Nice job!! I love how you mentioned that the downsampling will create a cleaner image "in theory". The truth is, like the Varicam line, this is not a system without noise. That's not to take away too much from the power of the system, though, because it is very, very good out of the gate and will only get better. I can't wait to try out the new codecs in the upcoming firmware release!
They did but it's really bad to use. RAW is only with an external recorder, and no professional production house will let you use the 10-bit 4:2:2 that the EVA-1 records. Prores is the industry standard for a reason. The Ursa Mini Pro is the only cheaper camera that I would say is really "usable" for serious netflix productions.
Well almost every professional I know would rather do internal RAW internally because it's more reliable and doesn't add unnecessary bulk to your rig. CFast 2.0 prices have dropped a lot so it's not extremely expensive anymore like it used to be. And on top of that, a lot of post houses charge more for RAW and Prores is the industry standard. 12-bit 4:4:4 Prores in 4K is ideal for Netflix production. There are so many problems using an EVA-1 for netflix production, but an Ursa Mini Pro could be used with very little issue. That shows that Blackmagic clearly gives you a lot more professional features for your money.
If you're at the scale of a Netflix production, you probably have enough money in the budget to not need this or any other sub $10,000 dollar camera. As an editor, I don't have a problem with a RAW workflow, but I prefer proxies in ProRes or DNxHD because of storage. It's ideal if the client shoots simultaneously in both RAW and compressed, like the RED cameras do. Cut with the proxies, conform as needed. This camera has a place if you're shooting in low light often (dual native ISO) where the URSA Mini Pro falls apart at 1600 ISO. Not to say the URSA is a bad camera, it certainly isn't. It's a great time to be a filmmaker with so many quality options on the market that have individual benefits based on your needs as a creator. The C200 if you need autofocus, the EVA-1 if you require low light, the FS-7 if you are matching to other Sony if you require a lot of slow motion work, for example. A lot of the downsides of all of these cameras can be fixed with relatively inexpensive add-on products like the Atomos Inferno, the Gratical eyepieces and the like. It comes down to preference.
+Michael De Lazzer not always is one camera the best. If you like using the arri alexa but need 4K, the cameras get quite large. Blackmagic cameras operate very similar to the alexa but with a smaller body, 4.6k resolution, and a slightly different look. Gone Baby Gone for FOX was shot with ursa mini pro as the principal camera because in a blind camera comparison it had the look that they wanted for the show. Camera weight/movement played a part in that "look." It's not always that a sub $10k camera is only useful because they're cheaper.
Yes and "Transparent" is being shot on a Canon C300MKII. All capable cameras, it comes down to preference. The vast majority of series, however are using Arri and RED, with a few Sony F55s. www.indiewire.com/2017/08/emmy-2017-camera-nominated-cinematographers-1201868305/ Arri is pretty dominant in the film world: www.indiewire.com/2017/05/cannes-2017-camera-cinematographers-beguiled-good-times-roman-polanski-1201817561/
Thanks for the review. Excellent. I'm still deciding witch camera to buy: Canon C300MkII or Panasonic EVA1. There is just one thing holding me from buying Eva1: the Dual Pixel AF that Canon has (I own 1DX MK2 and the AF it is a fantastic feature). On the other side, I don't like the fact that Canon just record at 4k 30p, and I think C300MKII it is a little overprice, comparing with all the features EVA1 has. From your experience, witch one would you buy? Thanks!
Personally? I'd get the C300 II if your budget can stretch to it. The C200 is a closer match to the EV-1. The C300 has 99% of the C200, plus 4:2:2 broadcast codecs. You get a lot more camera in the C300, but you have to pay for it. If you already own Canon lenses, the choice is pretty clear.
If you're like me and love sharper 4K images, the EVA1 is awesome(4K raw @60P will crop in and won't be as sharp), but if you need AF, go with the C200 and a high capacity Cfast card. The C200 shoots 4K 10-bit RAW @60P and h.264 4:2:0 8-bit, but you can process the RAW and export as proress 10-bit. The Canon C300MkII is good if you have limited space and don't want to process the RAW, but it's designed for broadcast TV work. It really depends on what type of shoots you do at the end of day.
