EVA1 vs S1 for feature film?

I shoot with a GH5. If I were shooting a feature, and had to chose between an S1 and EVA1, then no question I would pick the EVA1. The EVA1 has SDI connections, and timecode. The only feature that I think is missing from the EVA1 is a PL mount from the factory. While I think the EF mount was a wise decision by Panasonic, the extra $500 USD for the Wooden Camera PL mount makes the EVA1 too much for me to justify purchasing it. (Nothing against WC or Panasonic.)

I hope that Panasonic introduces different mount options for the EVA2, if it comes out. In the mean time, I'm buying more PL lenses.
 
Thanks to everyone for the great thoughts. So it's Eva-1 for the win!

I may at another time pick up an S1 to shoot stills on set and some behind the scenes shots when both Eva's are in use.

I did like the comment about having 2 sets of lenses for matching cross cutting. I'll have to think more about that.
 
You might consider shooting with one prime lense. Existenze is one that only used a 28mm I believe. It may not fit with your vision.
 
I own the Slr magic APO lenses 25-50-85 and will soon have the 32 and probably the tokina Atx 11-20 cinema zoom.

I was planning On using them with both Eva1's. Thoughts in what mm I might want to consider doubling up on (if at all)?
 
Cmon Morgan, he's got a plan going in which involves 2 cameras, maybe that will change. No reason I can't throw out a different take on it. From at least the new wave on many great films have been made with a single lense and many filmmakers today disregard or never consider it. I may be wrong but I believe Robert bresson used a 32mm lense. He believed it to equate to the way the human eye viewed the world. A single lense film will simplify some choices but may complicate others. Is it right choice for the op , no idea, but it at least should be considered more often.
 
Practically speaking, your lens approach for two cameras should be an aspect of your shooting plan for using two cameras. If you film a conversation between two people, are you simultaneously shooting one wider and one tighter shot on Performer1 (such as single and over-the-shoulder) and then turning around to do the two matching shots of Performer2? Or are you wanting to simultaneously shoot both performer1 and Performer2 from opposite sides to promote match cuts on improvised dialogue? Obviously the first approach doesn't require multiple lenses of any focal length, while the second approach calls for it. Think about your story, production style and needs!
 
emailists said:
Thoughts in what mm I might want to consider doubling up on (if at all)?
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Mostly multicam is used in drama to record both tight shots of a two way conversation, Id say this is done at 50 or 80. Much wider and the operators start seeing each other. Much longer and you get a telephoto compression feeling.

Id test :)
 
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emailists said:
I'm about to buy 2 camera bodies for some 2 camera shoots, including a feature.

My plan was to get 2 eva1's but now the S1 has made me question what route to take.
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Just a passing observation. I'm very surprised that nobody has mentioned a fairly important aspect of the S1. If you are considering a cinematic release generally it is best to shoot in true 4096 or 2048 DCI at a full true 24p. Not the NTSC rate of 23.976. The S1 does UHD at 3840 and has no true 24p. For many indie film makers this rules the S1 and S1R out.

Chris Young
 
Visually really that's a no. The biggest problem is there are still many theaters that can't handle 25p as they have DCP compliant projectors that run at the specified DCP frame rates of 24 and 48. It's all actually a bit of a hornets nest as the whole DCP standards thing is constantly evolving. The only FPS you can count on for sure are 24 and 48.

http://www.dcimovies.com/Recommended_Practice/

http://www.dcimovies.com/compliant_equipment/

If you supply a 25p file, if they can play it, it will get played back with a 4% audio pitch difference and the color space may be off somewhat. The majority of patrons would never notice the speed change. Any color shift? A different question. The film would also run 4% longer. For many years the broadcast practice in 50Hz countries was to play 24 fps movies at 25 fps for transmission. In that case you have a 4% speed increase. That overcomes problems with conversion especially with the sound. Pitch shifting conversions on 5.1 and 7.1 surround can sometimes introduce some nasty phase problems. The algorithms required to do that correctly are pretty sophisticated and are only found in high end DAWs, the likes of ProTools etc.

One of the pieces of software used for compliant DCP creation is easyDCP Creator. To make a DCP compliant file is more than just turning up with a 2k or 4k 24p file.

https://en.easydcp.com/product.php?id=1&product=easydcp-creator

Watch some of these videos for more information on creating DCP Cinema packages. The first three mainly deal with taking in non compliant sizes and color spaces and show you how to output the correct 2k and 4k DCP container packages in the correct DCP color spaces.

https://en.easydcp.com/support.php?product_id=1

Chris Young
 
NorBro said:
You live in Hollywood (unless it's Holllywood with 3 ls how you have it written here)...you should know every single cinema camera company (besides Panasonic and Blackmagic) released a full-frame cinema camera within the last year or so! :engel017:
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Yeah I live in HOLLLYWOOD haha! Right across the street from the Paramount Lot off of Melrose. And pretty much everyone I know is still bonkers about the Alexa Mini S35 4:3 sub-4k ALEVIII sensor. So I see the Full frame thing as more of a novelty product in my opinion. And as I said before, cinematic gold standard is still 24 fps at Super35, camera companies as much as they want to flog new products aren't going to change the fact that most movies that we associate with the cinema look where shot on s35 film
 
Alex Derrick said:
And as I said before, cinematic gold standard is still 24 fps at Super35, camera companies as much as they want to flog new products aren't going to change the fact that most movies that we associate with the cinema look where shot on s35 film
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Well, yeah because full-frame cinema didn't exist/wasn't used for 99% of movie-making.

S35 can eventually go away just like S16 did. And SD. And 4:3.
 
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