EVA1: Panasonic AU-EVA1! Announcement and latest updates

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Osslund. Log is a stepping stone - raw is the arrival point - in fact raw and a proxy codec (stills cams have been raw and jpg for eons)

This is the right combo - also pro res is way less data efficient.

But that arrival point takes many elelements - cheap media - cheap HD space - fast connectivity - NLE support - thing that are not part of the camera.

Are we there? Well that depends how light lite is.
 
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Samuel H said:
Yes, given Canon is the "by-default" option for a lot of people (particularly the ones using EF lenses!), in order to be competitive this new Panasonic camera should be doing internal 4k 60fps 10-bit 422 with the Varicam LT sensor if it's selling at a similar price. And that last post by Mitch sounds like they think they are in business, so, that's going to be my guess. The other option is that it has the GH5 sensor on a camcorder body, so it's still 4k 60 fps 10-bit 422 but with a couple stops less DR, but priced against the FS5 instead of the C200 (or previously the FS7).
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That's the main thing that disappoints with Canon. They could easily get 10-bit 4K into this thing, but it seems like they won't to protect the C300 MkII. But I feel they should be making the C300 II an attractive through the hardware, not the software, side of things. I'd rather see a C300 III with a smaller C700-like body, in the future.

morgan_moore said:
Log is a stepping stone - raw is the arrival point - in fact raw and a proxy codec (stills cams have been raw and jpg for eons)

This is the right combo - also pro res is way less data efficient.

But that arrival point takes many elelements - cheap media - cheap HD space - fast connectivity - NLE support - thing that are not part of the camera.

Are we there? Well that depends how light lite is.
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CFast 2 is still disgustingly expensive, and you need 256 GB cards just to shoot 30 mins. So it's not a ideal solution, though there are some lower cost CFast cards out there that might also be able to deal with the data rate.
 
morgan_moore said:
But they got 12bit into this thing which eats 10bit?
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Only if you want to shoot RAW. Once the Intra Codec is added, your 4K base recording options will be 10 or 12 bit RAW at 1GBps or 8 bit 4:2:2 Log. For me thats a big divide and will amount to nearly 5K on today's media pricing to have options for both. Im also curious about power consumption for RAW and non RAW shooting.

I really think they should have just gone straight for an internal 10bit log codec and external RAW recording. Unfortunately the SDI out is only 8 bit as well. The C300 did great 8 bit 1080 recording in the original C Log. As I wrote elsewhere, 4K isn't so forgiving and especially with the flatter log profiles.
 
Osslund said:
Log to me is the stone to rest at. I just want a smooth post process.
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Coming from stills - raw is smooth - you open with the look you chose in camera and then dial the look if you want or need to.
No one ever sees grey mush.

Of course the post camera business needs to be good and I'm not saying it is today.
 
For stills I'd never want to shoot anything but raw but then again the post process for stills is easy and swift. Maybe raw for video can achieve the same ease of use and speed one day?
 
Osslund said:
For stills I'd never want to shoot anything but raw but then again the post process for stills is easy and swift. Maybe raw for video can achieve the same ease of use and speed one day?
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Indeed.. and this camera with raw lite, and a proxy codec seems to have all the ingredients at the camera end.

The challenge is later.. fast card readers, chaeap hd space and an NLE with support to edit from the proxy and colour/master from the raw in a seamless manner.
 
..as ever at this point the product is not being explained by the maker.

Like the ethernet port - is that the fast card reader?
 
It's also interesting that we have such a vast spectrum of quality today in published videos. Everything from low quality vlogging to beautiful things from high end cinema and TV-series. And most of our work falls in between.
 
IanTheM said:
Maybe for remote shooting, way of controlling the camera from a computer.
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Remote is important to me.

Currently Im gimbal car shooting (with a BMC and manual lenses) having to stop to change iris or start stop is a huge pain. Having that all on an ipad would be wonderful.

Recording proxies on an ipad for playback or pinging to a remote client would be super cool. Im so bored of cameras with 1990s UI.

In comparison my gopro is just so far beyond my FS7 in remote operation.
 
morgan_moore said:
Remote is important to me.

Currently Im gimbal car shooting (with a BMC and manual lenses) having to stop to change iris or start stop is a huge pain. Having that all on an ipad would be wonderful.

Recording proxies on an ipad for playback or pinging to a remote client would be super cool. Im so bored of cameras with 1990s UI.

In comparison my gopro is just so far beyond my FS7 in remote operation.
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Camera seems to have Wifi, so controllable through that. These cameras really need Bluetooth though.
 
Back to the Panasonic camera, what can it have that will make you buy it over the C200? We know it won't have the killer DPAF but perhaps it will have internal non-RAW 10 bit 4:2:2?
 
TheDingo said:
The GH5 has 100 Mpbs 1080 10-bit 4:2:2, so I would expect this new camera will too.
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I would expect/hope that it's some flavor of AVC-Intra. A couple of years ago Panasonic Pro stated they were more focused on broadcast than cinema, and most of their product line reflects that, even the Varicams. An AVC-Intra capability would make this an incredibly attractive option to broadcasters for non-ENG roles, as it's pretty much an industry standard, and could potentially use existing P2 cards, if that's an option. It would make a terrible ENG cam, but for promotions and newsmagazine type interviews, it would be an attractive alternative to 2/3" cams, and easier to integrate if they're already using a P2 infrastructure.

Now if they would just release a power zoom comparable to Sony's 18-105mm PZ...
 
For me the things the new Panasonic camera need to compete and beat the C200 are;

Varicam S35 Sensor
Dual ISO
Internal 10 bit 4K 4:2:2 400mbs
Possible Pro Res 10bit 4K 4:2:2 recording
Good AF features (they may not be in the same league as the Canon C200 but they need to be good)
AF that works natively on all Canon and EF lenses.
Some form of IS
Bluetooth/Wireless Control
SDI, HDMI, TC, built in ND's, dual XLR's etc..

Lower Price point $6,000 -$6,500

IMO if Panasonic provides these it will come out on top in terms of sales and market share.
And could potentially take over from the FS7-FS5 and Ursa Mini and become the
market leader in this price range.
 
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