EVA1: Panasonic AU-EVA1! Announcement and latest updates

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J.Brown said:
It looks like it will be more and more difficult to prove the camera is a good one with odd footage showing up. Have people such a hard on for this camera and cannot make something good?
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This kind of stuff happens with every new camera release from all the manufacturers.
 
morgan_moore said:
Ive not measured the FS7 but it wont go where I need it (consider Ive tried to balance that with a CN17-120) which basically puts the camera behind you (!) - Its odd.. there are little things that make the cameras work well or not :)

Does the SDi have focus punch as I guess the onboard EVF does?
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If you set the SDI to mirror the LCD then yes.
 
robotfist said:
So it looks like both the C200 and the EVA1 demo videos have random dancers gyrating in arctic environments under completely flat lighting situations.

Why is Red the only camera company that understands how to make good camera demos?
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One of three films. They're all very different in content, look, lighting style, shooting style, environment, etc.
 
filmguy123 said:
Well, in another thread, when many here asked for a demo showing the EVA-1 in extenuating, high contrast, DR-stretching scenarios... such as sunny outdoors, live events, challenging lighting, natural lighting, low lighting, etc. the answer given was along the lines of "why would we want to show the camera at its worst?".

So I think until we see more user demos, the samples we receive may be limited on how helpful they are in terms of comparing the EVA-1 in the scenarios where's its purported feature set and benefits really matter most (at least to many of us). Instead, the films we get will likely all be ideal low contrast conditions in stunning locations and/or well lit productions with a team... great for comparing image sharpness and color rendition, but not so much for how it handles the heat in the aforementioned scenarios...

RED understands how to make good camera demos because they also have full confidence that the sensor and cameras they are making are some of the best on the market, period, not a more budget/entry level $7000 camera. The Red looks outstanding in hyper challenging scenarios so there's really nothing to fear, only to gain - it's all show off for them. The EVA-1 should be excellent for it's price point, but would look "bad" compared to a camera system running 10x as much for a comparable setup. As expected.

Honestly, I am guessing that most people here would be very impressed with what the EVA-1 can do in challenging scenarios, but the internet is fully of useless camera comparison videos judged by people who know nothing of how cameras work, so I understand Panasonic wanting to mitigate the risk here and only show demo footage in the best of scenarios, despite how annoying it is for those of us trying to accurately judge a camera's comparative strengths and weaknesses for our own use cases, with an informed opinion and expectation of what we're looking for.

Though at this point, it's been over 24 hours since the NYC screening and I am wondering why we can't see any of this footage online?? I was expecting to see videos posted last evening, but I guess that's still in limbo..
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I suggest you all withhold judgement as to how well our sample films show the abilities of the EVA1 until you actually see the films. Then you can criticize all you want (and I'm sure you will). But you may surprised by how much we challenged the camera.

The films showed in New York on Monday. They will show in LA on Thursday and then at IBC starting Friday. And then we release to the web.
 
dustylense said:
LOL. Too funny. "Our camera has 15 stops DR, but we find overcast days to show it off".
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OK, I'll tell you about one shot before you see it. Elle Schneider's movie "Near to Superstition" is a western that was shot in large part out in the Mojave. There's a campfire scene where the actors are lit by the fire with a small light panel adding a touch of edge light. As we were wrapping the scene, one last shot was added. It was a shot Elle had wondered if it was possible to capture, and decided to try it out. And it worked. So when the campfire scene begins, you can see the talent illuminated by the flames -- and the stars of the constellation Orion in the sky behind them. All captured in one exposure.

How's that for Dynamic Range?
 
hey mitch, didn't get an answer from my last post- does the EVA1's buttons lit up in the dark? or do you need to shine a light on it to see in the dark?

and you mentioned the outputs are all 4:2:2 10 bit, does it mean 60p and above fps including 240p you can output 4:2:2 10 bit to an external recorder? just want to clarify...

i am guessing you do not need a wifi dongle to wirelessly control the EVA right? when is the EVA1 app going to be available?
 
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robotfist said:
So it looks like both the C200 and the EVA1 demo videos have random dancers gyrating in arctic environments under completely flat lighting situations.

Why is Red the only camera company that understands how to make good camera demos?
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I guess you haven't seen the demo for the new Sony Venice then?

Arri also makes good demos. Actually pretty much every Hollywood movie is an Arri demo.
 
