Is the EVA1 popular or not?

NorBro said:
From my experience, I've concluded it's impossible for the Atomos and Odyssey - two different products - to provide identical results in this case.

Right? I mean doesn't that make sense?

How could the Odyssey capture the exact same image the Atomos is capturing?
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They're capturing digital signals aren't they? Ones and Zeros output by the camera. I wouldn't have thought that binary code could be altered (unless the recorder is performing some kind of gamma/gamut transform on the incoming data).
 
Google 'crushed blacks with external recording' (or a similar combination of words).
 
Run&Gun said:
Well... Correct me if I'm wrong, but... The Pure is basically the V35 head with a dockable CODEX V-RAW recorder in place of the dockable P2 recorder. But when the V35 system was originally released in '14, the original version CODEX V-RAW recorder was designed to lock onto the back of the dockable P2 recorder. So in essence the V35 was like an LT, because it recorded video internally, but RAW to an add-on recorder(albeit in a lock-on, multi-pin connection like an R5 or R7 on a Sony F55/5/Venice instead of via SDI to a stand-alone off-board recorder like the LT).
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This is correct, but we found that when people shot RAW they didn't want to have the video recorder adding bulk and size, so we made the two recorder modules interchangeable.
 
NorBro said:
No, it's not that...I was also answering the second part of his question and you answered his first part (see below for both parts):



From my experience, I've concluded it's impossible for the Atomos and Odyssey - two different products - to provide identical results in this case.

Right? I mean doesn't that make sense?

How could the Odyssey capture the exact same image the Atomos is capturing?
Click to expand...

At certain frame rates and resolutions, they can both record from the VariCam LT in CinemaDNG. So that's apples to apples.
 
Mitch Gross said:
This is correct, but we found that when people shot RAW they didn't want to have the video recorder adding bulk and size, so we made the two recorder modules interchangeable.
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And a good plan that was. With the CODEX on the back of the P2 deck, it took on the dimensions of an old dockable when someone put a different brand head and deck together and had to use one of the myriad adapters in-between and the cameras became as long as the old family station wagon with woodgrain paneling and rear facing seat in the very back that your best friends mom drove in the 80's.
 
Off topic (but maybe back on topic... I don't know anymore):
I wonder if Panasonic had just called it "Varicam Mini" things might be different?
 
Seanik said:
Off topic (but maybe back on topic... I don't know anymore):
I wonder if Panasonic had just called it "Varicam Mini" things might be different?
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Yes, things would be very different.

Because it would be a lie. It would be the same as if Arri had put a Sony A7 sensor in the Alexa Mini and still called it the Alexa Mini.

For the record I think a better name would have been DVX400, HVX300 or something like that. Because in many ways it's actually a modern version of that with an exchangeable lens. It's more that than a Varicam Mini, without the Varicam sensor.
 
EVA-1 PL mount swap?

EVA-1 PL mount swap?

jag201 said:
I bought a C300 MkI right when it came out. At the time everyone wanted the F3 and I wondered if I made a good call.

After 3 years of rentals and making my investment back many times over I sold the package and picked up an FS7 in Dec 2014 when it was first released. For about 6 months it was hard to get it on jobs because everyone was attached to the C300.

Producers get used to having a go-to camera in each price point and it's hard to convince them to switch. I think the EVA will continue to make inroads as DP's are able to convince clients to try something new and the clients see the added quality in the footage.

The only drawback to the EVA over the FS7 is the lens mount - the E mount is a winner for versatility. I have the Wooden Camera PL mod for the EVA and I'm switching back and forth between PL and EF way more than I would like. But at the end of the day the EVA is a superior camera to the FS7 in terms of image and color science - my clients have been really happy with it and I've only had a couple jobs in the last year that I wasn't able to convince to make the switch.
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I have a lot of EF lenses, but would like to rent PL lenses for some jobs. How time consuming is it to switch between the EF mount to PL mount and back again? Does it require shims and can you re-shim quickly and repeatedly?
 
Takes about 15 minutes sitting at a clean table. Not something to do in the field. Wooden Camera supplies extra shims but I've seen a bunch of these done and so far the standard shimming has always been spot on. Wooden Camera has a nice video showing how to change the mount. It's pretty straightforward.
 
Mitch Gross said:
Takes about 15 minutes sitting at a clean table. Not something to do in the field. Wooden Camera supplies extra shims but I've seen a bunch of these done and so far the standard shimming has always been spot on. Wooden Camera has a nice video showing how to change the mount. It's pretty straightforward.
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Thanks, Mitch. I will look for the Wooden Camera video to see how it's done.
 
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