sondreg

Back onto the topic of Cedar DNS2 again, wellll....  I get sent some odd messages sometimes, I got this just now sent on Facebook:

 
Sigh.....

Ok then. You don't see it. But you said "anyone". Do you seriosly not get why some would never ever take the pain of a DSLR when the C200 is only $5k more?

Brought home a 5" blackmagic video assist from the office over the weekend, pretty bulky of a monitor with clunky controls that I personally wouldn't get myself, but it convinced me that 5" is more than enough to judge focus. 
Still the questions stands, what justifies the 2x price of the 502? IMO the Focus looks better in every aspect except battery slots and SDI.

That certainly is not the kind of "low light" scenario where a GH5/G80/etc would be unacceptable. 

Check out the Feelworld F570 (or F550)

5" is ok ish for pulling focus, but bigger is better. 

This is why 7" or large is ideal for a 1st AC. 

While 5" ish or less is ideal for a cam op. 

I too am looking for external monitors to replace the external LCD on my camera. I've tried a 7" before which looked great, but it's a bit too clunky. I suppose a 5" will be plenty to judge focus?
Also I'm a bit confused about the price difference between the FOCUS and the SmallHD 502, could anyone clarify what the 502 offers, besides ports & battery slots, that the Focus doesn't?

I bought these semi-permanent mounts to from Leitax. Well worth the money, perfectly solid. No play like you'd get with an adapter because it's basically bolted on.
http://www.leitax.com/conversion/Contax-Canon/Contax_AE/index.html
I have a tiny bit of play. It's never come unlocked though. That being said, Panasonic announced they improved the side handle and will ship replacements. I would join the EVA1 Facebook group if you haven't already. Mitch Gross (the Varicam and EVA1 rep) is posting details in there.

I've had the EVA1 for almost a week now, but sickness and rain has prevented me from using it too much. However I've had a couple days of shooting and thought I'd share some random samples from some documentary footage . Only the sunrise shot has been graded (lifted shadows). A lot of the shots are handheld. Lenses used are the sigma 18-35 and canon 70-200 f2.8. I Don't have any proper IR footage but I'll get some eventually.
I used ACEScct V35 to Rec 709 in Davinci to correct the Vlog. Only ISO 2500 or 800. Exposed to +0EV in cam. No NR in cam or in post
 
Just a bunch of random shots in a random order!
 
Things I've noticed about the EVA1 though:
At base ISO and in VLOG the ceiling for the waveform monitor is at 92%. When you stop the ISO down (2500 base, ISO 1000) the ceiling drops about 10% (to 83 or something like that). A pretty big drop in DR! I'd only go higher than base on the ISO if needed.
Battery indicator is only in bars, no percentage
LCD is very reflective, hard to tell if things are in focus! I'm planning on picking up a camera monitor for it later.
Ergonomics feel great, no complaints! However the side grip can unlock itself if put under too much weight (to adjust the rotation, it doesn't fall off). Might be just my unit though.
Underexposure can get noisy (who would have thought) - however it looks more like film grain than digital noise most of the times. I haven't tested this with the built in NR function.
 
Honestly a really awesome camera and can't wait for the 400mbps & raw update. I can export the original V-Log footage and post it here for download if anyone wants later.
 
EDIT: I exported for youtube H264 at 68mbps, is there a better way to get less compression on YT?

Just picked up an mke600 up for 180 euro, can't really complain at that price  

Just picked up an mke600 up for 180 euro, can't really complain at that price  

@maxotics "Better to set up a cheap mic well, then set up the best mic badly.  The more post you have to do, the more you have failed." Definitely. 100%. But if you do not have the right tool for the job, nor the knowledge, then you have failed miserably, and most of the times, bad sound is NOT fixable, that is why there is a lot of ADR happening in huge productions - but similarly, the ADR budget is huge too, so they made it just right.
It is not so simple to do a "sound workflow" description with the terms you used (your "post" explanation was completely wrong, by the way!), unfortunately it is more complicated than that, reflections are a huge part of what we do, and you need specific knowledge of physics (acoustics) plus experience, while a child can understand an image is to his liking, or not, sound is working also subconsciously and with no clear "image" of its presence. It is not irrelevant that US government accused Cuba that attacked US embassy employs in Havana with sonic "weapons", or that music is creating emotions and responses in just a few seconds.
Also, if you remember the film "The Artist" (2011) which is a modern silent film classic, the most powerful scene in the film, is the dream sequence, that we have, SOUND!
I explained a few things with the simple way I could in my previous posts, I even proposed some equipment, if anyone want to go the shotgun route on a camera (I wouldn't), can't go wrong with the MKE600, seriously, a 416 on a camera is just a waste of a -potentially- good microphone. I will say again, that MKE440 is a very interesting mic for these kind of uses.
Also, http://www.sankenmicrophones.com/production/shotguns/cms-10/
http://www.sanken-mic.com/upload/pdf/en/cs-1e_rev2.pdf
My opinion, just choose one of the 600 or 440, and forget about it, you can not do a lot more pointing a mic to a general direction that some action occurs. It is like having a 50-100mm lens pointing at a tree, and you are waiting to catch some squirrel footage. Yes, you will, if there are any squirrels, but it is just luck, not ability.
As of the ENG using 416, in those situations they just need to get some sound, anything, on a war or a fire or an emergency you need to catch some sound, and 416 is one of the sturdiest mics ever built, also, it is industry standard since the 70's, they just do not know any better I guess!

