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    The Panasonic EVA-1 is shown at Cine Gear
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    For me the Panasonicís EVA-1 is an overpriced disappointment, it should have come in at 4K with a MFT lens mount and variable scan mapping for other lenses.


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    My thoughts too. Clearly, the EVA-1 is not being marketed at current or former AF100 users, or Panasonic is Not paying attention to how they are/were using the AF100 (and BM Ursa Mini Pro shooters) camera with PL and B4 lenses.

    They are also ignoring the fact their GH users have a sizable invenstment in MFT lenses, and are not going to want to "convert" to the very few useable EF lenses. Looks like they are trying to woo former Canon DSLR video shooters over to the Panny side, while ignoring their own GH and AF100 users. Too bad, they are not giving their own customers an upgrade path from the GH and AF100 line.

    Panasonic is also not oayong attention to the fact, many of the upcoming professional users have outgrown using still camera lenses, like the Canon EF lenses, due to their limitations, auto focus/exposure is only used on some gimbal or boom rigs, and many if these are still manually (by remote) controlled. These shooters are demanding a more professional lens and lens mount, hinge the upcoming affordable PL Cine lenses that have come out in the last year or so.

    The only real lens options for this camera, are the Canon EF "Pro" Cine zooms (starting at $26K)and a few less expensive, slow (T/4) Prosummer Cine style zooms starting at $6K, and six prime Cine lenses starting at $4K.

    In the interview, Panasonic mentioned supporting "Run and Gun" documentary shooting, but the EF mount leaves you with only one affordable lens option here is a $26K Canon 17-120mm T/2.9 servo zoom. The other servo Cine type zoom is a $70K T/5.9 long zoom designed more for sports coverage where you have the light, and will be shooting stopped down for the DOF. You are left with three $24-60K manual Cine zooms for narrative work -- not much of a choice, and you can not select lenses that give the creative "look" required for a given scene.

    To use this camera as a documentary (or wedding) camera, yiumaremgoing to need to soend an additional $2-6K on a good EVF, and $26k for the one useable servo zoom lens, then will need a shoulder mount rig for most handheld shooting, another $500-1500. Panasonic is relying on their party manufacturers (like they did with the AF100 to some extent) to provide the missing bits. Having a EVF choice is nice, even if your choice will be limited to two or three expensive sources, for a high resolution EVF. You are still gong to need an external recorder for Raw (camera no longer compact) or using ProRes/DNx codecs, to get the camera to fit normal Pro postproduction work flow.

    How well the EavA-1 is going to actually work with its yet to be disclosed internal recording capabilities (going to be compressed or limited with only SD XC cards as the recording media) is going to be the next question to answer?
    Cheers
    Last edited by Denny16; 06-03-2017 at 11:39 AM.


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    Just thinking, something we all need to do before jumping on board with something we really don’t need.

    Thanks to Panasonic and their “Like GH4 Scene File” we have a DVX200 and a perfectly matched GH4 for 8bit internal recording. We also have a PIX-E5 for 10bit external recording with either camera. This suggests a question, do we really need a new interchangeable lens video camera or does our existing technology meet or exceed our needs?
    Last edited by Vardalos; 06-03-2017 at 01:52 PM.


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    In my case leaving out an optional M4/3 locking mount leaves this camera on store shelves...maybe Panasonic will add this option over the next few months, as they have some time to address this....I suspect they will come to realize that, but maybe not...the EF mount on the Varicam is a mount on a 27K something kitted out camera and it's a whole different kind of camera...This camera for me at least could have made sense as simply something I wanted...it's in a different affordability league...in this incarnation, no thanks....and I was poised to buy this as Norbro could probably tell from my incessant posts lol...including rambling on half asleep last night邏邏


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    I kind of get it. I remember when I was shooting on the AF100 all I wanted was an adapter to put EF lenses on my rig and redrock at the time was the only company providing one in scarce supply. While I personally prefer the MFT mount for adaptability (not to mention I love Veydra's) I feel like Panny is aiming more for the disenfranchised c100 shooters that want more from their package but aren't willing or can't afford to go c300 mkii.

    I'm very curious to see what comes of this camera and what image it produces.


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    Quote Originally Posted by TSDavis View Post
    I kind of get it. I remember when I was shooting on the AF100 all I wanted was an adapter to put EF lenses on my rig and redrock at the time was the only company providing one in scarce supply. While I personally prefer the MFT mount for adaptability (not to mention I love Veydra's) I feel like Panny is aiming more for the disenfranchised c100 shooters that want more from their package but aren't willing or can't afford to go c300 mkii.

    I'm very curious to see what comes of this camera and what image it produces.
    Agreed...but if a fledgling camera company could release there 1st cinema camera (BMCC) with both an EF and M4/3 mount....granted, the latter after a few months, why not Panasonic who must have 100,000's of loyal clients invested in the M4/3 system...the more I think about this...the more unbelievable this is to me!!!


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    And the Varicam has an interchangeable lens mount, with a PL option, not this EF only mount sibling, yes, a very big disappointment. The big issue with a still camera EF mount, is it can not be shimmed, so getting Parfocal zoom with out electronic correction is nill, and Cine prime lenses witness marks will not be accurate. Also given the big difference between the EF mount FFD (longer at 44mm) vs the 19.25 FFD on the MFT mount, you are not going to swap out the mounts very easy on this fixed mount camera, without a resisted front end like the Varicam LT has.
    Cheers


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    Seem like there's quite a few emotions surrounding the release of this camera. I think it's important to point out that none of us as individuals represent the industry as a whole. For that reason, a camera that appeals to a great majority of the industry may not be personally suitable for us.

