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Panasonic EVA1, like in WALL-E, S35 Camera
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  • some quite ugly lines at 1:02ff

  • Yeah, the 200fps introduces serious banding/noise if you don't have a well lit shot, I think shooting in Vlog may have caused further problems with this, I'd shoot 200fps using Scene 2 next time.

  • Panasonic today released a free firmware upgrade for the AUEVA1 cinema camera that greatly enhances the camera’s recording capabilities, including ALLIntra frame recording formats, RAW data output, timelapse recording, HD 4:2:2 interlaced formats and more. These additions expand the camera’s abilities so fundamentally that Panasonic refers to the upgrade as “EVA 2.0.”

    Released in late 2017, the EF-mount AU-EVA1 is a 5.7K cinema camera containing a Super- 35mm sensor that features 14-stops of dynamic range, Dual Native ISO ratings of 800 and 2500, and the same colorimetry as the renowned VariCam camera system. Due to its small size and weight, the EVA1 is ideal for gimbal and drone work, as well as handheld shooting.

    The free firmware upgrade is now available for download from the Panasonic website at https://eww.pass.panasonic.co.jp/proav/ support/content/download/EN/ep2main/soft/upgeva1_e.htm .

    “When the EVA1 was announced last summer, we promised a major expansion in its functionality in early 2018,” said Mitch Gross, Cinema Product Manager, Panasonic Media Entertainment Company. “EVA 2.0 fulfills that promise with features like RAW output and ALL-Intra recording as well as with such unannounced user-requested features as a 2K at 240fps RAW output and additional interlaced HD recording formats.”

    EVA 2.0 allows uncompressed RAW output via 6G SDI. Formats include 5.7K at 1fps to 30fps, 4K at 1fps to 60fps, and 2K at 1fps to 240fps. Atomos has announced that its Shogun Inferno and Sumo monitor/recorders will capture RAW-to-ProRes from the EVA1 in 4K up to 60fps and 2K up to 240fps. Additional announcements for RAW support are to be released soon.

    A key feature of EVA 2.0 is ALL-Intraframe (ALL-I) codec recordings, offering 10-bit 4:2:2 at up to 400Mbps. Intraframe recordings require less post processing than the LongGOP codecs also available in the EVA1, enabling real-time editing on more cost-effective high-performance computers.

    New ALL-I codecs and frame rates:

    • 4K 400Mbps 10-bit 4:2:2 29.97p/25p/24p/23.98p
    • UHD 400Mbps 10-bit 4:2:2 29.97p/25p/23.98p
    • 2K/FHD 200Mpbs 10-bit 4:2:2 59.94p/50p
    • 2K 100Mbps 10-bit 4:2:2 29.97p/25p/24p/23.98p
    • FHD 100Mbps 10-bit 4:2:2 29.97p/25p/23.98p

    New Variable frame rates:

    • 4K/UHD VFR up to 400Mbps 10-bit 4:2:2 1-30fps
    • 2K/FHD VFR up to 200Mbps 10-bit 4:2:2 1-120fps

    And EVA 2.0 expands recording capabilities with the inclusion of two high-quality interlaced codecs:

    • FHD (1920 x 1080) All-I 100Mbps 10-bit 4:2:2 59.94I/50I
    • FHD (1920 x 1080) LongGOP 50Mbps 10-bit 4:2:2 59.94I/50I

    In addition, remote operation is now available through 3rd party wired controllers that connect to the EVA1 handgrip port and will allow focus, iris and zoom control of Canon Compact Cine Servo zoom lenses (18 to 80mm and 70 to 200mm). Remote operation of these lenses soon will be available wirelessly through the next update of the EVA ROP application. Interval recording (timelapse) is now available in both LongGOP and ALL-I.

    For monitoring, a new feature is partial cloning of the LCD signal to the HDMI output, as well as improved file playback in LongGOP and ALL-I. There are also new Home screen controls.

  • EVA1 now has been added to Netflix approved camera list - that's a great piece of marketing for Panasonic to use

    https://partnerhelp.netflixstudios.com/hc/en-us/articles/360000579527-Cameras-and-Image-Capture

  • Panasonic announced today that the AU-EVA1 Compact S35 and the VariCam LT cinema cameras will have support for their RAW data outputs in the new ProRes RAW recording codecs. Native support for ProRes RAW has been introduced in the latest edition of Final Cut Pro X, and Atomos has announced that its Shogun Inferno and Sumo monitor/recorders will record in the new format. In addition to internal recording formats, the EVA1 and VariCam LT can output RAW data for the greatest flexibility in post image adjustment.

    “ProRes RAW unleashes the potential of our VariCam LT and AU-EVA1 cinema cameras,” said Mitch Gross, Cinema Product Manager, Panasonic System Solutions Company of North America (PSSNA). “Panasonic likes to provide choices to video professionals. Both the EVA1 and the VariCam LT shoot at multiple resolutions and variable frame rates, and now our RAW output can be captured in a format that’s easy to use. Whether it’s 5.7K resolution or 240fps, our RAW is rich in data but has required a commitment of time and memory space for filmmakers to process and store. Working closely with Panasonic, Atomos enabled ProRes RAW in its recorders, allowing an easy, high quality and complete RAW workflow so professionals can enjoy the powerful capabilities our cameras have to offer.”

