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Panasonic EVA1, like in WALL-E, S35 Camera
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  • Panasonic developed a process to read the sensor’s photosites in a fundamentally different way than it’s traditionally done. More information can be extracted without degrading the image. That effectively gives the imager greater sensitivity and separates the signal from the background noise. It’s essentially a different way of reading the camera sensor and it gives it two different native ISOs or sensitivities. Whereas in all others cameras, you just dial the gain up to get more sensitivity but you get a lot of noise in the image. You can also do that on the EVA1, but if you just switch between the two native ISOs, they’ll look the same as far as the amount of noise. There are two ways that one might likely want to use this.

    This thing is marketing bullshit. Alexa and several other cameras have dual gain, dual ADC. And no, noise won't be the same as it contradicts physics laws.

  • PR

    Panasonic has previewed the AU-EVA1, at Cine Gear Expo 2017 in Los Angeles, USA, a new 5.7K cinema camera positioned between the Panasonic Lumix GH5 4K mirrorless camera and the VariCam LT 4K cinema camera. Compact and lightweight, the AU-EVA1 is tailor-made for handheld shooting, but also well suited for documentaries, commercials, and music videos.

    For cinema-style acquisition, we realized there was a space between the GH5 and the VariCam LT,” said EMEA Marketing Manager Nela Pertl. “With its compact size and new 5.7K sensor, the EVA1 fills that gap for a variety of filmmaking applications.”

    The EVA1 contains a newly designed 5.7K Super 35mm-sized sensor for capturing true cinematic images. By starting at a higher native resolution, the 5.7K sensor yields a higher resolving image when down sampled to 4K, UHD, 2K, and even 720p. The increased colour information results in a finer, more accurate finished image.

    One of the key features of the VariCam 35, VariCam LT, and VariCam Pure is dual native ISO. Utilizing a process that allows the sensor to be read in a fundamentally different way, dual native ISO extracts more information from the sensor without degrading the image. This results in a camera that can switch from a standard sensitivity to a high sensitivity without an increase in noise, or other artifacts.

    “On the VariCams, dual native ISO has allowed cinematographers to use less light on set, saving time and money, as well as allowing for a great variety of artistic choices. The EVA1 will include dual native ISO, but the camera is currently being tested to determine final ISO specifications,” added Nela Pertl.

    The ability to capture accurate colours and rich skin tones is a must for any filmmaker. Like the VariCam lineup of cinema cameras, the EVA1 contains V-Log/V-Gamut capture to deliver high dynamic range and broad colours. V-Log has log curve characteristics that are somewhat reminiscent of negative film and V-Gamut delivers a colour space even larger than film. The EVA1 will also import the celebrated colourimetry of the VariCam line.

    Weighing only 1.2Kg (body-only) with a compact form factor (17cm x 13.5cm x 13.3cm) and a removable handgrip, EVA1 can be used for efficient handheld shooting applications and 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 customisation with the EVA1.

    Ideal for indie filmmakers, the EVA1 records to readily-available, lower-cost SD cards. The camera can record in several formats and compression rates, and offers up to 10-bit 422, even in 4K. A complete breakdown of recording formats will be available at the time of the EVA1’s release.

    The camera utilises 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 Stabilisation (EIS) is employed to compensate for camera shake and blurring, which will help smooth out handheld or shoulder-mount shots on documentary or run-and-gun projects. 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 filter 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.

    As a professional video production tool, the EVA1 offers dual balanced XLR audio inputs and 4K-capable video outputs in both HDMI and SDI. In a future firmware upgrade, EVA1 will offer 5.7K RAW output to 3rd party recorders.

    The EVA1 will ship this autumn for under €8,000 (body only).

  • Sensor closeup


    800 x 656 - 54K
  • why not varicam label?

  • RAW from 5.7k sensor sounds very interesting. Pity it will be included as 'firmware roadmap' feature, as opposed to a shipping product.

    So is MicroFourThirds just going to be replaced by EF-Mount in a not-so-distant future?

  • i thought it was earlier sensors but pana got wild and wants to takle all arround fs7, fs5, Arri minis, ursas4.6k and all it can demolish for that price even its oen varicam. Pana is on a mood no fucks given

    With that dual gain 5.7k raw option and 10 bit 240fps this is a no brainer.

