The new v2.02 firmware update for the Panasonic EVA1 includes improved bit rates at a variety of frame rates like: 2k- 422-Intra Frame Recording 200M/100M Max 120fps (equivalent to 400Mbps) Which may improve slow-motion quality considerably by allowing more data to be saved instead of scrapped.
For digital recorder owners, there is a lot to be excited about as the camera will now output RAW data at: 5.7K/30p Full sensor, 4K/60p Crop , 2K/240p Sensor Crop. Since the 240fps mode saved internally exhibited very severe aliasing, moire and line skipping; the fact that RAW is now a possibility should bring the camera’s capabilities up a notch and deliver excellent slow-motion quality. We hope to have some samples of the RAW recording on the EVA1 in a future update.
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.
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.
There is no question Canon has had great success with their EOS Cinema line of cameras. They continue to dominate the rental production market and even when they are overpriced compared to competitor’s options it is in a class of its own when it comes to Dual Pixel Continuous AF with Canon EF lenses which are plentiful and part of the stable of most serious camera professionals.
The latest iteration just announced is the Canon EOS C200 EF Cinema Camera which has some serious performance improvements over the current price/performance kind in their camera line. The new camera slots between the lower priced C100 Mark II and the more professional 4k C300 Mark II. However the C200 records in 4k RAW Light format which gives 15 stops of dynamic range with all the benefits of RAW editing with some compression.
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