    Quote Originally Posted by Denny16 View Post
    They are also ignoring the fact their GH users have a sizable investment in MFT lenses, and are not going to want to "convert" to the very few useable EF lenses. Looks like they are trying to woo former Canon DSLR video shooters over to the Panny side, while ignoring their own GH and AF100 users.
    A lot of GH users are already using EF lenses, especially since the Speedbooster became available. I'd also argue that there are very many more "useable EF lenses" than there are m4/3rds lenses. Unless, of course, your primary concern is AF.

    Quote Originally Posted by Denny16 View Post
    many of the upcoming professional users have outgrown using still camera lenses, like the Canon EF lenses... These shooters are demanding a more professional lens and lens mount, hinge the upcoming affordable PL Cine lenses that have come out in the last year or so.
    If they've outgrown EF, they've definitely outgrown m4/3rds as well. So what are you suggesting they should use instead? PL? A lot of the "affordable PL Cine lenses" are also released in EF mount as well.

    Quote Originally Posted by Denny16 View Post
    The only real lens options for this camera, are the Canon EF "Pro" Cine zooms (starting at $26K)and a few less expensive, slow (T/4) Prosumer Cine style zooms starting at $6K, and six prime Cine lenses starting at $4K.
    If you think these lenses are expensive, then you definitely don't want to be using PL. The PL versions of these EF lenses you mention are considered 'low-cost' PL lenses. In any case, many PL lenses can be used on this new camera with an adaptor anyway because, unlike the Canon DSLR's, there's no mirror block to get in the way. Besides, plenty of people are more than happy using EF photo lenses on cameras like the C300, FS7, BM 4.6K, and even on the Red cameras. Short of the mostly-prohibitively-expensive PL system, EF is by far the best, most widely supported lens mount system to use for video at this point in time.

    Quote Originally Posted by Denny16 View Post
    You are still gong to need an external recorder for Raw (camera no longer compact) or using ProRes/DNx codecs, to get the camera to fit normal Pro postproduction work flow.
    What makes you think that this camera's internal codec won't fit into a "normal pro post-production workflow"? Especially given the camera is not due out for a while, I have no doubt Panasonic are working with most major NLE's to get the codec implemented natively, and there is nothing that suggests the codec is not up to professional standards.

    Quote Originally Posted by fboonzaier View Post
    In my case leaving out an optional M4/3 locking mount leaves this camera on store shelves...maybe Panasonic will add this option over the next few months, as they have some time to address this
    A locking m4/3rd mount might not even be physically possible. I know there were several comments from the Sony engineers that it was incredibly difficult to implement the locking E-mount due to the short flange distance.

    Quote Originally Posted by fboonzaier View Post
    Agreed...but if a fledgling camera company could release there 1st cinema camera (BMCC) with both an EF and M4/3 mount....granted, the latter after a few months, why not Panasonic who must have 100,000's of loyal clients invested in the M4/3 system...the more I think about this...the more unbelievable this is to me!!!
    Blackmagic did not choose the m4/3rd mount to appease current lens owners - they chose it because it was the best modern mount to match the sensor size they had at the time. Panasonic knew there is much broader desire for an s35 sensor than a m4/3rds sensor, and hence we've been given a matching lens mount.
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    @deltoidjohn
    Blackmagic did not choose the m4/3rd mount to appease current lens owners - they chose it because it was the best modern mount to match the sensor size they had at the time. Panasonic knew there is much broader desire for an s35 sensor than a m4/3rds sensor, and hence we've been given a matching lens mount.

    Very well... I'll repeat that I was not advocating for a M4/3s sensor but M4/3s MOUNT...personally I was thrilled about the S35 sensor....and as for a locking M4/3 mount, if that is prohibitively expensive or difficult, the DSLR style push button lock/unlock on the EF mount shown in the EVA prototype in a M4/3 mount, would been the difference between me buying the camera or not...JVC did this same thing a couple of years ago...no great innovation here...you don't need a M4/3 sensor to accompany a M4/3 mount...so why some are posting here about the dissapointment at the lack of a M4/3 sensor on the EVA is baffling...of course...most of us have been talking about this upcoming pre release on this forum for some 6weeks or more...


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    Sure, it's been proven that a m4/3rds mount can work with an EF sensor, but that doesn't mean it will work in every scenario. Take into account, perhaps, that the Panasonic shoots 4K DCI while the JVC is only UHD - Maybe those extra pixels on the edges add just enough width to the sensor to make it no longer possible to use a m4/3rds mount? Perhaps it was too difficult to engineer good quality re-scaling of the cropped portion of that particular sensor? Or perhaps they just knew the economies of scale where stacked more in their favour if they targeted owners of native EF lenses?

    If you were expecting (and hoping for) Panasonic to release a direct successor the the AF100, I can see why you might be disappointed. But if you look at the entire market as a whole, leaving personal emotions out of it, this camera makes a hell of a lot of sense. It is really a true pro camera, with a quality codec, TC in/out, and plenty of other features which separate if from the market the AF100 or GH cameras were/are playing in, and as such it makes sense that they've used a widely-accepted pro-level mount.
    Last edited by deltoidjohn; 06-04-2017 at 01:42 AM.
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