Panasonic EVA1, like in WALL-E, S35 Camera

weighing only 2.65-lbs (1.2Kg, body-only) with a compact form factor (6.69” H x 5.31” W x 5.23” D) and a removable handgrip, the EVA1 can be used for efficient handheld shooting applications. Because of its compact form factor, it can also be mounted on a drone, gimbal rig or jib arm for complex yet smooth camera moves. There will also be numerous mounting points and Panasonic is currently working with top accessory makers to allow further customization with the EVA1.

The included adjustable handgrip offers several controls, including Menu, REC start/stop, Iris and Two User Buttons. The EVA1’s LCD screen is a 3.5” touch panel for menu selections, expand (image zoom) positioning and playback controls. The LCD has an adjustable backlight control, including a Power LCD mode for bright viewing conditions.

For lensing, the camera utilizes a native EF-mount, giving shooters access to the broad EF lens ecosystem, including dozens of cinema-style prime and zoom lenses from numerous manufacturers. Electronic Image Stabilization (EIS) within the camera will counterbalance camera shake and blurring, enabling smooth movement for handheld shooting. There will also be full Iris Control, One-Push Auto Focus, and Lens Data.

Behind the lens mount, an integrated ND filter wheel in 2, 4, and 6 stops allows for precise exposure control. The EVA1 also allows the IR Cut to be swung out of the path to the sensor at the push of a button. Unique photographic effects and night vision imagery are possible with this control over infrared.

The ND filter and IR Cut filter operate electronically, allowing wireless remote control from smartphones and tablets. EVA1 will have a remote-control app for a tablet (iOS, Android) that enables users to control an EVA1 when the camera is on a camera crane, or remote location.

Ideal for indie filmmakers, the EVA1 records to readily-available, lower-cost SD cards. With two SD card slots, you can capture footage either with Simul Rec (simultaneous dual record) or Relay Rec (continuous record). There’s also One Shot Record, which enables single frame video for stop motion capture.

The camera can record in several formats and compression rates, and offers up to 10-bit 4:2:2 even in 4K. For in camera recording, you can capture in 4K (4096 x 2160), UHD (3840 x 2160), 2K (2048 x 1080), Full HD (1920 x 1080), and HD (1280 x 720). In a future firmware upgrade, EVA1 will offer ALL Intra compression for in camera recording and 5.7K RAW output to 3rd party recorders.

For high-speed capture, the EVA1 offers up to 59.94fps/50fps for 4K/UHD, up to 120fps/100fps for 2K/Full HD, or 240fps/200fps (cropped area).

On first release, available bit rates will range from as low as 8Mbps up to 150Mbps, depending on frame rate, resolution, and codec. In a future firmware update, 400Mbps recording will be added.

As a professional video production tool, EVA1 contains several professional imaging tools, including Peaking, Expand (Image Zoom), Waveform, Zebras, and Spotmeter (Y-Get). EVA1 also utilizes Focus Squares, an array of green squares that grow in size when their local area appears to be sharp, to enable shooters to achieve critical focus.

The HDMI and SDI video outputs are both 4K-capable and each can be adjusted separately, allowing HD to be fed to a viewfinder or other third-party monitor while 4K is sent to an outboard recorder or monitor. The camera is also equipped with standard TimeCode functionality.

Vitaliy_Kiselev

Specs PR

NEWARK, NJ (August 3, 2017) – Panasonic today disclosed additional information, including pricing and specification data, about the upcoming AU-EVA1 5.7K handheld cinema camera. Previewed this spring at Cine Gear Expo, the EVA1 will ship this Fall with a suggested list price of $7,495.Technical specifications now include a pixel count of 5720 H x 3016 V (17.25 million), confirmed Dual Native ISO ratings of 800 and 2,500, and 14-stops of dynamic range.

“The EVA1’s 5.7K Super-35 sensor has almost twice as many photosites as 4K,” noted Mitch Gross, PMEC Cinema Product Manager. “That means the 4K videos recorded in the camera will be crystal clear with rich color information. The EVA1 also inherits the unique Dual Native ISO sensor technology from our Cinema VariCam line, allowing it to shoot in bright sunlight or night exteriors without compromising the image quality. And the 14 stops of Dynamic Range capture a huge scope of exposure detail.”

The newly-designed EVA1 sensor is Super-35 sized (24.60mm x 12.97mm) with 5.7K resolution. With an active resolution of 5720 x 3016, the EVA1 delivers more than 17.25 million photosites, nearly double the 8.8 million for 4K DCI (4096 x 2160). By starting at a higher native resolution, the 5.7K sensor yields a higher resolving image when down-sampled to 4K, UHD, 2K, or even 720p. Additionally, the increased color information results in a finer, more accurate finished image.

