank (slo-mo) is going be centre cropped >02.17
Internally it's going to be 8-bit only in 50/60p like the GH5 >02.35
You will need an additional external third party module for external RAW recording to an Atomos etc?? >03.10
The RAW 4K 50/60p output is going to be a 4096 crop of the 5.7K sensor, (my comment: typically it's not not possible to scale raw) >03.15
Specifications. Sounds like they are pretty locked bar firmware >06.34
Motor driven switchable IR filter >07.41

The comment about a possible PL mount has already been quashed.

Panasonic EVA1: RAW, Slo-Mo & removable IR filter - Nela Pertl & Luc Bara - ON THE GO - ep 52 - YouTube

Chris Young
CYV Productions
Sydney

Latest news on "EVA" :))

The Panasonic AU-EVA1 awaits you - YouTube

Chris Young

Latest news on "EVA" :))

The Panasonic AU-EVA1 awaits you - YouTube (https://www.youtube.com/watch?v=wWvVuD-itag&sns=em)

Chris Young

This is amazingly clever and cute. Nicely done.

For what it's worth. I can't testify to the veracity of any of the following statements but they did come from a pretty well informed industry source in the UK.

Has anyone heard anything similar in nature to these latest AVA whispers?

"So yesterday I visited Takahiro Mitsui, a chief engineer for cinema camera development at Panasonic, at CVP’s VariCam lineup event in London. They featured a non-working model of the EVA1 (this doesn't mean it's a part of the VariCam family, it's not. It's completely new). Taka was able to confirm a few things, and not able to say with certainty others.

1. The camera will NOT feature IBIS as previously speculated. It will use EIS done in image processing. With the 5.7k resolution, the image will have a slight crop, with virtually no loss in fidelity.

2. The camera will feature some crop mode options. None specifically stated, although Taka said that there may be a MFT size crop option with 4k resolution (similar to Ex. Tele Conv. function in GH cameras).

3. Taka could not comment on if the camera will have 4k60p 10bit 422 internal recording.

4. One of the base ISOs is confirmed 800.

5. Taka could not comment on the dual SD functionality and whether they'd be able to record simultaneously or proxy footage.

6. The side handle on the camera will NOT have a rosette mount, rather it will be a proprietary one-touch lockable/rotatable mounting system. They are already working with third party manufacturers for mounting solutions (perhaps grip extenders for shoulder rigging).

7. The LCD is NOT the same as the one in the GH5, it is new. No specs to speak of yet besides that it will be a touchscreen.

8. They like the red lines, and so do I :)

9. Taka had a raw sample of the new 5.7k sensor available to look at. Pictures below.

10. The camera currently doesn't have an auto-focusing system, Taka said they are trying to work something out.

Actually holding the camera felt very nice. It's super light and the ergonomic side handle is very comfortable. It has eight ¼ inch mounting points on the top. I forgot to check the bottom, woops. Of course big lenses and other rigging would beef up the size and weight, but that's up to the user.

Overall it seems quite early for Taka to be commenting on certain aspects of the camera, as they are still fine-tuning, tweaking and finalizing hardware, firmware and software. He's also very humble and I had a good chat with him."

Just curious as ever:)

Chris Young
CYV Productions
Sydney

Im really wondering why Panasonic didnt choose the JVC type LS300 MFT mount with S35 sensor. The EVA-1 will have a deep set sensor with a deep mount flange back distance.

Wouldn't it have been better to have the MFT shallow flange back mount and pushed back Canon lenses with simple adapters? This could have opened the door to more lens options without hurting the Canon lens options. It could have allowed Canon, Nikon and MFT glass at least in manual operation.

I dont get this. Surly Panasonic has inspected JVC's implamentation?

+1 agree Mr. C.

An M4/3 mount with a S35 sensor and a world of lenses and adapters would have become available. Do any of these manufactures really talk to people working at the coal face? Big mistake going with a mount that let's face it that was designed for a legacy mirror box DSLR still camera range.

Sorry to say but the EF mount is one of the least adaptable mounts out there as regards fitting other lenses that require shorter flange back distances. Arri Std, B and PL are 52mm, B4 is 48mm, Nikon F is 46.5mm and EF is 44mm. Anything else shorter than 44mm is almost impossible to use and that is a big world of lenses to miss out on.

