EVA1: Panasonic AU-EVA1! Announcement and latest updates
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Both perceptions may be correct: I noticed that several of the aerial shots in Filippo's dancer film (00:53-01:00) appear "soft" compared with the rest of the film where the frame is static. It seems like a compression problem related to LongGOP (e.g., losing details in the water)--once again, proving that LongGOP and oceans do not mix.
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What problems to have! Much of the world is wondering if they can feed their children or how to find medicine for their dying parents. We are angels dancing on the head of a pin.
fboonzaier
Well-known member
I find it a curious point that people want to see the camera performing under the worst of conditions, and then tear that to shreds....I'm more interested in the best the camera can do!...after that, it's up to the individuals using the camera to strive for and achieve an acceptable image for whatever they are using it for.
And it's definitely not related to YouTube or Vimeo re-encoding compression ?
Mitch Gross
Veteran
Any lens designed for full frame (EF) will work. Canon's definition of APS-C (EFS) is a bit smaller than others and smaller than Super-35. That doesn't mean that the lens wont work, it may still cover. But you would need to check with Canon or ask around to thers who have used these lenses.
The VariCam website has a list of lenses that we have tested and are fully compatible with the VariCam LT. If it works with the LT then a lens will work with the EVA1. The list is not comprehensive -- there's a lot of glass that we have not tested and may work just fine, but anything noted will work and it's a pretty good start.
Mitch Gross
Veteran
It's an interesting thought, but the top handle/mike mount and side grip are relatively low cost items. The LCD could represent a cost savings, but I don't know if it would be enough to make a difference. We can see, but demand is so high right now that I don't know if there'd be interest.
Mitch Gross
Veteran
I guess we're the Goldilocks of cameras. I'd like to think that we're "just right".
Mitch Gross
Veteran
All three EVA1 films are now available in 4K on our Vimeo channel. The compression issues should be greatly reduced.
Filippo's EVA1
https://vimeo.com/234811303
Johnny's Radio 88
https://vimeo.com/234911689
Elle's Near to Superstition
https://vimeo.com/234912785
Filippo's EVA1
https://vimeo.com/234811303
Johnny's Radio 88
https://vimeo.com/234911689
Elle's Near to Superstition
https://vimeo.com/234912785
OSCURO
Active member
After quickly reviewing and comparing "Radio 88" on both sites, there is an obvious discernible difference in quality. Vimeo's compression algorithm is much cleaner and far more indicative of the quality this camera can produce. My only minor request would be to make the versions on vimeo available for download, as I'm sure many prospective buyers would be interested.
Your presence and engagement on this forum is invaluable, so hats off to you Mitch.
Most of the world is discussing the latest iPhone device or some other consumer BS on their corporate social media such as Facebook and Twitter. At least, we are here to explore the cinematographic tools that you would need to bring those social issues to the screen if you so wish . . .
Teddy_Dem
Well-known member
Hi Mitch,
If possible could you also embed the video links in your post as there has been a recent issue with Vimeo links. Instead of the links being directed to the videos, they instead take you the Vimeo Pro sign up page unless they are copied and pasted into your browser. Thanks.
Bob Loblaw
Active member
EVA1 has won me over. The image is beautiful and the colors are beyond my expectations. Also that motion cadence, wow, Panasonic nailed it. Most cameras under 10k neglect this important aspect. We record motion, not still images (for crying out loud!) , so it's always great to see a sub-$10K camera get it right.
puredrifting
Major Contributor
In relation to Johnnys Rocket 88 Vimeo clip, just looking at it in 4K full screen on my iMac, why does the wooden box at :17 have what looks to be a heat signature (warping of the image, like a ripple) but only of the left side (to camera) panel of the box? I didn't notice that at the Linwood Dunn Theater at the Academy screening in Hollywood. Maybe the shot had a candle near the lens and the image was actually shot with a heat signature?
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filmguy123
Veteran
Hi mitch, what image setting control paramenters are there in the EVA-1 menus?
We know we have NR. Are there settings for sharpness? And the usual saturation, MP, contrast, etc. Anything else?
We know we have NR. Are there settings for sharpness? And the usual saturation, MP, contrast, etc. Anything else?
filmguy123
Veteran
I've heard that too, mostly on Radio 88 or a few drone shots. Radio 88 was shot with heavy diffusion.