A key feature of the VariCam cameras, Dual Native ISO utilizes a process that allows the sensor to be read in a fundamentally different way, extracting more information without degrading the image. This results in a camera that can switch from a standard sensitivity to a high sensitivity with almost no increase in noise or other artifacts. Dual Native ISO has allowed cinematographers a greater variety of artistic choices as well as the ability to use less light on set, saving time and money. The EVA1’s Dual Native ISOs are 800 and 2,500, which will allow cinematographers to shoot in almost any lighting environment.

The EVA1 delivers 14-stops of Dynamic Range, enabling fine gradation in exposure from bright to dark. The ability to capture accurate colors and rich skin tones is a must for any filmmaker. The EVA1 features full V-Log/V-Gamut capture to best utilize high dynamic range and broad colors. V-Log has log curve characteristics that is HDR ready and V-Gamut delivers a color space that will cover BT.2020.

4CardsMan

Yes, it would be nice if they would produce a version with a more flexible lens mount. However, the big question is image quality. If it's in the ballpark with the Varicam LT, it's a winner. Check this out:https://agdok.de/de_DE/cameratest

Vitaliy_Kiselev

So the 8000 dollar question: why isn't this happening? If the GH5 is 40nm tech, and works so well encoding HEVC 4k (even 6k photo video mode) then what is the reason to seperate "professional" video cameras and "professional" stills cameras?

Such reason does not exist. Outside form factor, media used, connectors and XLRs.

Cameras should be modular- and simply adapt to your needs. I like the audio module for GH5, this is also a step in the right direction.

It is not step into right direction, as instead it must be global hot shoe standard and protocols. Here we have closed Sony implementations and now Panasonic one. Can change each second and be abandoned.

This sort of idea wouldn't hurt sales, it would generate more sales. And if the modules were standard between systems would allow even more updates to be sold.

Wrong. Such idea will hurt profits very much, as it removes market segmentation. Whole idea of market segmentation with "amateur", "advanced", "semi-pro", "almost pro","real pro" is made to maximize profits.

alcomposer

So the 8000 dollar question: why isn't this happening? If the GH5 is 40nm tech, and works so well encoding HEVC 4k (even 6k photo video mode) then what is the reason to seperate "professional" video cameras and "professional" stills cameras?

Cameras should be modular- and simply adapt to your needs. I like the audio module for GH5, this is also a step in the right direction.

This sort of idea wouldn't hurt sales, it would generate more sales. And if the modules were standard between systems would allow even more updates to be sold.

Panasonic talks of a new: "photo video culture" it starts with hybrid cameras growing up and becoming jack-of-all-trade masters.

Vitaliy_Kiselev

Now we have high quality electronic sensors, and I think we should be able to use one camera for both.

Fully true, and this thing must be modular. With detachable EVF, LCD and such.

If anything the GH5 proves it's possible to place high end LSI into a small form factor- without having overheating issues.

Consider that GH5 LSI is made using old tech, various rumors suggest it is 40nm or at best 28mm (but I doubt it). With proper 14nm process and good design you should be able to make simultaneous recording in HEVC 8K and compressed raw without issue inside such body.

alcomposer

If the GH5 were to have a variable electronic ND filter I think we would be able to use many of the existing wheels on the camera for control.

This distinction between video and still camera is very strange in my mind. As it exists due to old technological limitations of film.

Now we have high quality electronic sensors, and I think we should be able to use one camera for both.

If anything the GH5 proves it's possible to place high end LSI into a small form factor- without having overheating issues.

Personally I think any GH5 Pro could be larger, but still usable for stills. This is the direction I think the GH line should go, and many other hybrid cameras. I wouldn't mind a few more function buttons as well, the joystick is a great addition, and also moving in the right direction.

As for FS5, think of it this way, if the a7r3 (or whatever comes out) has same specifications what would be better? It's much easier to film documentaries with small inconspicuous cameras, then swap out for photos as well.

This is just my view, I just don't like the idea of sinking tens of thousands of dollars into a video only camera in 2017+.

If anything the GH5 has shown video centric controls can be added to hybrid cameras, and work successfully.

Jasketti

@alcomposer I can understand that for hybrid use it makes sense. But having a proper videocam formfactor does not mean it has to be heavy or large. Take Sony FS5 for example, unless you consider it to be large and heavy ofcourse.