Can't follow Pana's reasoning here. As you say it would have been a much more flexible solution to follow JVC;s lead.

Chris Young
CYV Productions
Sydney

Latest news on "EVA" :))

The Panasonic AU-EVA1 awaits you - YouTube (https://www.youtube.com/watch?v=wWvVuD-itag&sns=em)

Chris YoungGood marketing tool. This should have been released before CineGear!!!

Panasonic EVA1 US $7345.00

https://www.bhphotovideo.com/c/product/1341795-REG/panasonic_au_eva1_compact_5_7k_super.html



£7,458.00 inc VAT

Buy - Panasonic AU-EVA1 (AUEVA1) 5.7K EF Mount Compact Super 35mm Cinema Camera with Handle, Grip and Monitor (http://cvp.com/index.php?t=product/panasonic_au-eva1)

Here there are the final specs:
New Compact Cinema Camera AU-EVA1 | Panasonic (http://pro-av.panasonic.net/en/eva1/index.html)

£7,458.00 inc VAT

That is one crazy price difference between the US and UK.

In Pounds that puts the EVA-1 at around US$9,680.00. Why the $2,300.00 difference between the two markets? Mind you here in Aus they are quoting $11,650.00 which is crazy for a camera with NO on-board 4K 4:2:2 10-bit 50/60p which is really required for sport and rapid dance motion.

I see on-board 4:2:2 10-bit 4k is only available at 24/25/30p. I also see from the specs that the upcoming 400Mbps is only applicable to 24/25/30p. It appears to be much the same as a GH5 spec wise.

So as a 4k 50/60p camera it appears that we are restricted with on-board to shooting at 4:2:0 8-bit at 150Mbps which is a shame in this day and age.

EVA-1 at $7,345.00 or Sony FS7 at $7,499.00 with 600Mbps 4K 4:2:2 60p is going to be a choice some will be facing. A tough call if you need the 4:2:2 higher frame rate.

Apart for the codec choices I think Panasonic made a mistake going with an old SLR legacy lens mount in the EF mount as any lens with a shorter flange distance requirement than 44mm is ruled out. I think JVC combining an S35 sensor with the M4/3 mount was mindful of this lens choice issue and made the smarter choice. Time will tell I guess.

Chris Young
CYV Productions
Sydney

Apart for the codec choices I think Panasonic made a mistake going with an old SLR legacy lens mount in the EF mount as any lens with a shorter flange distance requirement than 44mm is ruled out. I think JVC combining an S35 sensor with the M4/3 mount was mindful of this lens choice issue and made the smarter choice. Time will tell I guess.

Panasonic went with hands down the most popular lens mount in the world, instead of a lens mount used by a fraction of filmmakers and photographers and require adapters to work.

JVC made a smart technical decision but I think it backfired with market confusion. Panasonic made the decision from a marketing standpoint. Time will tell though.

Director of Photography Filippo Chiesa
PANASONIC First EVA1 Footage

PANASONIC First EVA1 Footage Panasonic on Vimeo

Elle Schneider's EVA1 Short Film

Short film "Near to Superstition" shot on EVA1 by Elle Schneider | Panasonic - YouTube

Johnny Dernago's Rocket 88 - I felt this was by far the best looking footage of the three when I saw this at the Academy Theater in Hollywood the other night. The theater has a state of the art digital projector and all three films looked good but this one had the best lighting and most interesting concept.

Short film "Radio 88" shot on EVA1 by Johnny Derango | Panasonic - YouTube

all three films looked good but this one had the best lighting and most interesting concept.

Completely agree with that assessment. There is a “road show” coming here in the first of October, so I’ll be able to check out all three in a theater as well.

Been a lot of grumbling about fixed pattern noise and compression artifacts from these YouTube and Vimeo clips. Reserve judgement about the the camera's low light ability until you have seen the films properly projected in a theater or if Panasonic releases the RAW footage. I have seen artifacts in the on-line clips but sitting in a darkened state of the art theater, I saw no noise issues on a huge screen, I think they are YouTube and Vimeo compression artifacts. Remember too that these films were shot with the limited 150Mbps codec and that the release of the 400Mbps codec will result in a very different image quality. Also, Mitch Gross said that these films are "the worst you'll ever see the camera look" as Panasonic engineers have been continually tweaking the compression, gain and noise settings and the shipping cameras will look better than these samples which were shot on engineering models. I, for one, believe Mitch, he is not a huckster nor trying to pull one over on people, he has more than enough experience in this business to be genuine and forthright with what his product is capable of.

