One Year Panasonic EVA1 Review – Projects, Recommendations, Suggestions

today we are looking back at a long first year with a Panasonic Eva one and the reasons why one would choose female we will go to work with Eva and discuss a strong and weak sides as well as and special abilities with some real-life projects we will see how versatile Eva can be rigged and used give some fair criticism and make suggestions for improvements and of course we will speculate and write a wish list for the future Eva - that's a lot to go through so lean back grab a cup of coffee and enjoy our one-year with the Panasonic Eva one [Music] hello and welcome into the media division and today everything is about this little rascal the evil one and it's a bit of a special day for me it's her first birthday because today one year ago I first laid my hand or her and I would like to tell you a bit about that trip and what it meant for my company and for my personal development as a deal P if you don't know Eva maybe it will show you if it's worth it for you or not so I would like to start with why I chose the Eva one and what is so important for me about her I've been with Panasonic for quite a while starting with the defects 100 MIDI be camera that was the first camera to actually be able to shoot at 24 frames per second per second progressive from there I went like most of us into the DSLR mirrorless ROM because there was just the most efficient and cheapest way to get HD that was gh1 and from there we took off into the 4k realm where the gh4 and the GH 5 and from there I thought I want to step up my game as a filmmaker a lot and the best and efficient way to do that is to become an owner operator I was already producing an ads TV at cinema ads and specially effects for my production and other productions but I was mostly the director and the producer for those and we used mainly red and re cameras like it's normal the realm and I have to admit like if I could afford it if it makes any sense for me this probably would be an Alexa Mini but as this can easily set you back a hundred thousand euros or more if you consider the whole package lenses like everything that goes with it I prefer to have a camera that I can own and that don't break the bank and Eva was the first camera that I had the feeling I can afford that deserves the name cynic and of course they were very interesting contenders at the time of course we're talking about the Kenan c200 and maybe the options from kin affinity that had a very good bang for the buck talking about the kin affinity 6k and later the 4k but I was not going under super 35 for this church charge so the 4k fell out the kin affinity had the problem at the moment they still do have a bit of the problem that they are not really reachable for the customers and that their service is not quite there yet and this is why I said for professional productions you really have to trust your gear and Panasonic has a very good track record at that and this is where Eva again was the tool of choice now cannon of course has the same reputation as panasonic has but they choose not to include a good codec option for just your day work as there's no ten bit and that at a very low data rate so you have to go raw if you really want to use the capability of the cameras and as I'm already sitting around like footage like about two to four terabyte per month in form of ProRes HQ I didn't want to make this even worth with something like the light codec plus of course they're very expensive media that you have to invest in for this this uses SD cards and that is great for situations where you just run for hours and hours and hours with a low footprint for example for things like this I am at GH for NGH five owner and I'm still putting those to use a lot like for example Gia's five is filming me right now and Eva just intercuts very well if you are used to be like L the V lock that the eva produces just intercuts extremely well you can just basically take the exact same lot and throw it on there and you have a great great starting position it is like a GH v that can do a little bit more than a GH v later more about that I really like the versatility of Eva it makes a good figure if you rig it up for narrative' work like we have it right now on a tripod on an event work like in sports or music events when you have a very long lens on it and you have to really rely on her to shoot for hours and hours without any problems without running hops or being stable enough be impressive enough for people not to just run over you because you they think you're just some amateur we're just doing it for himself it makes a good figure on a gimbal if you just use a pancake lens you can even put it on a small gimbal like the crane - which i think is a great thing it is very very light if you rig it down you can have it in one hand and be fine for it for hours and hours of work I really appreciate that the 150 megabit codec from Panasonic 10-bit H it's just great its IQ wise just as good as a ProRes HQ I don't see any difference on a timeline or in an end product I shoot more or less pros HQ with the Shogun inferno that I have on here right now but that is more due to the fact that it's easier on my Annalee and it's just a way faster turnaround and not to do proxies that might change when I have a new system if Apple finally releases a new Mac Pro and the internal h.264 will work or perform just as well as progress we'll see about