EVA1: Panasonic AU-EVA1! Announcement and latest updates

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CharlesPapert said:
It's all nomenclature but I'd always separate lenses from accessories when thinking about a camera purchase. It all adds up to a "package", but ultimately a set of accessories function to complete the camera itself, be it media, batteries, outboard monitors, brackets/cages etc. As Greg points out, you may want different lenses for different kinds of projects, and with the current environment of affordable crowdsharing apps and sites, renting gear may actually come back into favor for the indie/hobbyist user.

I have my eye on the EVA1, which would be the first non-DSLR camera purchase I've made in many years. I've been keeping my EF lens on ice that I assembled during the 5D era, thinking that there may just be an EF mount camera that comes along that will be worthwhile, and I'm feeling it on this one. That lens set incidentally consists of six Zeiss ZE's from 21 to 100 and three Tokina zooms covering 16 to 200mm--all chosen for their mechanical end stops in a time when there were few cine-style EF lenses. I bought an A7S with Metabones EF adaptor but find I very rarely bother with the EF lenses, since I have two E-mount native Sony lenses and it's just a lot easier to use them. So, I have been VERY close to selling this lens package last couple of years but now it looks like there may be a new lease on life for them!
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Charles, how do you see yourself using the EVA for long form/episodic productions? Would it be reserved for special circumstances instead of going with a second LT?
 
Good question Rob.

On my last show, we had two Varicam LT's as primary cameras but a phalanx of other cameras for specific purposes ranging from GoPros to an RX100IV on a Zhiyun crane for specialty running shots to iPhones standing in for themselves to my aging HV20 for a period camcorder look. Occasionally we needed a C camera for a stunt, squib or an effect, something unmanned for an extra angle. I used my A7S with Shogun flame recording out to 4K, which worked well enough but I'd much rather have had a more legitimate camera involved. Plus we also sent out a 2nd unit to shoot a short scene. There's also the typical establishing shot/driveby work which inevitably follows principal photography. Basically I'd rather not invest into a complete camera rig as I feel I'm unlikely to be able to pay it off in a timely fashion, and I don't really want that pressure. Seeing as I already own most of the additional hardware and accessories I'd need for the EVA1, it feels like a worthy investment that I should be able to pay off, and it would be nice to have for the odd projects of my own.

The only real downside I see is the EF mount, which pushes me into a different set of lenses than I use on A and B cameras, but my existing lenses should color match pretty well with my regular PL package, so it may not be too much of a problem.
 
One thing Im most interested in doing when the EVA1 arrives, is setting up a shot with the LT then dropping the EVA1 next to it and shoot the exact same set up on both. Take the LT shot to grade and finishing that shot then dropping the exact same grade on the EVA1 shot. That will speak volumes to me.
 
I am interested in that too, Noel. I'm not one for pixel-peeping but it will helpful to know exactly what the differences may or may not be. Although I'd need more than a single setup to show me everything I'd need to know in that regard.
 
Noel Evans said:
One thing Im most interested in doing when the EVA1 arrives, is setting up a shot with the LT then dropping the EVA1 next to it and shoot the exact same set up on both. Take the LT shot to grade and finishing that shot then dropping the exact same grade on the EVA1 shot. That will speak volumes to me.
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Yes, please. And thank you.
 
scottfs said:
Ha ha. You get around. Now give us more clues. As you can tell, this camera has really charged up this crew.

All I want to know is image quality. I've used an Arri Alexa. I've seen the VariCam image (beautiful). Is the Eva going to be even in the same ballpark? That's what I want to know. I can adapt to any body or ergonomic. Image is why we shoot.
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I certainly hope it will have a great image!
 
I generally would consider a camera accessory to be anything that is specific to that camera. So a baseplate would likely be married to that camera but lenses could migrate easily so they would not. Even back in my film days I and many others would spend more on glass than on the camera. Often multiple times more. I had an Aaton camera kit that consisted of the camera, three mags, batteries, charger, mattebox, follow focus, video transmitter, monitor, filters, a zoom, nine primes, tripods, highhat, a bunch of little knickknacks and a bunch of cases. The lenses alone were probably worth $25K in their heyday, compared to $20K for the camera and maybe another $10K for the rest. And when I sold it I was able to break up the values as well.

And when I was a teenager I had a cheap Ricoh SLR camera that cost my dad $100, but then lenses easoly worth $500. Buy a VariCam Pure today and a set of Cookes, Master Primes, or Leicas or if you went with some zooms, and you should expect to pay more for the glass than the camera. That just makes sense to me.
 
Exactly. I just invested in some fairly decent PL-mount cine glass that adapts quite well to EF-mount. Ergo, I don't mind EVA1's mount decision. lol But, I suspect as I go through cameras, the lenses will continue on to the next body and the next...
 
Dan(puredrifting),

I'm really looking forward to your assessment of both the C200 and EVA1 after approx one month of use and the decision why you chose one over the other.
 
puredrifting said:
Except when you have killer S35 glass, but the world, inexplicably decides that S35 is passe' and everyone needs to be shooting 8K VV FF ;-)
I lived with FF FOV with the 5D MKII and MKIII for a few years, blech, I hate everything about FF.
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It's hard enough to pull focus on s35...

Well, at least my CN-E primes cover a "FF" sensor... Too bad about my 17-120...

Used to be 35/s35 and the like was the realm of "high-end", now it's accessible to everyone and their brother. So let's go VistaVision to be "exclusive and high-end". So where do we go after that is "the norm"? Medium format? Large Format? 70mm IMAX? Where does it end? ; )
 
5D Mark II for life!

I started my career (green as...) with a DVX100B for a short period, but digitizing tapes was just the worse.

I started to get serious with DSLRs. (Is that an oxymoron?)

True story - I was PAing in NYC in 2009/2010 for some legit companies and picking off side shots with the 5D Mark II, and I remember one producer took me aside and wanted to know why my footage looked better than the Varicams that were being used at the time. I think there was another popular camera too...Sony 900 something.

This was the beginning of super shallow depth-of-field (at least as far as I know) and when I look back at the situation now, the conversation was heading in the direction of what was also the beginning of outrageous undercutting, ha.

Quality skills and knowledge and trust prevailed most of the time, but I saw the disruption that was happening. I was always loyal though.

---

The tough part about choosing glass today is deciding if you're an AF shooter. Everyone's going to be on Canon's level soon enough.

Your new set of beautiful hand-made glass with the best characteristics a man or woman can ask for becomes limited when you want to use your shiny new C200's face-tracking.
 
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