This is in fact also very true in video! It's called inverse square law . Try placing a subject 5 inches away from a light, then try 10 inches way. You'll find that intensity is exponentionally lower aswell. However since we don't close-light subjects like we do audio it doesn't really matter. You won't get a dramatic amplitude difference if you place the mic some-ways away from the subject (not too far ofcourse!) Then a new problem arises and that is reverberation will come into effect if the distance is too far. 
About the 'right placement' of the mic has more to do with the way sound radiates. Where lower frequencies will often have a wider angle (up to 360 degrees), and higher frequencies are more dialled in. Placing the mic outside these radiuses will decrease the amplitude in the corresponding frequency area (a natural EQ you might say). Less directive mics negate this effect to some extent. Take the flute for example:

The chart shows where the different frequencies would travel, and we can tell that we'd get the 'richest' sound from placing the mic facing the subjects head. Different instruments and sound sources share different characteristics. I might be wrong about something here so don't quote me on this!
Obviously things are going to sound good if you mic it correctly with microphones of fitting characteristics & acceptable noise floors, regardless of the microphone you are using. 
 
However this doesn't have a lot to do with on-camera mics, with camera terms I suppose you could say that this subject is more about the ISO, shutter speed and aperture. In post you can very easily adjust exposure. And to quote @Kisaha, color-correcting audio is not something people usually do. What I'm trying to figure out is what microphone has the 'best color tonality' for your money as an on-cam mic. You can ofcourse do EQ and compressors to make speech or instruments sound better, but this doesn't fix the "color science" a microphone might have.
 
It's just really confusing when theres a million options to choose from & they are all similarly priced. Again on-camera mics is not something I've experimented enough with, I've always borrowed the mke600 and went with it, but as I find myself using the audio from it on a lot of projects (and I need to purchase my own mic) I'd like to know that I'm not spending too much when "Mic-X" does the same job for a 100 bucks cheaper

Lots of 'news gathering' video setups have a 416 on the camera. It's been used for years and it sounds 'right'. When you hear it against a cheaper mic in an ideal setup you will instantly be able to tell it's better. It will suit your purposes and be a good investment. A camera mounted mic is not ideal  / really bad idea for good sound capture  but for a one man operation you don't have much choice. Also be aware that shotgun mics are very sensitive to wind / air movements so also budget for a good wind shield. Even moving a 416 about in still air can cause rumble. There are lots of good sound repair  / noise reduction tools in NLE's these days but it's a lot of extra work when editing - a lot of extra work! When you add it all up in cost and time it's just better to pay a sound recordist to work with you and ensure you have good clean audio.  The fact that you are making a significant investment in a camera for this job suggests this is a serious project so skimping on audio may be unwise.....

I disagree with @maxotics. What sound post production? Do you do a "sound correction" in the sense you do a "color correction? In what way?
my experience tells me that most low to middle productions do not even have a proper sound engineer to do sound post.
I would advise most to try to get the most appropriate sound during production, post is almost a lost cause, especially if you are not highly educated and experience in sound. Image you can see, sound not so much.
I also disagree with @zerocool22, 416 is a standard in boom operators and sound men, a mic in camera is a whole different world. I would say that 416 is highly inappropriate for camera use, most of its sound qualities and benefits for a booman is lost in camera placement. Also, not experienced boom ops fail miserably with this mic, that is why they prefer "lesser" mics, because they cover their innabilities.
I would suggest shorter directional with wider patterns, Sanken has a few very good ones.

+1 and make sure you get the camera as close as possible to the subject. Off axis sound on these mic's ( all shotguns) is not nice as is any room reverb. Make sure you get the 48v and not the T power  416.