For me the actual shape of the stills body and lack of buttons/connections, NDs, positon of screen etc. are why I dont like it (anymore). But ofcourse I can see why some people like it and why it fits their workflow. But I'd rather have the same technology in a more videocentric body. EVA1 is really close to being perfect for me. Lets see if they make changes to the mount... not holding my breath though. :)

alcomposer

@Jasketti I'm still very interested in light cameras for Video & Stills. Its fantastic to be able to use a light weight gimbal and camera system that has so many built in features.

Why I like the GH5 for video:

Flip out good LCD screen
Good video in-camera
Long record time
Small form-factor
Can transform into a usable still camera (shoot in RAW)
Sensor with IBS
Sensor not too big and thus smaller lenses possible (if companies choose to make them)

What I dislike:

Dynamic Range is never enough, need 14+ for stills and video. (My D810 has 15 and I love it)
Better low light (GH5 is MUCH better than GH4- but more would be appreciated.)

Thats what I would like to see in EVA-2 / GH5 Pro.

Jasketti

@alcomposer fair enough and true. This should further add weigth to @Panasonic_design decision as it seems to be a general opinion here that a user swappable mount would be the way to go.

@Faudel could be but with the speed pana does their development it could take another 7-10 years til EVA-2 :)

GH5 Pro would do fine. Simply a GH5 in a filmcamera form factor, XLR, ND filters or better yet electronic variND, 10bit 4:2:2 4K 50/60P ProRes (or equivalent). Thats it. Even better if it had s35 sensor.

A standard SSD drive media sled for recording would also be appreciated.

Ok pana, when will this above described EVA2 (GH5pro) come out?

P.S. I have grown to hate rigging and fiddling with DSLM stills camera form factor. We want true videocams please.

(edit) will be interesting to see what Fuji comes out with and where they will postion themselves pricewise.

alcomposer

@Faudel Panny do have a space between EVA1 & GH5. I would personally like to see a "GH5 Pro" released. 14+ stops DR & improved low light. (not much to do on LSI side, 400mbps is fine).

Add to that some better MFT lenses for video, better zooms (Parfocal at 2.8) and primes with advanced focus control.

Faudel

Panny fans should not worry ,something tells me that EVA-2 is coming with MFT sensor at 3499$ After all they have space between GH5 and EVA-1, even if GH5 is in consumer division and EVA-1 in pro. I dont think EVA-1 is a smart move at this price point vs the C200, maybe 1000$ less ? Put an EVA-2 MFT 4k & .... in face of a 1080p Canon C100 M2 could be rewarding. BTW Sony will soon unveil his FS5 M2 and Fujifilm will show his X Cinema Cameras. Imho Fuji will start to compensate the end of motion picture film with cameras full of film simulations.

alcomposer

@Jasketti check out my first post on this thread. I think that the idea of multi-mount is one of those 'collective consciousness' moments. :-)

Jasketti

@Vitaliy_Kiselev @cls105 @Panasonic_desing Agreed. That would the best way to go.

I have the impression that someone from Panasonic actually follows this forum. So if you do please consider the option suggested by mr Kiselev.

By doing that you would not only maximize the customer base and selling potential of your camera but also create yourself an extra item to be sold. The bolt-on user swappable mount. By making and selling individual mounts for mFT, EF (with FF focal reducer and without) and PL you could make extra $$$ and make users very happy campers.

This would make sense in so many ways. EF lenses would be fully utilized, mFT mount would offer flexibility and compatibility, and PL people would get sturdy and good mount as they dont seem to like adapters anyways since PL glass is usually so heavy. Win-win-win-win and your managers would provide you with big bonuses for coming up with such a great idea.

alcomposer

I've had a long think about the mount issue on WALL-E.

This camera is designed to go head to head with Canon C100/200/300.

My other thought, (and this may sound ridiculous) is that it's also intentionally designed to not take sales away from the GH5 / LUMIX system.

So in many ways this is a battle camera, designed to lure Canon shooters into Panasonic.

Otherwise Panasonic would have made a camera with Vitaliy's suggestion of special locking mount.

On another note: it would be interesting to know if WALL-E uses Sony sensor as well?

cls105

correct. Kind of like Kine enhancer http://www.kinefinity.com/shop/k2ef-active_en/?lang=en "sub pl" to ef with focal reducer.

Vitaliy_Kiselev

@cls105

I think proper solution is special locking mount with 4 quick change adapters included - m43, E mount, PL Mount and EF mount.

cls105

i agree. ef mount is bullshit for s35. In my opinion there are very few lenses designed for s35. tokina 11-16mm, canon 17-55mm efs, sigma 18-35mm, sigma 30mm. Every other lens i'm interested in was designed for full frame.

Howdy, Stranger!

Categories

Tags in Topic

Top Posters