InCinematographer - Issue 3 - 46

46

www.incinematographer.com | Issue 3

Panasonic Ships AU-EVA1 Camera
Panasonic is currently delivering the first units of its highly-anticipated EVA1 5.7k compact Super-35 camera...

P

anasonic Media Entertainment Company (PMEC)
is shipping its AU-EVA1 5.7k handheld cinema
camera, distinguished by a pixel count of 17.25
million, Dual Native ISO ratings of 800 and 2,500, and
14-stops of dynamic range.
"The EVA1 has generated enormous interest since
it was first announced in June," noted Mitch Gross,
PMEC Cinema Product Manager. "It is Panasonic's
first compact, handheld Super-35 camera, filling a
gap between smaller cameras such as the GH5 and
the DVX200 and our high-end VariCam lineup.
"The EVA1's sensor is a new 5.7k design, with
almost twice as many photosites as a 4k sensor,
which 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
downsampled to 4k, UHD, 2k, or even 720p.
Additionally, the increased color information results
in a finer, more accurate finished image.
Dual Native ISO
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.
14-stop Dynamic Range
The EVA1's 14-stops of Dynamic Range enables
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's wide dynamic range
and V-Gamut's color space beyond the Rec. 2020
standard offer all the information necessary to
deliver rich 4k HDR imagery.
Weighing only 2.65lbs (1.2kg, body-only) with a
compact form factor (6.69in H x 5.31in W x 5.23in 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 3.5in 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.

First Official EVA1 Footage (Source Panasonic - YouTube)

EF-mount
For lensing, the camera utilizes a native EFmount, 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, OnePush 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 in
a remote location.
Twin SD card slots
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.

AU-EVA1 5.7k handheld cinema camera

The camera can record in several formats
and compression rates, and offers up to 10bit 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 third 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.
Imaging tools
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 EVA1 offers dual balanced XLR audio inputs
with Dolby Audio encoding. 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.
www.business.panasonic.com

Drone friendly 1.2kg body weight


http://www.incinematographer.com http://business.panasonic.co.uk/professional-camera/camcorders/AU-EVA1-cinema-compact-camera https://youtu.be/Lgn4deS4huc http://www.business.panasonic.com https://youtu.be/Lgn4deS4huc?t=59

Table of Contents for the Digital Edition of InCinematographer - Issue 3

In This Issue
InCinematographer - Issue 3 - Intro
InCinematographer - Issue 3 - Cover1
InCinematographer - Issue 3 - Cover2
InCinematographer - Issue 3 - In This Issue
InCinematographer - Issue 3 - 4
InCinematographer - Issue 3 - 5
InCinematographer - Issue 3 - 6
InCinematographer - Issue 3 - 7
InCinematographer - Issue 3 - 8
InCinematographer - Issue 3 - 9
InCinematographer - Issue 3 - 10
InCinematographer - Issue 3 - 11
InCinematographer - Issue 3 - 12
InCinematographer - Issue 3 - 13
InCinematographer - Issue 3 - 14
InCinematographer - Issue 3 - 15
InCinematographer - Issue 3 - 16
InCinematographer - Issue 3 - 17
InCinematographer - Issue 3 - 18
InCinematographer - Issue 3 - 19
InCinematographer - Issue 3 - 20
InCinematographer - Issue 3 - 21
InCinematographer - Issue 3 - 22
InCinematographer - Issue 3 - 23
InCinematographer - Issue 3 - 24
InCinematographer - Issue 3 - 25
InCinematographer - Issue 3 - 26
InCinematographer - Issue 3 - 27
InCinematographer - Issue 3 - 28
InCinematographer - Issue 3 - 29
InCinematographer - Issue 3 - 30
InCinematographer - Issue 3 - 31
InCinematographer - Issue 3 - 32
InCinematographer - Issue 3 - 33
InCinematographer - Issue 3 - 34
InCinematographer - Issue 3 - 35
InCinematographer - Issue 3 - 36
InCinematographer - Issue 3 - 37
InCinematographer - Issue 3 - 38
InCinematographer - Issue 3 - 39
InCinematographer - Issue 3 - 40
InCinematographer - Issue 3 - 41
InCinematographer - Issue 3 - 42
InCinematographer - Issue 3 - 43
InCinematographer - Issue 3 - 44
InCinematographer - Issue 3 - 45
InCinematographer - Issue 3 - 46
InCinematographer - Issue 3 - 47
InCinematographer - Issue 3 - 48
InCinematographer - Issue 3 - 49
InCinematographer - Issue 3 - 50
InCinematographer - Issue 3 - Cover4
http://usa.nxtbook.com/nxteu/lesommet/incinematographer_issue3
http://usa.nxtbook.com/nxteu/lesommet/incinematographer_issue2
http://usa.nxtbook.com/nxteu/lesommet/incinematographer_issue1
http://usa.nxtbook.com/nxteu/lesommet/incinematographer
http://www.nxtbookMEDIA.com