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    #31
    Senior Member Run&Gun's Avatar
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    Quote Originally Posted by morgan_moore View Post
    Yep - the 5/55 are kinda cool - I kept my FZ adapter when I flogged my F3. I do watch the used market.

    I alsmost respect them as cameras (HF jack, XLR angle I do not respect)

    The raw implementation is the best physically. (apart from the venice)
    Not sure what they're going for now, used, but I picked mine up in '15 for $20k, so pretty sure it's gotta be even less, now.

    Yeah, ther are some really dumb things about it, like the XLR connectors and the VF connector.

    It's not perfect and it's definetly not like shooting with my VariCam, but the longer I have it, the more I like it.


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    #32
    Senior Member Run&Gun's Avatar
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    Quote Originally Posted by morgan_moore View Post
    HDMI why?

    SDI is not bendy enough and doesnt work with my Animon transmitter, since floppy HDMI leads hdmi has dropped off my most hated list.
    And now we will have to part ways, again. ; ) I still feel that HDMI has absolutely no place in professional production in the field. Maybe it's from all of the live TV I have done and still do, but a non-locking video connector(or audio for that matter) is like jumping out of an airplane and deciding to just hold onto the parachute with one hand instead of actually strapping it onto your body.


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    #33
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    Quote Originally Posted by morgan_moore View Post
    But the EVA1 has a few benefits over the FS7: doesn't need an XDCA back for raw, is much lighter (more like FS5 size, but much much better), better colors, has timecode on the body itself.



    We know the benefits but. Tcode? Ive never been asked for it, apart from a big multicam TV show I did (FS7 x 3) - my biggest editor/director shoots a DSLR for his personal work and is entirely happy synching audio in software.
    Sadly timecode is too underappreciated in low/mid budget work.

    Which is a pity, as it never has been cheaper and easier to include timecode in your workflow!
    Am a Sound Recordist in New Zealand: http://ironfilm.co.nz/sound/
    Follow my vlog and adventures in sound: https://www.youtube.com/c/SoundSpeeding


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    #34
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    Quote Originally Posted by Run&Gun View Post
    Not sure what they're going for now, used, but I picked mine up in '15 for $20k, so pretty sure it's gotta be even less, now.

    Yeah, ther are some really dumb things about it, like the XLR connectors and the VF connector.

    It's not perfect and it's definetly not like shooting with my VariCam, but the longer I have it, the more I like it.


    Sony PMW-F5 are going for sub $10K on eBay all day long. Or less. Easy.

    Sometimes they've even going for similar to secondhand FS7 prices! I've seen $5K ish PMW-F5 sell on ebay this year. (soooo tempting! But as a soundie I just can't justify spending that much on a camera, and thus I stick with my PMW-F3/BMPCC/G6 instead)
    Am a Sound Recordist in New Zealand: http://ironfilm.co.nz/sound/
    Follow my vlog and adventures in sound: https://www.youtube.com/c/SoundSpeeding


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    #35
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    Quote Originally Posted by Run&Gun View Post
    And now we will have to part ways, again. ; ) I still feel that HDMI has absolutely no place in professional production in the field. Maybe it's from all of the live TV I have done and still do, but a non-locking video connector(or audio for that matter) is like jumping out of an airplane and deciding to just hold onto the parachute with one hand instead of actually strapping it onto your body.
    There is no right or wrong there is only, and I choose the phrase carefully 'appropriate use'.. when I was trailing cables I was all over SDI, now I have a wireless transmitter I find HDMI can be better for making small hops around my camera/gimbal rig. Also SDI needs to be specially constructed in a 'fail soft' manner - my DP502 had a small bump on the SDI and broke off the board - SDI and toy cameras/monitors can be a bad thing!

    As I said I would not trust it for critical data transmission be that raw recording or in your case live OB use.


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    #36
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    Quote Originally Posted by IronFilm View Post
    Sadly timecode is too underappreciated in low/mid budget work.