    Also being almost 6k makes it a good transition camera to 8k heaven cos hdr seem not to be woking on common people.

    I insist it has Gh5 lsi and some fpga for extra outputs.

    We are very lucky to have newer version of dual gain sensor at higher resolutions.

    At 600mbps its something i predicted exactly and really seems rasonable a all i H264. At IPB Would be killer compresion quality.

    It has the power.

    But lacks the mount. canon mount comeon . I prefered you ask permision to sont e mount. No pl posibility. That is a shame for real.

    I see that mount the bigger limiting factor on this camera. No primium pl glass.

  • @endotoxic Sony will not license E-mount to anyone. MFT was the only open mount. And even Panasonic don't want to use it.

    I think in reality they should have made a new mount for s35, and then sell adaptors to EF; PL etc.

    There is good glass for EF-mount. Canon are pushing hard their EF Cinema lenses.

    Can't the EF-mount use adaptor for PL anyway?

    I'm more concerned about the future of MFT currently. Whole industry is moving towards s35. GH5 gets mediocre DxO score. Small - light weight lenses are only championed by the likes of drone manufactures / gimbal makers etc.

  • No global shutter? No evf only 3rd party....

  • @chef so close but so far! :-(

  • does the handgrip double as battery? Since it's removable (optional) it can't be the main battery, it would be nice if it were a backup.

  • Btw Panasonic has someone new in marketing. As they started all this multistage reveals and adding features after year of release, may be. Looks like some dropoff from modern Europian marketing university.

  • @alcomposer dude really? I can't film without evf ... Rolling shutter for 8 Gs? No m43 mount? that's not future that's way past buahahhahaha

  • @chef don't get me wrong. It looks amazing. Just would have been so great with a EVF and universal mount. I am confused why Panasonic are so interested in selling Canon glass. Maybe we will see a Canon MFT camera soon? (Something tells me no)

    The Wall-E camera just pushes the GH5 / LUMIX line of cameras further away from "pro" cinema cameras.

    I am very happy that it's 5.7K however. That is SPOT on! Yay!

  • @alscomposer I am with you on this. I waited for years for Panasonic to make AF100 replacement and after heavily investing on both m43 glass and such lenses that are adaptable to m43 I feel a bit betrayed here :)

    Panasonic really should have come out with a JVC approach super 35 sensor in a m43 mount and offer an electornic focalreducer adapter for EF mount with the camera. Now this locked EF mount makes this camera a huge compromise and locks it to EF and PL lenses only. While that no doubt is ok for several people at the same time it locks out huge customer potential. And by going the JVC route they could have had both and more. With EF to m43 focal reducer user would have gotten FullFrame equal FOV out of EF glass, which is now impossible. Sorry Panasonic, it seems you never do your homework well enough.

    As long as I waited and while the specs seems appealing, for me the mount is a likely to be a deal breaker as well as the pricepoint. Sony FS5 (or FS7) seems far more appealing now. In few months I will make a decision regardin which way my company will go in the future. And now it seems I am bending over to Sony after 15 years with Panasonic.

  • @alcomposer

    The Wall-E camera just pushes the GH5 / LUMIX line of cameras further away from "pro" cinema cameras.

    I think such illusive thing as "pro camera" never existed. Professional results do exist as well as people who consistently are able to make them.

  • I like the AF info above :)

  • Mount of idiots.

    too much flagerange.

    I hope they can get anothet version too Is not like thet cant...but with IR cut off and ND filters... i see m4/3 to small.

  • Btw Panasonic has someone new in marketing.

    this guy is very experienced in explaining delays and calming down frustrated clients when the promised features don't show up. He did a "great" job in communication at Convergent-Design.

  • MFT for s35? Not really interested in that. But it would have been nice to have the option of using MFT in crop mode on this camera. So that's what I was thinking about with a multi mount option. It's not like the 5.7k sensor doesn't have the resolution.

  • no MFT mount ? Panasonic losted me on this affair...

  • @Jasketti @gabilourson - Why wait for Panasonic? The true Super35 MFT successor to the AF100 just got a free firmware update to support 4:2:2 color with its 150Mbps 4K encoder, matching the features of its 50Mbps 1080p encoder. Also included free of charge: the easist-to-grade LOG profile ever.

  • We have Panasonic interview about camera. Not synced and edited yet. But soon.