NorBro said:
This is the main Raven promo - https://www.youtube.com/watch?v=6mh8_L4I5o0

Over-produced...probably. But you just never see stuff like this from Panasonic-Canon-Sony because I simply think the cameras just cannot look like this, and not sure the companies want to heavily grade their promo videos.
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To be honest I much prefer the Sony Venice demo. It's an actual film and it looks great. Not over or under produced. Just right for a cinema camera.

For anybody complaining about tests not stressing the camera enough and only showing the camera in the best light, that Raven demo would be the biggest offender.
 
I personally prefer a mix of produced, and stripped down run and gun in challenging scenarios.

But if I was running a company, I'd just do Carrion style promos.
 
The produced promotional video for the world is a no-brainer. Sex sells. You want to appeal to the masses and flashy convinces most.

I would not waste the time and resources only making something raw for the few people on forums who want to analyze everything and will rip it apart anyway. A company might try to be helpful and provide some ungraded footage shot in difficult conditions and people might think the camera stinks.

Marketing should consist of both; a promo for a camera that looks like a blockbuster, and test files for a camera showing professionals what they want to see, but making it very clear what the purpose of the video is.
 
NorBro said:
The produced promotional video for the world is a no-brainer. Sex sells. You want to appeal to the masses and flashy convinces most.

I would not waste the time and resources only making something raw for the few people on forums who want to analyze everything and will rip it apart anyway. A company might try to be helpful and provide some ungraded footage shot in difficult conditions and people might think the camera stinks.

Marketing should consist of both; a promo for a camera that looks like a blockbuster, and test files for a camera showing professionals what they want to see, but making it very clear what the purpose of the video is.
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Of course. From the company's perspective it's lipstick all day. But in produced demos even modern DSLRs will look good. Eventually cameras get to user hands and the unflattering stuff comes out anyway. So companies trying to show their cameras only in the best light is short lived anyway. I think from the end user perspective just don't expect too much and you might not be disappointed. For the EVA1 I have a pretty good idea how the demo will be like based on the Varicam and DVX200 demo. I also have a pretty good idea of how the image will look like again based on the DVX200 and Varicam.
 
NorBro said:
The produced promotional video for the world is a no-brainer. Sex sells. You want to appeal to the masses and flashy convinces most.

I would not waste the time and resources only making something raw for the few people on forums who want to analyze everything and will rip it apart anyway. A company might try to be helpful and provide some ungraded footage shot in difficult conditions and people might think the camera stinks.

Marketing should consist of both; a promo for a camera that looks like a blockbuster, and test files for a camera showing professionals what they want to see, but making it very clear what the purpose of the video is.
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I agree. I want to see what a good DP with a full crew and colorist can do (along with a breakdown of what it took to get there), AND I want to see what one person at an event or other run and gun situation can do. You also gotta consider the producer angle; who wouldn't be ok with hiring a RED Raven after seeing it's promo video?

Having said all that, I think what makes that video look awesome is the production values and art design, and all of the current crop of high res, high speed, high DR, RAW-shooting cameras could have done that video: Ursa 4.6k; C200; RED DSMC2, Arri.
 
Fahnon said:
Having said all that, I think what makes that video look awesome is the production values and art design, and all of the current crop of high res, high speed, high DR, RAW-shooting cameras could have done that video: Ursa 4.6k; C200; RED DSMC2, Arri.
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Honestly, I think people would be shocked with how well cameras much lower on the totem pole would look under those conditions. You never see it because no one spending that kind of money on talent, art direction, lighting, grip etc.. is gonna bother with a GH4.

But I'd love to see it. I'm quite convinced if you chucked a GH4 (or hell, a GH2) on a top grade hollywood lit set and hit record, people would be blown away.
 
Fahnon said:
I agree. I want to see what a good DP with a full crew and colorist can do (along with a breakdown of what it took to get there), AND I want to see what one person at an event or other run and gun situation can do. You also gotta consider the producer angle; who wouldn't be ok with hiring a RED Raven after seeing it's promo video?

Having said all that, I think what makes that video look awesome is the production values and art design, and all of the current crop of high res, high speed, high DR, RAW-shooting cameras could have done that video: Ursa 4.6k; C200; RED DSMC2, Arri.
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I'm not even sure a GH5, A7RII or A7SII also couldn't have done it. Everything is controlled.
 
DBP said:
Honestly, I think people would be shocked with how well cameras much lower on the totem pole would look under those conditions. You never see it because no one spending that kind of money on talent, art direction, lighting, grip etc.. is gonna bother with a GH4.

But I'd love to see it. I'm quite convinced if you chucked a GH4 (or hell, a GH2) on a top grade hollywood lit set and hit record, people would be blown away.
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+1. Agree 100 percent.
 
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