EVA1: Panasonic AU-EVA1! Announcement and latest updates

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Bob Loblaw said:
Exactly. Raw is not important. It's great to have when you want it, but the majority of the time it's best to shoot with a robust codec. As far as I'm concerned the C200 is just a $7,500 8bit 4:2:0 Long GOP camera, and that's worse than the C100 and the FS5.
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agreed, RAW is nice to have, but it's often overkill & too much work. but the c200 will have different codecs in just.... 8+ months. :-)

it's interesting to read that everybody wants something different from the mystery cam (killer feature AF vs. no use for it, RAW vs. robust codecs,...) - now the canon reveal has really heated up the discussion again - maybe we'll even reach 100 pages before friday. while the guessing game was fun, it's really time for it to come to end.
 
If the workflow with Cinema RAW Light ends up being like with .R3Ds in FCP X or CDNGs in Resolve, it will be wonderful.

It will be as simple as importing ProRes into your system.

So there shouldn't (again, if the workflow is easy) be any complaints about that part of the process and only about the media costs.

For those that haven't worked with any form of RAW and never experienced opening up a file's metadata and changing the white balance, exposure, gamma, etc, it's something many people grow to love and never give up. There is a reason why there is a cult of RED and Blackmagic users who refuse to shoot on anything else.

If the RAW was like the C500 workflow, it would be a nightmare, but Canon already released a list of NLEs preparing to support the RAW workflow and it's pretty much everyone.

I of course agree and understand why it would be easier to have something more familiar in the middle, but don't write it off just yet...
 
JRJphoto said:
But, as it was said before, Canon dropped the ball with the 8-bit 4:2:0 internal on C200. Internal raw is great, but it's almost like they're forcing you to use it. Even at ~$7k we should have more options and 10bt 422 internal with an appropriate bit rate should be one of them. That makes the C200 considerably unsexy to me.
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Not sure I agree with you. Actually the 8 bit essentially becomes a proxy. The RAW is when you go into grading mode. So the thinking is that you keep your proxy as light as possible and shoot BOTH. With RAW light it also means that you are covered without the combination of RAW and Proxy eating up too much disk space. In 4K on top of that. It's like a low cost version of what RED offers without having to buy into expensive proprietary media. I believe this is the idea behind the camera. Further, it's only $6K without the accessories. That seems kinda sexy to me.
 
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I've been thinking about it, I would probably have to upgrade my 27" 2012 iMac as well to support RAW workflows. So add another $4k to the cost for my business. I agree with Bob two posts up, RAW is not really very desirable for very many users. Most people who shoot it do not NEED it and the people who need it are probably using a Varicam Pure or shooting a RED Weapon Helium. Or have a Codex back on something like a C700. It's weird, I think for a lot of people, shooting RAW is some kind of status symbol. Do we really need internal RAW on a $7,500.00 event/BTS/EPK documentary camera? Probably not, RAW Output would have been just fine. But we definitely need 4K 10 bit 4:2:2 internal recording at 60 FPS. Canon's strategy is oftentimes baffling. Is RAW really going to sell a lower end camera? Maybe it is and I don't know what I am talking about but none of my shooting friends, DPs, or colleagues care about RAW, it's too much everything, card consumption, space, render resource hog. If they would have just skipped the internal RAW and put in the same C300 MKII XF-AVC at 4K 60 fps at 10-bit, they would have created very close to the perfect camera at a killer price. They will still sell a lot of them but the equation is bafflingly incomplete. And with 8-bit internal XF-AVC, even after the February 2018 update, the camera will still be incomplete in a way.
 
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I remember when the LT was first released, this was one of the first videos I watched from LensRentals:

https://vimeo.com/162631978 (ungraded)

Can't say it wouldn't be nice to have this kind of Panny image quality with the DR/Log in a little compact masterpiece. (A non-GH5 cinema camera masterpiece.)
 
RAW + proxy workflow is well established and not terribly difficult TBH, so Im not really concerned about this aspect in a narrative / tvc style shoot with short takes etc. It's simply that much of the time it's not needed and the problem as I see it is there's no fall back. 4K in 8bit whatever is the real issue for me.
 
Noel Evans said:
RAW + proxy workflow is well established and not terribly difficult TBH, so Im not really concerned about this aspect in a narrative / tvc style shoot with short takes etc. It's simply that much of the time it's not needed and the problem as I see it is there's no fall back. 4K in 8bit whatever is the real issue for me.
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My only experience with a RAW workflow is a few projects on RED and while I enjoy the DSLR stills like freedom of choosing every parameter in post, much of my work involves shooting between 2 and 6 hours of footage day for weeks on end. RAW doesn't matter for me or my clients. So if I look at the C200, discounting RAW, it's not nearly as impressive. I am looking forward to seeing what The Mitch and company have up their sleeve. I am really, really impressed with the Varicam LT. If this new camera translates a lot of the things that are damned impressive about the LT into a small, light, inexpensive package at a good price, the camera will be a winner. The only feature that really leans me toward the C200 is DPAF. Once you have used it to track moving subjects at F2.8 on a long lens, manual focus seems like horse and buggy thinking. NOT for narrative TV and features, of course, humans can do the job better and with more art and subtlety than a computer but for OMB/Event and documentary shooters, DPAF truly is a miraculous invention. It let's me capture sharp shots that I previously would have just missed. How can you not love that?
 
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Super excited.

I'm not expecting Alexa 65 for C100 price or anything revolutionary. I just want a solid cinema camera that doesn't feel like it was crippled to **** to protect the more pricier cameras of the brand. I could live with 2K 444 for example. Nice image with a good dynamic range, of course. Something like Canon C300 used to be - small, light, affordable to own, great in low light etc. Both Blue Ruin (FIPRESCI Prize at Cannes Director's Fortnight) and Blue is the Warmest Color (Palme d'Or at Cannes Film Festival) were shot on C300 and they already held up really well on the big screen.

My work is more in the narrative realm of things so the camera is not one of the most important things. But of course I would still like something that is reliable, allows us to move quickly and so on.
 
NorBro said:
I remember when the LT was first released, this was one of the first videos I watched from LensRentals:

https://vimeo.com/162631978 (ungraded)

Can't say it wouldn't be nice to have this kind of Panny image quality with the DR/Log in a little compact masterpiece. (A non-GH5 cinema camera masterpiece.)
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I would be all for this, I pray this is what we get with 10bit eternal and a lightweight proxy type codec
 
Giriki said:
Super excited.

I'm not expecting Alexa 65 for C100 price or anything revolutionary. I just want a solid cinema camera that doesn't feel like it was crippled to **** to protect the more pricier cameras of the brand.
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Yeah, same here... not expecting or wanting anything that is over engineered or over designed. Just a camera that works with nice modern specs and ergonomics, (Panasonic has been stellar in reliability in my experience). There might be something Friday that will be revolutionary, who knows. Drawing a little from the Gh5 and a lot from the Varicam LT or the other way around... how could that not make for a great camera? A whole lot of patient AF100 owners, like myself, have been waiting for this... yep, years even, and perhaps many others judging by the content of this thread. I'm rooting for Panny's success on Friday.
 
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