that if it also delivers some very interesting slow motion capabilities up to 240 frames per second in the beginning before from my 22.0 I was not too impressed with that because it was way too hard compressed for any professional use but since the raw out actually Eva delivers pro res raw up to 240 frames per second in a in an amazing quality with some quirks but I will talk about that later a bit more so the evil one it was and it is and many people that come from a g5 ask me is it better than a dh5 and of course it completely depends eva is really not the cam that you put in in a car in the corner it it does have image stabilization but only electronic one so the GH VAR v has some very unique possibilities that it will give you that the eva can't if we are just talking about image and usability as a classic filmmaker considering setups like this of course if s better and the image quality is significantly better if you are in a difficult situation i mean if you just shoot a toilet in normal light you won't be able to tell them apart but if it really push comes to shove if you're in in lower light or if they did not then an epidemic range is important eva is the camera to go one grain of salt most of the project i shot the last year were industrial events and I cannot show them here because they are I am under nondisclosure but I shot some private stuff and I shot some projects I can show you here and let's talk about those some I remember the unboxing and the first steps films are published here and in the Facebook group if you're not a member please join I put the link in the description I was surprised how easy it was for me to grow into the system and her produce results I was happy with jeweler ISO was new to me when I first used it and I had some misconception about it and I heard it all over the internet that basically 2500 native ISO will give you a noise level that is comparable to 800 this is not the case 2,500 native ISO has a significantly higher noise level then 800 has and when I hear Oh native ISO 2500 I would expect to be at least able to double that and still have an acceptable image I don't think that Eva performs well under with 5,000 ISO really depending on the situation usually you pump up the iso when you are in a low light situation and then Eva even at 2500 ISO being underexposed will not deliver a very good result if you have some light in the scene and you just want to compensate Accela for a higher frame rate or for slower f-stop it works quite well as you can see here is an example attitude with the orangutangs and you can see that switching up to 2500 it does reduce the grain and a very very pleasing result I will go into a project later that is generally low-key and where I think that a camera with a better ISO performance would have helped a lot from there I was now confident enough to expand my work to something more public with other people involved but still private project like I did a concert for some friends of mine at concert saw where they let me film right on stage which is quite cool and I was quite impressed with the ISO performance there this is completely shot in 2005 Oh under very difficult lighting conditions there's a lot of dynamic range to cover for the camera here because you have this very strong spotlights and on the other hand it's very dim light in the room in general so this is a difficult task for camera and I had a GH v running to get a complete scene and that just just failed it was mostly unusable it was too grainy and IVA had a very nice and I think very cinematic looked to it and I tried to make a bit of an unusual grade for this to the course we're happy with it if you want to see the whole clip I put a link up here in the meantime I am became a father yay with my lovely son Milo and of course Eva helped me a bit capturing the more important parts of life all these little private projects gave me enough confidence and know-how and knowing the weak points of either to be confident enough to take her out for paid professional work and I did quite a bit since talking about the weak points before the low-light for example here are some scenes from a concept film I made for Mercedes Benz and the exteriors of this car story we see here were shot by another team so I can show the whole piece here but let's talk about the the interiors I was going for an extreme low-key look that is almost like painted in real life most of the lights that you have at all in the inner car would come from the outside and it would be dark inside the car and I want to have to maintain that that atmosphere not having an artificial oh I'm gonna light the whole thing up like you sometimes see in advertising like the whole interior from the car up of course you could have worked with more light than I did but it would have been very hard to control the light spill and would have ruined this dreamy night look that I was going for so we had very strong lights on the outside that basically worked as my key light and some very small light sources inside the car that I put into the dashboard and beside the actress to light the inside and I think Eva was just good enough to capture this but if you look for fixed paranoid stuff you can actually see it I would have liked a another camera that has a bit better low-light performance a cleaner image to work here and that has better details in the dark but it's good to know that you can if you have to you can even push Eva