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Originally Posted by Dan Brockett
(Post 1936631)
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.
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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).
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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.
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Oh yeah, you get around DPs of note at NAB and you'll hear some absolutely inane questions, so I can believe it.
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Not a single person asked about how the camera was to operate
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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.
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what grade of Black Promists Johnny used and how the camera/image responded to them
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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.
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nobody asked for comments from the colorists at Technicolor how they felt about the 150Mbps footage, etc.
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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?
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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.
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Preach.
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Personally, I don't think this camera will used that often in narrative filmmaking
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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.
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Just seems wishful thinking that narrative filmmakers are flocking to sub $10k cameras
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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.
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Whereas documentary, corporate and event filmmakers are going to be the audience for this camera.
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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.
