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First Footage From EVA1

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Horrendous noise in the first demo starting at around 6 minutes... where the night shots begin. The second video, while better, becomes pretty soft in low-light. Well, if this is what the EVA1 brings I can say without reservation Canon C200 > EVA1. While not as detailed under close inspection the noise is rendered organically. Motion looks OK on either camera. But if I do opt for one of these two, I can tell you now it will be the Canon. That said, I am still waiting to see what the GH5 firmware update brings. I have hopes that it will trump both of these when all things are considered. 

Wow Panasonic, how do you knock it out of the park with the GH5 and then totally drop the ball with the EVA1? Very disappointing. 

A quick shout out to the film crews, I enjoyed both stories :grin:

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I just shot all day with the C200 and man is it a joy to use. I feel like it's the combination of several years of R&D and they really nailed it with the UI and form factor. The AF stuff in it is fabulous and the image is ridiculously clean when viewing on a 5K imac. 

All that is going to be tough for Panasonic to compete with. Especially since this is a first gen camera. 

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18 hours ago, DBounce said:

Canon C200 > EVA1

If the final firmware doesn't provide a massive improvement in noise, then yes the C200 sounds like a better deal for this price segment especially if you have canon glass. Panasonic put themselves in the corner with the EF mount, both in terms of lens selection and speedboosting ability. 

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19 minutes ago, DaveAltizer said:

I just shot all day with the C200 and man is it a joy to use. I feel like it's the combination of several years of R&D and they really nailed it with the UI and form factor. The AF stuff in it is fabulous and the image is ridiculously clean when viewing on a 5K imac. 

All that is going to be tough for Panasonic to compete with. Especially since this is a first gen camera. 

Other than the lack of a middle weight codec, the C200 is a go. Mind you the Kinefinity Terra 4k and 5k are interesting cameras. But they lack real support in the USA, so they remain little more than an interesting side note.

6 minutes ago, Don Kotlos said:

If the final firmware doesn't provide a massive improvement in noise, then yes the C200 sounds like a better deal for this price segment especially if you have canon glass. Panasonic put themselves in the corder with the EF mount, both in terms of lens selection and speedboosting ability. 

Yes, but even at $4k, would this be a worthwhile upgrade for a GH5 owner? I'm struggling to see the value of owning the EVA1. I can tell you now... I would not by this even at $3k. Not with the lowlight performance. I'll pass. Mind you, I have not completely ruled out the Canon C200. It's still on the radar, I just don't know how I would feel about the file size and extra work that it will take to process the footage. I cannot however argue with the images that it produces. They do look quite good. And to my eyes lowlight looks better than what the GH5 could produce. However, will good lighting, things even out. 

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Kinefinity Terra 5K is "not finalized on shipping date," according to their website: http://www.kinefinity.com/shop/terra/?lang=en

It is still a hypothetical camera not in release, despite promises of shipping so long ago.

As for the 6K sensor, it's the same as the Kinefinity 6K and has the worst rolling shutter you have ever seen in a cinema camera.

For those who want 6K resolution that debayers to proper 4K, there are only going to be two realistic choices: RED and the EVA1.

I think Panasonic has done something amazing and noteworthy. It's a very ambitious camera and the Vimeo footage is truly gorgeous (despite the fact that we are not even talking about the RAW 5.7K output as of yet):

 

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10 hours ago, ssrdd said:

well its a funny perspective for 7500$. All the best pro..

If canon protecting C300ii from C200, thats what panasonic doing for Varicam Lt  for 16000$+accessories. And why should they be afraid if Varicam has special color scice recipe? More over its a cinema camera requires and operator, bulky batteries, boot up time etc And terrible 2k crop slowmo.  Isnt it a good idea to have 10bit 4k slowmo as main feature to advertise insted turning away few people who has the potential for spending 10k?

 

 

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27 minutes ago, Zak Forsman said:

Here is Radio 88 in 4k on vimeo.

 

I've been in a really bad internet connection situation for while and just now this morning was able to watch Radio 88 for the first time. This piece rocked, on many levels. Never once did I think the footage looked bad or had bad motion or whatever.

I would like to see more daylight pieces. The desert one, was really poorly done. The desert is kinda my thing. I wish I had a go at the EVA1 in el desierto.

I really am looking forward to seeing this camera in the hands of many others. Also, to seeing some raw footage. 

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1 hour ago, Zak Forsman said:

Here is Radio 88 in 4k on vimeo.

 

Yes this footage looks great. I really can't argue with that. But it also looks like it was done by someone with access to all the resources needed to pull off a first-rate production. Everything in it looks done to a high standard. I have little doubt that this filmmaker could make almost any camera look great. However I'm more interested in seeing how this camera performs in less-than-ideal conditions. I think that with careful use almost any camera can pull off beautiful imagery. But in my filmmaking, and I think this will be true for others also, we have to make do with less than perfect filming conditions, and it's in these scenarios where things like low light capability come into play. What good is high resolution if the moment the lighting becomes dim the image becomes extremely soft?

In the end we will have to wait and see what the production camera can do in the hands of, shall we say, less gifted filmmakers and under less-than-ideal conditions.

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5 hours ago, DBounce said:

Yes this footage looks great. I really can't argue with that. But it also looks like it was done by someone with access to all the resources needed to pull off a first-rate production. Everything in it looks done to a high standard. I have little doubt that this filmmaker could make almost any camera look great. However I'm more interested in seeing how this camera performs in less-than-ideal conditions. I think that with careful use almost any camera can pull off beautiful imagery. But in my filmmaking, and I think this will be true for others also, we have to make do with less than perfect filming conditions, and it's in these scenarios where things like low light capability come into play. What good is high resolution if the moment the lighting becomes dim the image becomes extremely soft?

In the end we will have to wait and see what the production camera can do in the hands of, shall we say, less gifted filmmakers and under less-than-ideal conditions.

Who is this camera for then? Wedding videographers shooting in terrible dim/mixed lighting? Who would be able to afford the EVA1 + lenses, but not a few Lowel lights? I just recently picked up a second Lowel DP (1K) light, used, complete with barndoors, protective screen, and bulb for $60 from Adorama. The first one I bought used for a similar price. There are also good, bright LED lights that are portable and affordable, so "not having access to power" is no longer an excuse. Lighting should be something all filmmakers (not videographers, but filmmakers) use creatively, to express a feeling, not something that comes last, after camera, drones, gimbals, etc. 

If low light is a concern, why not buy an A7SII for a fraction of the cost of the EVA1?

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