I'm a news gatherer and currently shoot on a 7Dmkii, looking to upgrade to a purposed build that can use Canon lenses. I'd really like a 10 bit 422 internal record with decent AF and Slow mo options. Budget between £5k and £8k including lenses and maybe a decent wireless mic, any suggestions welcome.
C200 is your only option for AutoFocus. Not the codec you are looking for but canon RAW to expensive cards or using adaptor to SSD. Or save the money and focus yourself on the EVA1.
I am having trouble deciding between this camera or the Canon C300. The Panasonic has an edgy look, great tech, a convenient mount for a Canon DSLR owner, and at a competitive price. However, one user shared his experience with the camera and claimed that the transfer of the video files (mod) must be converted before being used on an iMac.
![At the Bench: Panasonic EVA-1 [Part 1]](http://i.ytimg.com/vi/KIpWCJ13z8U/mqdefault.jpg)
This camera is better than ever know in 2020 with the Shogun Átomos
How about in 2024
I like this series on "reasons why people choose certain camera". Well done Carl.
Nice job!! I love how you mentioned that the downsampling will create a cleaner image "in theory". The truth is, like the Varicam line, this is not a system without noise. That's not to take away too much from the power of the system, though, because it is very, very good out of the gate and will only get better. I can't wait to try out the new codecs in the upcoming firmware release!
I like the fact that this camera produces the sharpest 4K image in it's price range.
I love my Eva 1. Thanks for edifying
0:07 "Proudly supported by Canon and Sony" :'D
And reviewing the Panasonic camera, right :>
would be bang on if they offered 12bit options or even higher
Out of curiosity, what sort of job requires 12-bit?
thx ! will you choose c200 or eva 1 ?
What file format does it save it as? .mov? .mp4? or you need third party software to convert the film file to be able to put on RUclips?
Love your reviews. I think Netflix also just added this to their camera list as acceptable cameras for production.
They did but it's really bad to use. RAW is only with an external recorder, and no professional production house will let you use the 10-bit 4:2:2 that the EVA-1 records. Prores is the industry standard for a reason. The Ursa Mini Pro is the only cheaper camera that I would say is really "usable" for serious netflix productions.
Well almost every professional I know would rather do internal RAW internally because it's more reliable and doesn't add unnecessary bulk to your rig. CFast 2.0 prices have dropped a lot so it's not extremely expensive anymore like it used to be.
And on top of that, a lot of post houses charge more for RAW and Prores is the industry standard. 12-bit 4:4:4 Prores in 4K is ideal for Netflix production. There are so many problems using an EVA-1 for netflix production, but an Ursa Mini Pro could be used with very little issue. That shows that Blackmagic clearly gives you a lot more professional features for your money.
If you're at the scale of a Netflix production, you probably have enough money in the budget to not need this or any other sub $10,000 dollar camera.
As an editor, I don't have a problem with a RAW workflow, but I prefer proxies in ProRes or DNxHD because of storage. It's ideal if the client shoots simultaneously in both RAW and compressed, like the RED cameras do. Cut with the proxies, conform as needed.
This camera has a place if you're shooting in low light often (dual native ISO) where the URSA Mini Pro falls apart at 1600 ISO. Not to say the URSA is a bad camera, it certainly isn't.
It's a great time to be a filmmaker with so many quality options on the market that have individual benefits based on your needs as a creator. The C200 if you need autofocus, the EVA-1 if you require low light, the FS-7 if you are matching to other Sony if you require a lot of slow motion work, for example.
A lot of the downsides of all of these cameras can be fixed with relatively inexpensive add-on products like the Atomos Inferno, the Gratical eyepieces and the like. It comes down to preference.