    Which is a pity, as it never has been cheaper and easier to include timecode in your workflow!
    It's amusing to see the disparity of TimeCode comments... For anyone who works with a sound person who uses a modern mixer, TimeCode is an absolute necessity. When working in documentary situations I've found that the sound person will record more than two tracks most of the time -- unless it's a single person sit-down with only the boom and a single lav. Sometimes I'll get a wireless hop from the mixer, sometimes I'll be on a hard-wire snake, but in either case the audio recorded in the mixer can prove important. Not to mention just having camera mic when shooting on a Ronin... So for me, I no longer consider cameras without TC input (which is one of the reasons I bought a GH5s to go with the EVA1 - though I'm not wild about the TC input sync implementation on the GH5s... but that's a different thread).
    Does TC make the camera 'popular' -- ? No, not particualrly... But for those who need the feature it's an absolute necessity. For me, 90% of my shoots have a sound person, so the TimeCode requirement was a no-brainer.

    I also wish there were a second SDI output, since I'm also often in situations where the third output would be handy -- but for those situations a small D/A is usually an option. But again, I know I'm not in the 'popular' majority here, since a large portion of my work is done with a 'video village' of producers and clients...

    A little reminder about the idea of "Popularity"... What are the two best-selling beers in America? -- Bud Light and Coors Light!


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    #37
    Senior Member Ben Scott's Avatar
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    Yep timecode is an absolute must.
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    #38
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    I'll chime in here as a launch day EVA1 owner (just over a year). It has been a fantastic camera and I use it as my primary camera for most of my projects. Corporate, commercial & documentary. I changed systems to the EVA1 from the Ursa Mini Pro mainly because of weight. I didn't want to gimbal the Ursa for my projects. After a few tests comparing the two cameras I found that the EVA1 gave me a good image with less fuss then the URSA. Gen4 color science has changed that but the Varicam look is great. I have also convinced several colleagues to jump in to the EVA1.

    Initially I used the LCD with the hood but found shooting outside was compromised. I would often use an external hooded monitor and that worked great. Most of my shoots are primarily inside. About 8 months in, I purchased the zacuto adapter - this was a great upgrade. Easy to judge the image in any environment with no external battery needed. Focus peaking works great. I have had zero issues with the system (although I am not a fan of the loose feeling of the side grip). Sometimes I will gimbal with a GH5 shooting vlog and the cameras match closely (with less dynamic range). Now, I am finding the BMPCC4K to match well in log so I am starting to gimbal with that and use the EVA1 rigged out for handheld or on sticks.

    I have had producers comment on the quality of the image (they are used to C300s). I shoot vlog primarily but otherwise scene 2 (basically vlog with standard LUT applied) for everything else. Images always come out great. Timecode really separates this camera from the C200. Also, 10bit to SD cards. I have had a few shoots with the shogun inferno shooting 5.7k raw and they have turned out great. If there was one thing I would improve it would be the nose out in RAW but then it wouldn't be RAW. I shoot 1 to 2 stops over and it pushes the noise down. Dual ISO is great because I shoot 800 @ 400 or 2500 @ 1600 and the noise looks great. Built in noise reduction works well for normal shooting modes.

    The EVA1 has provided me with a great image, easy workflow and continues to be a workhorse despite it's size & weight. Wonderful camera.
    Last edited by soarprod; 11-21-2018 at 10:01 AM.


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    #39
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    Woah, this thread took off !

    Jim, I actually didn't even think about the viewfinder when I posted. To me its a non issue, I knew it was crap before I bought the EVA from all the reviews, so I got a BMPCC Zacuto Loupe ( $125 ), which fits on the LCD perfectly and works like a champ, weighs next to nothing and needs no power. I've never wished for a better LCD or viewfinder since, so much so I actually forgot all about it . The Squares focusing system on the LCD is actually really good, and I usually have a Small HD Focus or a Shogun mounted as well, so I've plenty of focusing options.

    Quote Originally Posted by Jim Feeley View Post
    No mention about viewfinder & LCD screen? :-)

    But on the bigger points, people I know who own or have worked with the EVA-1 really like the images they get out of the camera (I do too), and everything else Murph mentions. Looks like some people think it's not the way to go for verite/handheld docs (and not just of the AF issues)... but boy... getting really pretty pictures without tons of technical hurdles... That's a very good thing.


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    #40
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    Quote Originally Posted by deltoidjohn View Post
    I'm surprised that nobody has really nailed down a next-gen FS7 yet (or F5/55). As others have said, the competitors (EVA1 & C200) barely match the FS7 specs wise, and don't offer anything special in terms of handling. Smaller and lighter perhaps, but, again as has been stated, those advantages disappear once you add the peripherals needed to make it equal to a FS7. .
    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.
    Last edited by Clermond; 11-22-2018 at 09:19 AM.


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