EVA1: Panasonic AU-EVA1! Announcement and latest updates
- Thread starter soarprod
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Very nice!
Mitch Gross
Veteran
Two channel audio. Can't recall where all the controls lie, but next to those two audio pots you'll notice that there are some switches. And take a close look at those photos: Anyone notice what it says underneath the two XLR audio inputs (ok, photo is upside down, so kinda what it says above them)?
https://getyarn.io/yarn-clip/f7f20466-795d-4281-92e9-ccb7a443ead8
digitalinnovations
Well-known member
The throw is actually pretty decent but varies a bit lens to lens; if memory serves from around 200-275 degrees. They have a nice feel / resistance to them by hand and I do run a follow focus on them as well.
puredrifting
Major Contributor
Thanks for the feedback Jeremey!
sean007davis
Active member
no actually it's to match the DVX200, since it's in that cameras family, I suspect the bodies may have been designed by the same person
Jason R. Johnston
Well-known member
DVX200, the UX90 and UX180, and now EVA1, certainly have similar-looking silhouettes. I think it's just part of a new design philosophy at Panasonic. This new look borrows characteristics from at least as far back as DVX100. It looks like a Panasonic to me. Designs start getting really, really generic at sub US$1k cameras. The black with [insert color here] trim seems to be a "professional" color scheme mostly seen in equipment for owner/operators in the sub US$10k bracket. Back in the day, we called these guys "prosumer." Inversely, if it's a bright primary color, it's amateur. If it's silver/wood/leather, it's hipster. Black with red trim seems to be the popular choice, and not just because some Canon L lenses are black with a red stripe. Manfrotto does it. Actually, pretty much everyone does it. And if it's not black, it's carbon fiber or a plastic that's been painted to look carbon fiber. If it were really, really pro, the camera would be some sort of dark or light matte grey with very few color accents...and that might be a red button reserved for record. Maybe the lcd screen has a blue glow. The more neutral and sparse the color scheme, the more professional it looks. That's probably why EVA1 is mostly black with just a bit of red on the top and bottom...so it looks good with a Canon L lens, sitting on a Manfrotto 504 head at the end of an iFootage M1-III jib, with an Atomos Ninja Flame using SanDisk Extreme Pro cards. Black with red trim, ad nauseam.
digitalinnovations
Well-known member
You're welcome! Glad I may have helped a little.
iwilldictate
Member
I just watched the new On the Go episode over at cinema5d and they had two Panasonic reps talking about the Eva1. A couple things caught my interest. One is that it was mentioned that the Eva1 sensor should almost perfectly match the Varicam sensor with the same V-Log curve and V-Gamut. I'm really excited to see some images out of this camera. The other thing of interest is that he stated the dual iso will be 800 and some number between 800 and 5000 with it not being quite as high as the Varicam due to the larger resolution of the sensor. Still excited to see more from this camera.
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filmguy123
Veteran
3200 then... Dual ISO with 800/1600 would border on pointless. I guess it could be 2500 if they go for partial stops but I'm hoping they can pull at least 3200 then. Guess we'll see!
Thomas Smet
Veteran
Agreed. The dual ISO is the coolest thing about the EVA for any low light shooters. Even if for some bizarre reason due to the higher pixel count the EVA is as sensitive as the GH5 you still get an extra two stops of sensitivity above the GH5 just based on the dual ISO alone. That is assuming it is ISO3200. Even if it is just one stop thats still a stop and a stop is better than no stop.
To put how cool the dual ISO is if it has two stops advantage. Imagine shooting with cheap zooms at f4.0-f5.6 for under $200.00 with the same clean look you would normally only get with expensive small focal range f2.8 zooms. Or shooting with those f2.8 zooms for the same clean look as f1.4 primes. If you care about optical quality or the sanity of your focus pullers you can shoot in questionable light at f4.0 vs f2.0 and keep the same look. Of course the 2 2/3 stops of the Varicam would be even better but hey its half the price and super tiny and light and records to media you can pick up at BestBuy.
Honestly the dual ISO is worth the cost of the EVA all on its own. It is one of the coolest things I have ever seen Panasonic create.
cowpunk52
Veteran
Just jumping in here to say that I'm stoked on this camera. I really like the look of the new Varicam line, so if this matches, then it's almost a slam dunk for me. If image & build are up to it, I think this camera will be the C300 replacement that the C300 mark II should have been. My biggest hope is that they make that EF mount solid as hell, or even better, a positive lock version.
And Mitch, I don't know if this was answered already, but will the raw from the EVA1 be supported on the O7Q?
also, editing this to say: thank you, thank you, thank you, for including TC sync on this camera. It's the number one deal breaker for me in this price bracket. No TC sync equals no purchase.
And Mitch, I don't know if this was answered already, but will the raw from the EVA1 be supported on the O7Q?
also, editing this to say: thank you, thank you, thank you, for including TC sync on this camera. It's the number one deal breaker for me in this price bracket. No TC sync equals no purchase.
Mitch Gross
Veteran
You will have to ask Convergent Design about that. Atomos announced that it will support the EVA1's 5.7K RAW output.
Yeah, timecode in/out is such an overlooked but important function.
Matt Gottshalk
Resident Preditor
boosh
Well-known member
Thats all thats missing for me
puredrifting
Major Contributor
Saw that. Tough choice unless you know you will only use them on Canon Cameras or something like the EVA1 that will electronically control the iris.
Run&Gun
Veteran
This opens up the opportunity to ask a good question. Why do most(all?) "cine" cameras that have TC, even expensive ones like the V35, only have a single switchable TC IN or OUT connection, instead of having seperate TC IN & TC OUT connections? Do the manufactures not think that these cameras will ever be used in multi-camera situations where TC would be "daisy chained" from camera to camera? Or is it a real estate thing and they don't want to/can't give up the space on the body? Or do they presume that everyone would just be using sync/"lock-it" boxes? Or it's just not "that important", but we will give it to them anyway?
This is something that has bugged me and others I work with for years. In the past on multi-cam field shoots, you would just run TC from one camera down the line to each successive camera, no problem, because each ENG cam had TC IN & OUT. But now, once you go beyond two cams, you can't do that. And if you throw an audio recorder in the mix, it can get more frustrating.
And just "jamming" the TC and un-hooking isn't the best solution, either, when you don't absolutely have to. I'm not trying to say the Panasonics don't have good, stable TC circuits, because I've never used a 35, LT or the new EVA1 that isn't even on the shelves, yet, but some of the Cine cams can not and do not maintain anything resembling accurate TC, unless they are constantly receiving. The Canon C's are the worst. I've seen them drift more in 30 minutes than my VariCam in a month.
I'm with you 100% on this. TC sync is a huge factor for me. I don't know why the other cameras lack this feature. Even the mighty FS7 lacks TC, unless you buy the $2,000 back and have to buy new V or A/B mount batteries to power it all.
The two things I never cared for about my FS5 - a weak internal codec and lack of TC sync - seem to be corrected with the EVA. If so, then I will almost certainly switch cameras. I love the variable ND on the FS5, but I'll trade that for a better codec and TC port.
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