+Michael De Lazzer not always is one camera the best. If you like using the arri alexa but need 4K, the cameras get quite large. Blackmagic cameras operate very similar to the alexa but with a smaller body, 4.6k resolution, and a slightly different look.
Gone Baby Gone for FOX was shot with ursa mini pro as the principal camera because in a blind camera comparison it had the look that they wanted for the show. Camera weight/movement played a part in that "look." It's not always that a sub $10k camera is only useful because they're cheaper.
Yes and "Transparent" is being shot on a Canon C300MKII. All capable cameras, it comes down to preference.
The vast majority of series, however are using Arri and RED, with a few Sony F55s.
www.indiewire.com/2017/08/emmy-2017-camera-nominated-cinematographers-1201868305/
Arri is pretty dominant in the film world:
www.indiewire.com/2017/05/cannes-2017-camera-cinematographers-beguiled-good-times-roman-polanski-1201817561/
Thanks for the review. Excellent. I'm still deciding witch camera to buy: Canon C300MkII or Panasonic EVA1. There is just one thing holding me from buying Eva1: the Dual Pixel AF that Canon has (I own 1DX MK2 and the AF it is a fantastic feature). On the other side, I don't like the fact that Canon just record at 4k 30p, and I think C300MKII it is a little overprice, comparing with all the features EVA1 has. From your experience, witch one would you buy? Thanks!
Personally? I'd get the C300 II if your budget can stretch to it. The C200 is a closer match to the EV-1. The C300 has 99% of the C200, plus 4:2:2 broadcast codecs. You get a lot more camera in the C300, but you have to pay for it. If you already own Canon lenses, the choice is pretty clear.
If you're like me and love sharper 4K images, the EVA1 is awesome(4K raw @60P will crop in and won't be as sharp), but if you need AF, go with the C200 and a high capacity Cfast card. The C200 shoots 4K 10-bit RAW @60P and h.264 4:2:0 8-bit, but you can process the RAW and export as proress 10-bit. The Canon C300MkII is good if you have limited space and don't want to process the RAW, but it's designed for broadcast TV work. It really depends on what type of shoots you do at the end of day.
Do you have any videos on what cinema lenses are most suited for this camera?
No videos, but take a look at the Canon CNE lenses, or Sigma Cine primes. Or Xeen's.
Carl
I'm a news gatherer and currently shoot on a 7Dmkii, looking to upgrade to a purposed build that can use Canon lenses. I'd really like a 10 bit 422 internal record with decent AF and Slow mo options. Budget between £5k and £8k including lenses and maybe a decent wireless mic, any suggestions welcome.
C200 is your only option for AutoFocus. Not the codec you are looking for but canon RAW to expensive cards or using adaptor to SSD. Or save the money and focus yourself on the EVA1.
I am having trouble deciding between this camera or the Canon C300. The Panasonic has an edgy look, great tech, a convenient mount for a Canon DSLR owner, and at a competitive price. However, one user shared his experience with the camera and claimed that the transfer of the video files (mod) must be converted before being used on an iMac.
Editing software can open the EVA1 footage no problem. However I dont think Quicktime supports the 10 bit 4K files.
Carl
If you can afford the C300, go for it. Especially if you already own Canon lenses.
Oh, can do this in one. C200 does n't have ten bit codec. Bob.
I see 17-55 EF-S lens on his camera. Will it really work with that? I thought EF only..
Yes, thats the 18-55mm f2.8 from canon which works well with the EVA
Carl
Wait, does it record 4k RAW internally?
Andrew Henriques nope! Raw output only.
Thanks Duane. Does it record ProRes internally 4444?
Don't know if it records to ProRes or another codec but it does 422 10 bit internally.
@@locfilms No it records to H.265 and H.264 internally.
@@patrickjenner3211 wrong.
A nice cam, but what is holding me back is the lack of an evf and a decent monitor.
Check out the Gratical. OLED universal viewfinders. They would solve your concerns on this or any other camera that lacks a proper viewfinder.
Why are the whites so flat?
#highlightPhobia :D