here Eva also made a quite good figure on green screen jobs here the 5.7 K downsample to 4k gives a very good detail that makes keying a breeze well the brand colour does help a lot too either one perform well very well on the and the usual stuff you have interviews you have your tutorials you have your little social Clips whatever the company demands and one of the toughest job she was in was three days straight shot that we did with two Eva's in 2gh five and I think every cam there had about of six to seven hours every day footage to record and Eva didn't fear me once and right there's a lot of stake and things like that and mistakes are just unexcusable dissident situations really really want to go with a cam like Eva and the codec is just perfect for that 150 megabits it is almost indistinguishable from progress raw and it is absolutely Beauty to grade with and you don't have to settle for an 8-bit codec just because you don't want to shoot raw the thumbs up here Panasonic in most projects most people will of course mix a variety of camps and for most people that have an EVA the GH from five will be their BPM because they came from there or if they are coming coming from a professional more professional from the VariCam they might get a GH five down so it sits very nicely in the middle and you can just throw a lot on each of these three and you have a very good starting point to begin with they're great very well together again this is just perfect and easy to go with environment from beginning to the end of a production if you're interested in the production of the spot you just saw put another link up here I made a hole making off with the 2.0 firmware Panasonic introduced the all intra codecs for megabit which I don't use it all because it literally doesn't perform better in the enemy nor does it give you a better image quality than the long go up in almost any situation that I ever put them through and the cards are way more expensive 150 works fine with simple v 30 cards never ever had a problem the more interesting part about the firmware upgrade was the ability to shoot raw and recorded it was a bit of a bit of a difficult birth but it's called that way first only 4k crops could be recorded and with the second update then the Shogun was able to record the full sensor as a pro res raw you can record 4k crops as a cinema DNG too and I did so for some private projects where I really wanted to check out and the progress capabilities and the capability of the cinema DNG RAW I'm not a final cut user at all and I I have to admit I hate it and Apple will not make me a Final Cut user with their tactic I own the program and I use it to play out some protest stuff on here but it's as long as premier and resolve doesn't support Perez raw and I think it's it's futile progress or raw will only work if those programs supported and then it might just replace pro s HQ as my main codec until then I will stay with ProRes HQ in the final production I can't see much of a difference between a pro-wrestler HQ and pro res 5.7 of course it's only true if you're not talking about HDR and about relatively normal workflow raw does have its advantages what was the most interesting thing is that now the slow-motion that were too hard compressed could be exported to a RAW format and with with a quite high bandwidth and that looks quite beautiful in pro res raw and I experimented a lot for that first in private you might have seen my the launch control video and I started using that on paid gigs as well there is a quirk with it and that is it produces some artifact that has something to do I can only speculate here I don't know what this artifact is but it looks like the lines are doubled sometimes and it's analyzing effect that is quite visible if you have lines going through your picture really depending on the on the content of your picture it can be totally ok - atrocious and just be warned that this is at the moment quite a fail because a more demanding customer that you sold the ability to shoot pristine 240 frames per second may throw that in your face or in the worst case even might refuse to pay you the group and myself have made Panasonic aware of this and I think it's Panasonic or atomists or both of them turn now to say like is this fixable and when will this be fixed which brings me to the next part of this film I call constructive and fair criticism of the IVA I talk a lot about the positive things about her now let's talk about a bit of the things that in my daily use with her I think are a weak side anyone who ever worked with even knows that the the LCD just doesn't cut it this is why you will find that most people use this for navigational for the home screen and have a secondary monitor or a EDF attached or like I do here have a Shogun on it I know most cynic amps don't come with a necessity at illnesses completely normal that you have to to buy one but you have to see it in the with a competition and looking at cameras like this see 200 or even the lower NGH 5 if they have a mitre that is a better visibility and is more responsive to touch than this one is I have to say there's room for improvement the autofocus where I'm personally not a guy who uses autofocus a lot I haven't used any autofocus that would work to my liking even if it hits focus like condos and it looks mostly unnatural it pulls too fast or it pulls too slow and it never really knows what and to really go and tell the story and