GH5 GH5S versus EVA1...

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Dave Draper

Well-known member
Apart from the obvious, such as its native EF Mount, and in-built ND / IR filters, why would you choose the EVA1 over the GH5S? Both need rigging to use a follow focus, shoulder mount, V-Locks, etc, and both require an external recorder, if you want to shoot ProRes or DNxHD.

We’re GH5S / Speed Booster / Ninja Inferno owners, and are wondering if going down the EVA1 route would offer us any benefits worthy of the much higher price tag.

Interested to hear everyone’s thoughts.
 
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EVA1's image is different to my eye than the GH5s (and my preference), but if that's not jumping out at you then spending the extra cash on lighting/glass/sound will almost surely have more of an impact on your production quality.

That said, make sure there isn't a reasonable amount of work out there that you could get with the EVA but not with the GH5s. The price difference (remember to factor in the cost of metabones + XLRs + NDs for the GH5s) will erase itself after a couple jobs. I personally think a GH5s + an EVA1 is an incredible setup for the price and requires spending 2-3x to best it, but snobby folks probably won't agree, so it depends on how you get booked.
 
It is still a pain using them together.

Panasonic really should have a V-Log firmware option for the GH5(s) to either put true V-Gamut in their videos or, if that is not possible, convert the Rec.709 gamut to V-Gamut.
 
Cary Knoop said:
It is still a pain using them together.

Panasonic really should have a V-Log firmware option for the GH5(s) to either put true V-Gamut in their videos or, if that is not possible, convert the Rec.709 gamut to V-Gamut.
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Interesting, can you elaborate? I haven't tried matching yet.

I saw this


and actually had trouble telling which cam was which on a few shots.
 
dcoughla said:
Interesting, can you elaborate? I haven't tried matching yet.
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The V-Log coming out of the GH5(s) is V-Gamma/Rec.709-Gamut, the V-Log coming out of the EVA1 is V-Gamma/V-Gamut.

If the GH5(s) video is interpreted as V-Log/V-Gamut, for instance under ACES, the color values will be more intense because the V-Gamut color space is larger than the Rec.709 color space.
If the GH5(s) is actually limited to Rec.709 all Panasonic needs to do is to convert the values into V-Gamut (effectively lowering the color intensity values) so that the right colors will be used, however if a wider Gamut is possible that should be used and be converted to V-Gamut.

But just converting the gamma and not the gamut is clearly not the best thing to do. It would be helpful to have a firmware option (to stay backward compatible) to either convert Rec.709 gamut to V-Gamut or, even better and if possible, to allow a wider gamut and convert that
to V-Gamut.
 
In terms of image quality:

V-Gamut
Wider Dynamic Range
No obvious post processing
Cleaner image with more detail
 
Someone gave this explanation at lift gamma gain, that you can put a 1/2 pint of beer in a pint glass, you still have a pint glass. The point taken; v-gamut filled with adobe srgb.
 
Tom Roper said:
Someone gave this explanation at lift gamma gain, that you can put a 1/2 pint of beer in a pint glass, you still have a pint glass. The point taken; v-gamut filled with adobe srgb.
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The problem is that when you interpret a color space as V-Gamut but you put in Rec.709 colors the color intensity will be much higher because the V-Gamut space is much larger than Rec.709.

To stay with the simile, if you put Rec.709 liquid converted into a V-Gamut glass it should hardly fill the glass but if you don't convert it and pretend it is V-Gamut liquid if will fill the glass much higher and you will have a problem because you got liquid you never recorded. :)
 
Tom Roper said:
I accept that you are correct about this, but where is the proof?
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Proof would be for Panasonic to come out and specifically state it, but so far I have never heard anyone from Panasonic make a statement about it.

Of course you can easily compare the colors between Natural/HLG and Rec.709 transformed to V-Log-L/V-Gamut.
If you do that the colors will be over saturated.
Undoing this by using explicit color transforms from Rec.709 Gamut to V-Gamut corrects it. But that is not always possible, for instance with ACES you can't do that, or at least it will be very hard to do.
 
Cary Knoop said:
Proof would be for Panasonic to come out and specifically state it, but so far I have never heard anyone from Panasonic make a statement about it.

Of course you can easily compare the colors between Natural/HLG and Rec.709 transformed to V-Log-L/V-Gamut.
If you do that the colors will be over saturated.
Undoing this by using explicit color transforms from Rec.709 Gamut to V-Gamut corrects it. But that is not always possible, for instance with ACES you can't do that, or at least it will be very hard to do.
Click to expand...

if that is the case then how can the same V-log lut work on both V-log and V-log L material? Wouldn't using the same lut cause some jacked up color? I thought the whole point of V-log L was that it did work perfectly in a V-log world even if that meant sacrificing some of the range in a 8bit and 10bit color space to make that perfect match happen.
 
Outside of the night scenes DR/exposure is pretty strained in that video. Not the best representation of either camera imho!
 
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