    With the new EVA2.0 firmware, the EVA1 can output 10-bit Log-encoded RAW data in 5.7K up to 30fps, 4K up to 60fps, and 2K up to 240fps. From the VariCam LT, the Atomos recorders can capture RAW data in 4K up to 60fps and 2K up to 240fps. There are two variable bitrate levels of ProRes RAW being introduced. ProRes RAW HQ and ProRes RAW record at similar data rates as their ProRes video counterparts. This efficiency allows RAW data to be stored in similar memory space as common video files, and Final Cut Pro X can edit and color natively in RAW on a MacBook Pro. ProRes RAW files will also output from Final Cut Pro X to video finishing formats faster than other RAW formats. And Final Cut Pro X now includes increased color correction controls plus support for 3D-LUTs such as Panasonic’s V-Log-to-709 image transform, included in the program.

    “Panasonic, Atomos and Apple have combined to deliver an astonishing set of features for end-to-end RAW production – 5.7K30p, 4K60p, 2K240p in 10-bit V-Log recorded on SATA SSDs in ProRes RAW on our Shogun Inferno or Sumo 19,” said Jeromy Young, CEO of Atomos. “We primarily used the EVA1 for ProRes RAW launch testing – it’s the best RAW solution for the price point on the market today.”

    Today, Atomos has released the firmware to support EVA1 RAW and VariCam LT RAW to ProRes RAW recording in 4K and 2K resolutions, with 5.7K support scheduled for a May release. Final Cut Pro X with ProRes RAW support is slated to be available for download on Monday, April 9th. The EVA 2.0 firmware with RAW output and VariCam LT v6.0 firmware are available for download now.

  • Panasonic EVA1 Firmware v2.0 with raw and lot of other stuff

  • Vey nice arm from Lanparte

  • it has become quiet about this camera. German dealer already started giving discounts (420€ net cash back) and selling with the Inferno for 6.390€ net. Is that a sign that the EVA-1 has some issue to get into the market?

  • Very nice rig from Tilta

  • Barry Green’s A Guide to the Panasonic AU-EVA1 Camera available

    Download at https://info.panasonic.com/au-eva1-guide

  • Some official videos

  • Daytime Shoot along the River Lee Canal system in East London - VLog/100FPS/2K

  • I just bought one, which is way outside of my normal DSLR based philosophy, but I'm actually really liking it, and will share some real world tests and thoughts in the weeks to come.

  • Firmware v2.52-00-0.00

    The firmware is improved so that the “CHECK CARD” warning is displayed if there is a difference between the information detected in the card slot and the information inside the SD card when it is inserted in the slot, and the recording won’t be started in error.

    Details

    When a UHS-II SD card is inserted in the card slot, it may not be correctly detected as UHS-II on occasions (= pushing it for more than one second, etc.). In this case, it is detected as a card with a write speed of less than 400Mbps. So, if the format is set to 4K/UHD 422 All-I 400M and the recording is started, an error will occur in a few minutes and the recording will stop. To address this problem, the specification has been improved as described above.

    https://eww.pass.panasonic.co.jp/pro-av/support/content/download/EN/ep2main/soft/upgeva1_e.htm

  • Music video

  • it has become quiet about this camera. German dealer already started giving discounts (420€ net cash back) and selling with the Inferno for 6.390€ net. Is that a sign that the EVA-1 has some issue to get into the market?

    The FS7 is still pretty dominate. Is a tough market to crack

    I just bought one, which is way outside of my normal DSLR based philosophy, but I'm actually really liking it, and will share some real world tests and thoughts in the weeks to come.

    What are your thoughts of it now?

  • it has become quiet about this camera. German dealer already started giving discounts (420€ net cash back) >and selling with the Inferno for 6.390€ net. Is that a sign that the EVA-1 has some issue to get into the market?

    The FS7 is still pretty dominate. Is a tough market to crack

    it's funny. I wrote this in beginning of May and went for a two days test out of curiosity on end of May. After that I bought the EVA1 and sold my FS7. Didn't regret it for a second so far.

  • What do you like more about the EVA1?

    What do you miss about the FS7?

  • What do you like more about the EVA1?

    color science. Ever since I owned the FS7 I tried to find a ready-to-edit scene setting which looked similar to graded CineEI. I spent really a lot of time but never achieved what I wanted. EVA1 scene2 is a dream come true. Mostly I don't shoot V-LOG at all. Only 3 fixed white balance presets in CineEI can be very tricky. In the end the FS7 takes much more effort and time to create a pleasing image.

    What do you miss about the FS7?

    lenses. EF mount with the long flange was a bad decision. The 18-110 is the lens miss most. No speedbooster neither. A second SDI port.

    The other points are more week points of the EVA1, not so much sth where the FS7 shines. The display is ridiculous. I am always scared with the fragile SD cards . The codec of the FS7 runs way smoother natively in FCPX even the specs are quite similar. No Slow/Quick user button possible. For the switch of 30p to 60p you have to toggle through menues. 4K 60p internal only Long GOP 150mbs.

    but overall the image is priceless.