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    #41
    Senior Member FrameFarmMedia's Avatar
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    Quote Originally Posted by Clermond View Post
    there is almost nothing what you can rig on the FS7 to get the colors of the EVA1 out of the camera.
    Sold my FS7 for these colors. For everything else you are free to choose accessories.
    This was pretty much my assessment also having used both cameras.
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    #42
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    Quote Originally Posted by Clermond View Post
    there is almost nothing what you can rig on the FS7 to get the colors the EVA1 has straight out of the camera.
    Sold my FS7 for these colors. For everything else you are free to choose accessories.
    I don't disagree with you. And I really like the EVA1 images I've seen so far.

    But that alone does not make it a camera that will get you hired. Producers often stick to what they know, and they know the FS7. They know there's lots around so it's easier to match them for multicam shoots, or get a backup if the main cam goes down. They know they can hire it everywhere and even if a kit only includes the bare-bones body, they can still shoot with it pretty effectively. They know the editor & colourist will know what to do with the footage. Before the FS7 it was the C300. Before that, the 5DmkII (shudder...) and before that, the EX1/3. Nothing yet has come along to disrupt the FS7's place at the top of the pile (for run 'n' gun, corporate, doco, etc). Of course if you're a OMB who produces/shoots/edits all in-house this is not a concern, but for a freelance cam-op, it is a primary consideration.

    That is what I mean when I say there has not been an FS7-killer yet.
    VIDEO PRODUCER ON THE NSW NORTH COAST, AUSTRALIA
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    #43
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    It’s on pretty big discount now on Black Friday so that can be and inclination it’s not doing too well... (interestingly the new Canon EOS R is as well, and reviews for that have been less than stellar).

    EVA1 looks like it’s producing fabulous images. But it’s not that versatile with very limited AF, the EF mount etc... and speaking of mounts... the Panasonic line up is a mess in that regard. GH5 is MFT, the Varicams are PL, the EVA1 is EF and now their new FF mirrorless will be Leica L-mount... and look at Sony, I’m pretty sure that whatever replaces the F5/F55 will have e-mount in a similar way the VENICE has it... and then the whole range of Sony cameras use the same mount, from a lowly a6000 to the VENICE... in that ecosystem you can really build yourself upwards, without changing everything for each step...
    Sony NEX-FS700R | A7S | Odyssey 7Q+ | Atomos Ninja V
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    #44
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    Yes, we’ll put. But, you can change out the EVA1’s EF mount for a PL, with the Wooden Camera mod kit.
    Cheers


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    #45
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    Quote Originally Posted by Denny16 View Post
    Yes, we’ll put. But, you can change out the EVA1’s EF mount for a PL, with the Wooden Camera mod kit.
    Cheers
    Thus opening the camera to another 100,000 lenses compared to the millions of MFT lenses in circulation


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    #46
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    I don't see a better image from the Eva1 compared to the other S35 cameras. This must boil down to personal taste.


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    #47
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    Quote Originally Posted by morgan_moore View Post
    Thus opening the camera to another 100,000 lenses compared to the millions of MFT lenses in circulation
    I'd take one decent lens with actual, smooth, manual rings over any number of fly-by-wire lenses!
    VIDEO PRODUCER ON THE NSW NORTH COAST, AUSTRALIA
    Sony FS700 || Shogun Inferno
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    #48
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    Quote Originally Posted by deltoidjohn View Post

    But that alone does not make it a camera that will get you hired. Producers often stick to what they know, and they know the FS7.
    I don't get hired as DP. We produce in house full service videos for industry and corporate clients.
    Clients don't care what's behind the lens as long as they don't have the impression you show up
    with a DSLR but ask for Arri prices. For us there were two points important considering the EVA1:
    is the client happy with the result?
    How fast do we get this result

    1st point is definetely yes. One of our clients realized that we swapped
    from Sony to Pana and we told him that's le dernier cri in color and he came
    back after finishing the film and told us how great it was.

    2nd was our personal main reason. We shoot now over 50% scene files
    which was not possible with the FS7 because either it looked like Sony or
    took too much work in post. Lack of custom wb with the CineEI FS7 made a lot
    work in correctiong colors. Workflow speed has totally increased and overall
    colors of the EVA1 are also superior to the FS7. That's what we see and the
    clients see that too.

    As a freelance DP I probably wouldn't put all my money on the EVA1 because
    it's not too popular for production companies. Pana was just 3yrs late for the party.
    But honestly I see so many freelance DPs struggling also with FS7 or C300 or RED.
    I am very happy with our full service business model.
    Last edited by Clermond; 11-23-2018 at 04:42 AM.


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    #49
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    For my situation I run a studio and we shoot products for a toy company. I've used the FS7 and the EVA1 for the same work and for our uses the EVA1 is superior for our needs. On top of the great WYSIWYG colour for quick turnaround projects the sharpness of a oversampled sensor made a huge difference when punching in and reframing in post which is often done to the material we shoot in order to re-purpose for other projects. I love how easy it is to record ProRes to external recorders and having TC out to sync with sound is a bonus. We also shoot a lot of macro miniatures and need to shoot high iso in order to get realistic DOF and I find the EVA1 cleaner than my FS7.

    I do miss a few features with my FS7. I miss having 2 SDI outs. I miss how easy it was to switch into S&Q mode. I miss the versatility of E mount.

    I thought I would miss 10bit 4K 60p but honestly because of the ease of colouring I haven't noticed the 10bit vs 8 and no one on our post team has either.
    Frame Farm Media
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    #50
    Senior Member TubEfingers's Avatar
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    As a small production company the camera is not always the first thing we consider, we have a pool of cam ops with C300mk2's, FS7's, EVA1's, GH4/5's. More important for us that the op knows his camera inside out, is a talented shooter and works well with clients.
    We tend to steer away from FS7 as we've struggled with grading the image a couple of times in the past. Most common set ups we use are EVA/GH's and C300Mk2/1DX for multi/single shoots. AF100/AC160 for lower budget event shoots.
    EVA1, AF101, AC161, GH4


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