My observations from the Hollywood theatrical screening was that the camera, in the European art clip and in Elle Schneider's film, looked a bit "video-like" as far as cadence and feel. Johnny Derango used nice lighting and Black Pro Mists and I think his film looked really impressive, although there are still some slight video-like characteristics in the laundromat scenes with the British guy and the hostage taker. What was most amazing was that a $7,500.00 prosumer camera like this is so capable. I can guarantee you that a audience of normal people, sitting in that theater, would have had no idea that the films were shot on a $7,500.00 camera and they wouldn't have cared. The images looked good, the colors were spectacular, the images were sharp yet flattering to the talent. Elle Schneider's film had some shots obviously photographed at the worst possible time of day for flattering lighting and the images looked really good, not blown out, she had a huge vista with nuclear sun and clouds in the BG and none of the whites in the clouds were clipped. You definitely saw 14 stops of latitude. Projected, the firelight scenes looked great, not veering into the typical clipped red channel that shooting by firelight has, if you have ever tried it.

I also have to say that the audience seemed to mostly be camera nerds, not working DPs, operators and ACs, asking the most inane and irrelevant questions you have ever heard. I was embarrassed for Mitch and the filmmakers at how myopic and uninformed the questions from the audience seemed. It was like most of the 250+ people in attendance must have just been aspiring camera engineers because all that was asked were dumb questions about fixed pattern noise, how many stops V-log has, whether the film was shot at 24.0 vs. 23.98, it was so pointless and had little to nothing to do with how the camera was to actually shoot content with. Not a single person asked about how the camera was to operate, if the lack of an EVF held up their creativity, how the camera performed under tough physical conditions, were there any heat issues shooting Elle's film in the Mojave desert in hot conditions, what grade of Black Promists Johnny used and how the camera/image responded to them, nobody asked for comments from the colorists at Technicolor how they felt about the 150Mbps footage, etc. Going to this event made me realize how much more of a DP I am than a camera nerd. So many of the technical specs JUST DON'T MATTER, especially on $7,500.00 cameras. Does the camera look good? Does it let you realize your vision of scenes without major compromise? Do others think the images look good? Those are really all that matter on this level of camera IMHO.

Personally, I don't think this camera will used that often in narrative filmmaking, I wish that Panasonic would have had the camera out on some real world documentary shoots. That is who will be buying and using this camera mostly. If I, as a producer, can pull together a cast, locations, wardrobe, props, a great script and a full or even abbreviated indie crew, I am not going to shoot it on my C200, an EVA 1 or a FS5, I am going to rent a RED or an Arri or perhaps even a Varicam LT. Just seems wishful thinking that narrative filmmakers are flocking to sub $10k cameras. Whereas documentary, corporate and event filmmakers are going to be the audience for this camera.

Elle Schneider's film had some shots obviously photographed at the worst possible time of day for flattering lighting and the images looked really good, not blown out, she had a huge vista with nuclear sun and clouds in the BG and none of the whites in the clouds were clipped. You definitely saw 14 stops of latitude. Projected, the firelight scenes looked great, not veering into the typical clipped red channel that shooting by firelight has, if you have ever tried it.

I thought her compositioning skills left a lot to be desired. First of all, 4:3 for 2x anamorphic is a feature of this camera, and she should have shot with that given the subject matter. She also was really lacking on spatial placement, both in scenes with people sitting around, and even just in the travel shots (also, a lot of burning of screen time with nonsense, that film could have been 2/3 to 1/2 the length).

I also have to say that the audience seemed to mostly be camera nerds, not working DPs, operators and ACs, asking the most inane and irrelevant questions you have ever heard.

Oh yeah, you get around DPs of note at NAB and you'll hear some absolutely inane questions, so I can believe it.

Not a single person asked about how the camera was to operate

My biggest question is: are the HFR modes like on the GH5, namely that you have to switch out of 10-bit 4:2:2 to get any HFR. So if you want to do a shot on the GH5 at 48fps over 23.98, you do it in 8-bit 4:2:0. I wonder if the EVA1 is the same.

what grade of Black Promists Johnny used and how the camera/image responded to them

Definitely a question I would have asked. Looking to add some Black Magic filters, and I'm not sure which strength to get, probably 1/8 or 1/4.

nobody asked for comments from the colorists at Technicolor how they felt about the 150Mbps footage, etc.

