EVA1: EVA1 Completely lost its value?

Straw Man said:
Yes, it was painfully predictable you would respond with "lol."
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That’s the response you deserve because instead of acknowledging anything else I said in the 100+ sentences, your only contribution in this thread consisted of your opinion about my use of 3 letters.

If you wanted to only let me know that you disapprove, and you do not want to share any opinions you may have about cameras and their history or any personal experiences, then OKAY, got it; thank you for letting me know.
 
I have no inside info just personal experience.

I was lugging an f3 with recorder and external monitor.. it was a huge and unmanageble for solo

I had $6000 or so and was playing with some finance deals to get an HD f5 or a 4k F55 or maybe a canon all for $12000+

then the fs7 dropped and I was able to make the cash purchase.

it just ended the debates.

the eva cam out some years later and was not part of that 5/55/c300 fight

the c200 (that I bought recently) seems to be unpopular because it is basically raw only .. now with cheaper ish media and cheaper ish storage it makes more sense but when it came out I dont think it sold big.

I thought the raw was good from day one but others seemed not to agree.

Been shooting today with the c200 and my $1000 set of used AF zooms and the abiity to concentrate on story is amazing .. it is very excellent way better than an r5c no doubt

Id still like an eva to replace my gh4.. id pay $500-$700
 
You're going to buy the R5 C eventually because deep down inside you want it! lol

You've already started crunching numbers on selling the R6...
 
Mitch Gross said:
It would be wrong for me to forecast on future Panasonic plans. I had access to certain information and I'm bound by contractual obligations. I will note that cameras such as the S1H come from a different development group and different factory than the EVA1 and VariCams.
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Of course, I completely understand. The sharing of VLOG and the Varicam display across development groups suggests there is a strong channel of communication between them, and hopefully some combined strategy, for the small production companies of today will be the large ones of tomorrow, and even if they stay small the aspiration is normally there to own or operate the top cinema camera so having confidence a camera company is paving a nice path towards it means people will buy in at the low end and then become brand loyal. Sorry, I know you know this, I guess I'm just voicing my hope that Panasonic do so I can grow with them longer term! Fingers crossed.
 
NorBro said:
You're going to buy the R5 C eventually because deep down inside you want it! lol

You've already started crunching numbers on selling the R6...
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its worse than that.. for street work the still/mo switch is a critical flaw of the 5c.. so Id need to keep the r6 as my walkie camera
todays shoot r6 was on a gimbal and never came out of the van, we did handhold, no rig,some r5 16-35mm while A was c200 raw with 10-22 24-70 and 70-200 and one shot on manual nikkor 50 1.4

I was also able to borrow the still photographers 200-400 canon which was awesome for a 'flying fox' shot - manual focus is not a thing for tracking a kiddy on a flying fox.

access to playback on the dslrs is so much better than the video cameras which appear to run on ms DOS

edit 100-400 5.6
 
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lol. I've always said it sometimes feels like the two departments don't know each other (photo vs. video).
 
I think that is just macho bs. like grips and gaffs also can be a bit snarky. its stupid as we are all dops who never made it as a dop and chose a department where they could make a living!
 
Not sure what you mean but you know there could be different engineers/teams assigned to cameras, right?
 
Honestly though, anyone who has read any of my posts over the years knows I love any and all cameras.

Some of us are more passionate about them than others and consider them more than just a "tool", and it hurts that we don't have more Panasonic cinema cameras because I don't want to see a Canon vs. Sony world.
 
When FS-7 came out, its main competition in the 4K "pro camera" sector was F5, which ran about $22,000 for a ready-to-shoot package. Other than that, there were a $12,000 1D C and a $1,700 GH-4. GH-4 also sold like hotcakes.
 
If you include those then you'll have to include anything Blackmagic had because their IQ was above and beyond the FS7's (terrible DR in the 4K though, and IMO), but they were new with cameras and had lots of problems in their systems.

I was actually one of the few people who bought an URSA instead of a FS7 in 2014 and it was one of the best camera decisions I ever made. I was beyond green at the time but I was obsessed with BM's quality over anything else.

The FS7 and the big URSA 4K were the only two cameras in the world at the time in 2014 that shot 4K/60p under $10,000, IIRC.

Captain Hook's video sealed the deal for me (he never posts here anymore):

 
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