Zak Forsman

haha! i still poke my head in here to see what's going on, but I've been cutting a special for HBO since the first of the year that's been keeping me busy. we just delivered it yesterday and am looking forward to finding some time to shoot. In mid-january I was the cinematographer on a short performance piece. EVA1, contax-zeiss 35mm f/1.4 modded with an internal 2x oval aperture.

Also, we've been prepping for the release of our latest feature (I didn't direct this one) shot on two GH4s.
 

haha! i still poke my head in here to see what's going on, but I've been cutting a special for HBO since the first of the year that's been keeping me busy. we just delivered it yesterday and am looking forward to finding some time to shoot. In mid-january I was the cinematographer on a short performance piece. EVA1, contax-zeiss 35mm f/1.4 modded with an internal 2x oval aperture.

Also, we've been prepping for the release of our latest feature (I didn't direct this one) shot on two GH4s.
 

Wow that screen grab with the EVA1 is killer looking. And pretty crazy 2 $800.00 cameras can get the job done. Glad to see stuff is going good Zak. Interesting for sure.

haha! i still poke my head in here to see what's going on, but I've been cutting a special for HBO since the first of the year that's been keeping me busy. we just delivered it yesterday and am looking forward to finding some time to shoot. In mid-january I was the cinematographer on a short performance piece. EVA1, contax-zeiss 35mm f/1.4 modded with an internal 2x oval aperture.

Also, we've been prepping for the release of our latest feature (I didn't direct this one) shot on two GH4s.
 

haha! i still poke my head in here to see what's going on, but I've been cutting a special for HBO since the first of the year that's been keeping me busy. we just delivered it yesterday and am looking forward to finding some time to shoot. In mid-january I was the cinematographer on a short performance piece. EVA1, contax-zeiss 35mm f/1.4 modded with an internal 2x oval aperture.

Also, we've been prepping for the release of our latest feature (I didn't direct this one) shot on two GH4s.
 

Exactly!

This must be how Filippo Chiesa felt when his short for the EVA1 was released. He did his own re-grade and released it a few days later. Sorry, man.

Even having the same DR at 2500 as the other low base ISO is still a big win!!
From years of watching him, that might maybe be true in the stills realm, but not in the video world.

the extra $500 is the "you know you fuckin want it" tax.

This ought to make Zak and others a bit happier.
http://www.4kshooters.net/2018/01/12/panasonic-au-eva1-new-firmware-update-ver-1-10-released/

the extra $500 is the "you know you fuckin want it" tax.

the extra $500 is the "you know you fuckin want it" tax.

the extra $500 is the "you know you fuckin want it" tax.

the extra $500 is the "you know you fuckin want it" tax.

the extra $500 is the "you know you fuckin want it" tax.

the extra $500 is the "you know you fuckin want it" tax.

the extra $500 is the "you know you fuckin want it" tax.

the extra $500 is the "you know you fuckin want it" tax.

the extra $500 is the "you know you fuckin want it" tax.

I'm going to go ahead and say it's less the sensor than the processor that's making people think this is a FF killer. Without benefit of noise reduction it's very clear the FF advantage over M43 that @mercer and I were pointing out.  Not saying this isn't impressive, just think it's very unwise to purchase this camera on its low-light ability alone.
Having said that, it's very clearly a step up from the non-S:

oh yeah, the GH series is definitely well-suited to your needs. but the notion that one camera "beats" another is pretty dumb. we all know you choose the tool that suits your needs, and yet, we see comments like: the GH5S's low light ability "redeems" panasonic for the EVA1. it doesn't do that any more than a new coffee maker from Panasonic redeems their latest espresso machine for being too complicated -- some people need the flexibility to pull the perfect espresso shot, others want to hit one button to make coffee. it's not a competition.
FYI -- Jon, i don't know if you use Resolve but the NR they implemented in v12.5 is inches away from what Neat Video can do, but a lot easier to work with. It's pretty darn good.
hopefully youtube isn't hiding the same issue and this Venus Engine's NR is an improvement over the GH5. fingers firmly crossed.

haha, no you're not alone. but that doesn't make it so cut and dry. the GH5S's Venus Engine employs noise reduction at high ISOs that can't be turned off. The EVA1 has a NR option but it can be left off so noise reduction can be dialed in perfectly in post. No doubt the GH5S is a fantastic camera and looks great at these high ISOs, but some flexibility has been sacrificed. And the EVA1 clearly beats it in a number of image categories from color gamut to image detail to dynamic range and highlight roll-off. From the Panasonic GH5S site...

...a close second is being potty trained.

Zak, my bet is that overprocessed sharpness on GH5 also comes from its 20MP high rezzed sensor as even anamorphic samples from there show it. So the stuff must be calmer down this time, my guess. Hope not to be too naive here. I've found blur as a good workaround though. Odd to admit it.
E :-)

There's a few major reasons:
1. Vibrations. Turning off stabilization doesn't hard-mount the sensor to the body of the camera--it just tells the electromagnets to try and hold the sensor as still as possible (in relation to the camera). That means whether or not IBIS is turned on, the sensor is always floating. Some forces that act on the camera, such as vibration from a car or motorized gimbal movement, can actually overpower the magnets and shake the sensor around, which is an annoying jitter at best and unwatchable mush at worst. 

Great example at 3:15:
2. Lower heat. By putting the sensor directly onto a heatsink, it reduces heat buildup on the sensor, and therefore noise. Seeing as how low noise is one of the selling points of the camera, that makes perfect sense to me. 

3. Dual native ISO. My understanding is that the circuitry required is more involved than what's on the GH5, and therefore would not be possible (or at least more difficult/less effective) if the sensor were in motion during recording. 

4. Multi-aspect sensor. Since the sensor is larger, moving it around inside the mount wouldn't be feasible, and could put portions of the imaging area outside of the lens image circle. 

5. Battery life. The new sensor is quite power-hungry, so adding IBIS on top of that would make the hit to power consumption impractical for many users. 
6. IBIS can cause undesirable artifacts when the camera is in motion. Not only unpredictability in panning speed, as the camera has to recognize and compensate for the fact that the camera is supposed to be moving, but also strange warping and perspective shifts (especially with wide angle lenses). Good example here at 9:30: 
 
7: Processing. By not having to use a portion of the camera's processor to do all the math required for IBIS, that processing power can be utilized for other functions, such as better NR, faster/higher-res HFR, and pulling a higher bit depth off the sensor (beneficial even when encoding that data to 10-bit video). 


Everyone seems confused as to why Pananasonic left IBIS off this camera, but in my eyes, they've made their reasons perfectly clear.