to pull and follow focus still rules the world and I like it but of course for for example vlogging or for some things where you're not on the camera a working autofocus should be there and it's a bit of a standard looking at the competition again so this is really something that I would like Panasonic looking to in the future not only for the IVA but also for the gh 5 which I consider better but unusable as well the low light capabilities are sup ideal I regularly don't I usually don't go over 2500 ISO and after said that is really borderline what you will need for event work where you're not able to design the lighting for a scene or for documentary or for wildlife usually not able to that and you need a bit more Headroom for eyes Oh so there's another improvement for a future incarnation of evil what I have to say I'm really missing a bit of anamorphic support which is quite unlike Panasonic because of course in the gh 5 you have very nice support for anamorphic s-- and even using 1.33 x anamorphic lens like this one of course you get the picture but you don't have a D squeeze without a dedicated monitor like the Shogun will give you a D squeeze so this works quite well but for 2x there is about nothing you can do and I would wish they would implement that into this camera and we're talking about the crop the 4k crop it should be possible to use a crop from the sensor that has the full height of the sensor and still because it has less pixel than the full-frame deliver cinema dmg to the Shogun that would be just excellent if it would be possible to implement that into Eva I think you would have a lot of new friends with that and here is one of my most important points and wishes this is directly for Panasonic please please please and put a little cherry on top of that and some sugar if you want to we need presets I can't tell you how many shots I missed because I don't have presets especially with the slow motions it if you're filming like 25 frames per second like you would in Germany you have to change the system frequency then you have to activate the raw output then you have to change the settings on the además and by that you miss the shot and you have to go all the way back I think it takes about a minute to get from one mode let's say 25 frames per second for car ke pro s HQ to pro res raw HQ on the Animas slow-motion with the pro res raw signal from the Evo so let's try that we are in 25 frames per second everything is set up here with the Shogun I'm recording ProRes HQ and this would be my normal shooting setup and let's assume I'm not here and remembering everything I want to do but I'm outside and I want to quickly film something that is probably fast because if you have a snail you won't need slow motion right so you want to change this fast first of all you just need to know that 25 frames per second if you put that if you leave it in that system the maximum frame rate is 200 but you want the 240 so we all have to change the frame rate on top of everything so let's stop the time how long it will take me to bring this into slow motion first I will have to change the system settings and of the system mode and go to frequency 24 and set the camera will have to power cycle to actually change the system frequency that eats up time now we're out of the menu again we go back in now we would have to switch on the SDI raw we have to know that the crop makes 2k that will allow the 2.5 there's a lot of things to remember here and a lot of in stress situations situations where you'd do something wrong and I'll tell you later what can go wrong on top of this and you exit this and now you can actually press on here save very framerate on and now you can go with up with a value you can do that over the non - spent responsive touchscreen all over the wheel of course and now we are on 24 240 frames per seconds so that was easy right not really and we're not even done because as you can see it's still in progress HQ and if you forgot to change that you be in trouble now because it would record the high frame rate but with something like a rec 709 and you lose dynamic range it's not what you want so you have you have to remember to put this into pro res raw and in a stressful situation you're bound to forget that and it happened to me before and it was quite angry about that so we have to change that to for res raw cross h q okay and this system has to power power cycle to again it's a lot of time you're gonna lose now stop the clock this is actually how long it took to go to a high frame rate and you will need exactly the same or more time to get back to your 25 this is not gonna flood and that's why we need presets and not only for this for everything else as well for all the different crop sizes for all the different raw modes and so and if it's possible I don't know if that it's possible but it would be so cool it would be able to trigger with the preset in the camera the recording mode of the Shogun - so let us be constructive and make some specific suggestions this is the home screen of the Evo one as it looks today please pay attention to the upper row of the interface we're adding a column with presets on the right and tapping are using the wheel riverview presets that the user can define himself or herself one operation would let us bypass all the operations we went through before in the blink of an eye forward and backwards ideally triggering the recorder to change the setting as well