Yeah, or, for that matter, why they chose to shoot internally vs. out to recorder in ProRes. Was that a decision to keep things simple, or was that a requirement from Panasonic?

Going to this event made me realize how much more of a DP I am than a camera nerd. So many of the technical specs JUST DON'T MATTER, especially on $7,500.00 cameras.

Preach.

Personally, I don't think this camera will used that often in narrative filmmaking

Because of the trend where there's been a huge drop-off? I mean, back in the day when Canon DSLRs were king, it seemed like everyone and their mother was making short films, and now that the gear has pretty much solidified into an equal playing field across the whole price range, it seems like no one is doing that anymore. So weird.

Just seems wishful thinking that narrative filmmakers are flocking to sub $10k cameras

Definitely, I mean, sure, the EVA1 may end up being used as a "crash cam" and then people will talk about it like it was the A-camera, but the GH5 is better for that use anyway. I like the idea of it, but, frankly, I give up DPAF (which gives me a leg up as a solo operator), 10-bit in HFR modes (if the EVA1 is like the GH5 in that regard), and noise levels if I use one over my C300 Mark II. However, if I needed to record anamorphic, it's clearly good for that.

Whereas documentary, corporate and event filmmakers are going to be the audience for this camera.

It's a massive problem that the EVA1 isn't getting the Intra codecs on launch considering the GH5 is getting those in 9-10 days. The LongG GH5 files are quite a burden on the system, *especially* in 4K.

I thought her compositioning skills left a lot to be desired. First of all, 4:3 for 2x anamorphic is a feature of this camera, and she should have shot with that given the subject matter.

From what was said, because these were hot off of the press engineering models, not all of the features of the camera were enabled yet, no VFR, no anamorphic, etc. They get a pass from me on that, you can only shoot what the camera will allow you to.

I can also guarantee that if they would have shot Prores, there would have been caterwauling, the likes you have never heard of from the camera nerds on "why didn't you shoot natively in camera, what are you trying to hide or cover up?" I feel a little for Mitch and the filmmakers, they were damned if they did, damned if they didn't.

I agree, this releasing cameras that aren't finished thing is stupid, no different than the XF-AVC "update" on the C200 or that my C200 shipped with several bugs that still need to be addressed, which is unusual but not unprecedented for Canon. To me, it's a the triumph of marketing department over project management/engineering to release cameras without all of the basic features advertised in place. My personal opinion is that Panasonic may miss sales on the EVA 1 because they will possibly not have the 400 Mbps codec at launch, that feature, to me, was the biggest selling point of the camera when I first heard about it.

because these were hot off of the press engineering models, not all of the features of the camera were enabled yet, no VFR, no anamorphic, etc.

Gotcha.

I feel a little for Mitch and the filmmakers, they were damned if they did, damned if they didn't.

Yeah, but this is a little rushed, hence why stuff already working in the GH5 is delayed in the EVA1. Probably due in part to the new sensor, dual ISO, and full Vlog.

Does anyone know how well the gh5 matches to the eva1 and what features do they share ?

My biggest question is: are the HFR modes like on the GH5, namely that you have to switch out of 10-bit 4:2:2 to get any HFR. So if you want to do a shot on the GH5 at 48fps over 23.98, you do it in 8-bit 4:2:0. I wonder if the EVA1 is the same.

UPDATE: According to Mitch Gross on Twitter: "Yes, up to 120p available in 10-bit 422."

Just seems wishful thinking that narrative filmmakers are flocking to sub $10k cameras.

I can't speak for anyone other than myself, but I have been on the lookout for a camera to own that I can use for a splinter unit situation on my bigger jobs (like an extra angle for a stunt or action scene, or to send someone to get an establishing shot etc). Also it's nice to have around for the odd small thing I need to shoot outside of work. I have an A7S but the DSLR form factor has never been my thing--suffered through it in the 5D era and then moved on.Held on to my EF lens kit until the right camera came out. So for me, the EVA1 checks off a lot of boxes, and I may indeed get one.

Just an FYI, straight from the horse's mouth (so to speak), no anamorphic mode on the EVA1, unlike the GH5.