I also think the footage has an unreal/plasticky feel to it. It just doesn't feel organic and natural to me. I don't like it much at all. But I'm not going to discount the EVA1 based on this footage just yet. The FS7's first demo looked "plasticky" and weird to me as well. Cameras are like race cars, and no driver will win a race while driving a new car for the first time. It takes some work to figure out how to shoot with a camera, where to place middle grey, what types of lighting scenarios it shines in, etc. The old Zacuto test done back in the day showed us how important it is that a DP be familiar with his camera. In that test the kid with the GH2, that knew his camera inside and out, did an amazing job and beat out a lot of the bigger cameras. Francis Ford Copolla even chose the GH2 footage over the Arri and the Sony. If that isn't a testimate to the power of knowing your camera, I don't know what is. So, we can't take these films as the final word on the EVA1.
That being said... *cough*cough*...
I was hoping that all of these films would floor me and I'd be pushing people out of the way with money in my hand to buy the EVA1. What these films do tell me is that it may not be as easy to get an organic, filmic image out of the EVA1 as I want it to be. It might take some work, a little finesse and a good understanding of the camera's weaknesses. Some cameras do it easier than others. When I point an Alexa or a Red at something, and I look at the monitor, I smile ear-to-ear. The sensors on those cameras just look so cinematic right out of the box. I think we were all ready to be blown clear out of the water by the EVA1 and witness the most filmic image to ever come out of a camera priced under $10k. There was no way Panasonic was going to match the expectations we had for this camera. And these films did not hit me in that way. They're not terrible films, don't get me wrong, there are some very pretty shots scattered throughout each of them. But after watching them, I'm now looking a lot closer at the C200 and the FS7 II, whereas before I was sure that I'd be buying a Panasonic. I'm now renting the C200 next week and will rent the EVA1 in October if they ship on time. I'll be buying a camera system by the end of October if all goes well. Looking forward to seeing more footage from the EVA1, especially from folks out in the real world. I was hoping to have my decision made this week, but I guess I'm gonna end up having to watch a lot more footage of dogs and kids later this month.
dustylense
Veteran
Ummm, compression issues. We know they exist on streaming platforms. But here is the thing. These cameras at this price point are marketed at people who's main form of display is web based. So these cameras have to deliver in that aspect. All the films are fun and I applaud the content. But, the images are hit and mostly miss.
Superstition: Night scenes look like crap. Daylight scenes look fine. But those night scenes....
Filippo's film: It does lack dimensionality. Could shots in there that have question. A noise issue in which it looks like you really need to light the sensor. (Again, a camera that is meant for low footprint shooters).
Radio 88: best of them all, but still the night scenes look questionable. The shots with obvious lighting look fine, but you take production out in terms of light and the shots just seem messy. And if it isn't resolved, I'd hate to be on a production which calls for small footprint shoot with low light shots and have the person writing the check ask me why the shots look that way.
I suggest Panasonic shoot some more stuff asap. A variety of situation and test shots in studio and in the field both lit and natural at various settings.
These videos look more filmic at 360p on Youtube. Way more than @4k ^^ I'm sad that this craziness about silly resolutions never stops. I was close to buy again a DVX100 or a HVX200 this week. When I look back at the footage they produced I'm amazed, they look so wild and so different today. My LT is already too sharp for my taste, without any possibility to reduce the sharpness. The EVA1 goes too far IMO. So clinical. The internal lowcon filter and lower resolution are a big part of the filmic aspect of the Alexa. I'm probably marginal though ..... do people really want and need all these Ks or is it just a trick from the brands relying on G.A.S.?
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Zak Forsman
Major Contributor
No you're not alone and one of the features of the EVA1 that i'm hoping to see some samples of, are its 2k mode. first, i'm glad it's actually 2k and not HD since i do a lot of theatrical screenings of my work at film festivals. happy to avoid the minor blow-up i usually have to do. second, 2k is non-cropped, 10-bit, and 422 up to 120fps in the EVA1. hopes are high. the thing that disappoints (and it's my own fault) is that I assumed Dual ISO meant 2500 would be just as clean as 800. and that perhaps 3200 and higher would be acceptbale. that won't be the case apparently. what Dual ISO likely means is that you are shifting the ISO where DR is at its best, albeit noisier -- but again, i'm assuming.
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