The Panasonic EVA1 camera has started to ship to pre-order owners and some footage has started to show on the web. The camera seems to be very good at low ISOs and up to ISO 5000 it defends itself well. After that banding and heavy noise starts to become a problem. One thing to keep in mind is that the 5.7k sensor is intended to supersample for 4k to deliver unbelievable detail levels while having a detrimental effect on super high ISO. The dual native ISO settings of 800 on the low end and 2500 ISO on the high end help the camera achieve dependable noise free and extremely clean footage in those modes.
The camera can also shoot up to 240fps full HD and or 2k super slow motion video and use it’s improved sensor specs to reduce rolling shutter. The camera should be able to deliver excellent high frame rates in good light but it seems the slow-motion option offers lower quality in codec and also in noise control. We have no clue what is causing this but it is apparent from the samples that detail and quality take a hard hit in these modes.
Move over Apple, the LG V30 recently released might be the best available video recording smart-phone ever. In fact the LG V30 is not high on slow motion frame rates, topping at 240fps 720p and does not have 60fps 4k like the latest iPhones but has an ace up it’s sleeve that might catapult the phone to be #1 among video recording professionals that want a phone they can use alongside their expensive dedicated video gear.
The LG V30 has 10 bit color for starters recorded to its flat profile called LG Cine-Log format which is very close to implementations from Sony, Canon & Panasonic Log formats. The other big feature is that it has probably the best manual control video interface in a phone to date with peaking for easier focus, manual shutter, aperture, ISO and a variety of frame rates.
The Panasonic AU-EVA1 Super 35mm Cinema Camera is a first for the company in several key fronts. For starters, it is abandoning the Micro 4/3 sensor in turn for a more industry standard S35 module which has a larger area and in turn much better light gathering power. Gone also is the micro 4/3 lens mount which Panasonic favors and in its place a Canon EF Electronic mount which could have been called blasphemy to see this in a product line of this price range for Panasonic.
Since the sensor-flange distance is increased you will not be able to use the Micro 4/3 or 4/3 lenses you were using with an AF100 for example. When it comes to slow motion this camera is no slouch with 240fps continuous recording to SDXC II v90 cards in both 2k resolution and full HD 1080p. It is also bringing it to the 4k 50/60p realm which now is becoming commonplace.
So you have an iPhone and want to get the best video possible out of it. Should you stay with Apple’s camera implementation or should you branch out and look for better capture apps? Those that do the best job at compressing your footage and extracting the utmost quality from it.
For years the App to flock to if you own an iPhone is the FiLMiC Pro for iPhone, iPad and iPod Touch by Cinegenix. It was used in the Zacuto revenge of the Camera shootout in 2012 to capture the segments with the iPhone which rivaled, according to the audience of judges, cameras much stronger in specs and capture quality. It tied with the Canon C300 and beat the Sony FS100. That test was highly subjective with a lot of light to fill in the soft spots of the camera, however that did not detract from the fact that FiLMiC Pro did an amazing job at delivering a more grade-able and professional looking footage than Apple’s stock implementation on the then iPhone 4s. You can see the test here!
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