I've listened to tons of tests on YouTube with mics, imagine you have too.  I can never hear a significant difference--especially after post.  Again, there is a difference in noise floor, but my guess more to do with going balanced.  If that's true, then go with the cheapest mic you can find on your version of Craigslist.  I understand what you're trying to do.  It's what I did with the Rode.  It distracted me in a bad way   Any mic you get is going to have a trade-off of some sort, and the more expensive, the more esoteric those trade-offs are.  My view is if you don't know EXACTLY why you want something, based on your own experience, you end up going through a bit of gear....not that that is a bad thing   

Id go for a used mkh 416. Still a favorite in the industry.

MKE600 is probably the best mic of its category (it is for me).
Sennheiser MKE440, got the right price, good build quality, stereo - but directional, much wider than just a shotgun but not too wide.
I would rather put something like this on a camera than any shotgun mic, even if it was a 8060 or a Schoeps, shotgun mics are not supposed to be mounted on cameras.

@Shirozina That's weird! I know ProRes is a DCT-based codec but I didn't expect it to compress when converting <180mbps bitrates. Now we know!
 
@yiomo Generating optimised media within Resolve gives you control over your proxies within program & will export original footage unless you tell it not to. Whereas transcoding means you have to manually relink the footage and make sure you export the right media. They both do the same but the latter requires more manual labor.

@Shirozina That's weird! I know ProRes is a DCT-based codec but I didn't expect it to compress when converting <180mbps bitrates. Now we know!
 
@yiomo Generating optimised media within Resolve gives you control over your proxies within program & will export original footage unless you tell it not to. Whereas transcoding means you have to manually relink the footage and make sure you export the right media. They both do the same but the latter requires more manual labor.

Great comparison video by ProAV here...
Carl also made some of his clips available for download.
https://www.dropbox.com/sh/wwa5kx5e4r9f8v8/AAAFDUA7OIXYRrK82FvtaZUXa?dl=0
I ran them thru ACES (Panasonic V35 -> Rec.709) in DaVinci and only made lift/gamma/gain adjustments. No color adjustments. First thing you'll notice is the scooter in the background appeared orange in Carl's contrast/saturation correction from V-Log. Here it is back to a more accurate red.
Attaching a TIF of the ACES version here as well.
EVA1ACES_1.1.1.tif

@sondreg I unfortunately did not mess with the audio channel settings. The audio is from the internal mic. I would assume the combos available are either internal stereo, single XLR, or stereo from both XLRs. I did not confirm this in the menu, but it's a reasonable assumption. 

Here's the mother lode: 
4K 10bit 422 clips from the EVA1
15 are in VLOG and 1 is in Rec709
Most of the shots are with the 2500 base ISO
The white balance is wrong on all clips. The camera was set to 3200k with a 5500k light source. I didn't realize until I shot most of the clips (kinda hard to tell with VLOG).
These are mainly just random shots I took while exploring the camera and testing out focus assists.
Have fun playing around with them and look out for the cameo from Mitch Gross!
https://gtvault-my.sharepoint.com/personal/rraj9_gatech_edu/_layouts/15/guestaccess.aspx?folderid=093103eddffad4d9290335742bb81c158&authkey=AS4oW0CV_wq099VsOGHOHKk

Six minutes of untouched 4K VLOG straight from the camera. Will upload the individual clips for download later. 
Everything was shot with the Sigma 24-70mm f2.8 on the EVA1. Aperture was mostly at f/2.8. No autofoucs was used. I manual focused with the focus square feature (which I love BTW). The only light source was a small Hive light with a softbox over it. I measured it at about 500-700 lux where most people were standing in the video.
All footage is untouched VLOG straight from the camera. The noise definitely looks worse on YouTube. If you apply a LUT to the raw footage it looks way better.  
2:42 I compare ISOs 2500-25600 then down to 1000.
4:00 I turn on EIS and test it a bit.

Richard, what do you think you're doing trying to bring rationality into a discussion that's basically turned into 'I'm more of a professional than you' contest. 

Not with those, but I've been looking at the C200 closely and after watching tons of reviews with sample footage on it, I think what we've seen from the EVA1 is that the noise is marginally less pronounced, tighter, finer and generally more attractive. I also don't see any of the cyan/magenta macroblocking that turned me off from the GH4 and GH5. the C200 delivers a beautiful image but I've seen enough of the thicker "blobby" (it's a word now) noise in its shadows for me to feel pretty confident that the EVA1 is (while still having its own noise issues) the better option for me in that regard. We'll see how I feel when I actually receive mine and put it to the test.