there has to be a way for the user to name the presets themselves through the app the interface a text file or whatever it's gonna be very important because otherwise we're going to be lost immediately please could you do that for us thank you so let's go to Eva - I know this is just wild speculation and Eva - certainly is going to be down the road for quite a while but considering the development of the market and seeing what other cameras already have implemented it is almost price range like that looking at the kin affinity Marvel LF for example LF and we all know it is gonna be the future Panasonic themselves with the Panasonic s 1 and s 1 are so the s system delivers full frame for photography in the near future and I think it makes a lot of sense just like Eva is an extension as a possible extension of the gh line that Eva 2 would be a possible extension of the S system which would mean a unified mount the air mount which makes a lot of sense of course Panasonic should do live in AF mount with that where we are sure it is tested and all EF lenses that are supported are actually supported no chigan shenanigans there but the airman will allow you to very easily swap to PL mount and to EF and F whatever you whatever you want and it's a very interesting mount for the lenses that Sigma and like and Panasonic himself will produce in the near future for a light hand up setup so same is for the media raw will be the big thing and I think Eva too has to support raw in any of its configurations Pro its raw is interesting if like I said Apple is willing to expand that to premiere it and resolve and those take it otherwise panasonic has to look for other options but raw is a must and Panasonic themselves said they're gonna support 8k until 2020 so if Eva two is the one that supports 8k the elif's LF sensor makes a lot of sense because I think we can all agree that more resolution only makes sense as long as you maintain the same central size because if we just go small and small there were stencil our image quote quality will effectively drop and not get better and better so this is just a downward spiral that we have to avoid a larger sensor is the way out and we can see with the Alexa LF and the Caniff in the LF and LFL flf it will come either - certainly LF please and 8k probably and raw which means we have to use different media and again it makes sense to unify the media with the system S which is xqd which is computed again with SD Express that would be capable of taking in the data speed that you would have to expect going for a pro-wrestler 8k so the LCD is something panasonic has to change for the Eva - I think a little bit larger would be nice of course it would be nice to have a 1500 nits so we can use it without the dreadful hoody that was on this one it immediately and something that is better more responsive to touch that people with gorilla hands like me can still use it like I can the Jia tries by the way so it's not just my fingers something that you want to work with and I think black magic shows quite impressively how nice a screen can be in a camera give us good autofocus please I would like to have a tether option like the gh 5s to that you can remotely control the IVA and of course you can it about the wifey but one of the things that makes it completely senseless for me is that there's no image in the wifely signal that is something that has to be good because I would use that mainly to pull focus while I'm not on the camera and you can't do this gh 5 is not bad I think that you can go way better with it for example have focus options that support external wheels and that will allow you to really really remotely pull focus using the service of the lens and the camera just not here the 240 frames per second 2k nice thing to have but I think it is as long as we have these artefacts it's not an another selling point because you can't really really sell it on a professional job clean that up please looking at the competition and taking the LF sensor in consideration it should be able possible to for the IVA to to produce a usable image at 10000 ISO as it looks and from the photo so so far from the Kin infinity Marvel LF it has no problems at 10,000 LF and is cleaner than the Eva's at 2500 maybe something to implement of course that would mean that we have a dual is again how about something like eight hundred and five thousand so that was it for today in if you are not a member of the Panasonic au Eva one Facebook group please consider that I put a link in the description and as you heard we have under the same direction Panasonic s one lumix system group two and Facebook and I put that link in the description too if you are generally interested in the new mirrorless full-frame system of Panasonic please consider becoming a member of that group too and we will keep you up to date with everything we know we have a pretty good direct relation with Panasonic because one of the admins in both groups is been our brethren who is a panasonic lumix ambassador if you found this useful I would really appreciate if you give me a like and if you want to see more of this please don't forget to subscribe just go it's just great thank you I hope I see you next time and until then bye bye [Music]

Channel: Media Division

Views: 63,450

Rating: 4.9254479 out of 5

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Id: Litt3lfUOuY

Length: 35min 44sec (2144 seconds)

Published: Wed Oct 10 2018