ProVideo Coalition: Review: The Panasonic AU-EVA1 4K Cine Camera

https://www.provideocoalition.com/review-panasonic-au-eva1-4k-cine-camera

“Panasonic’s $7,345 AU-EVA1 is a Super35mm single-sensor camcorder with a 5.7K Bayer-mask sensor, an EF lens mount, variable frame rates, and 14+ stops of dynamic range, recording on SDXC cards using log, HLG, and standard gamma renderings. Its compact, boxy body with removable rotating side grip is like that of the Sony FS5, but its images, menus, and touchscreen monitor make it feel more like a junior VariCam LT, with maybe a pinch of DVX200 added into the mix….”

The Panasonic AU-EVA1 4K Super 35 cinema camera, raw recording coming soon via external recorder.

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Rigging for the Panasonic AU-EVA1 constructed on SmallRig Basic Accessory Kit for Panasonic EVA1 2099 with a range of other SamllRig accessories.

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  • Angelbird 256GB Match Pack for the Panasonic EVA1B&H
  • Panasonic 128GB UHS-II SDXC Memory CardB&H
  • Panasonic AU-EVA1 Compact 5.7K Super 35mm Cinema CameraB&H
  • Sigma 12-24mm f/4 DG HSM Art Lens for Canon EFB&H
  • Sigma 18-35mm f/1.8 DC HSM Art Lens for CanonB&H
  • Sigma 50-100mm f/1.8 DC HSM Art Lens for Canon EFB&H
  • Zacuto EVA1 EVF Recoil Pro for Panasonic CameraB&H
  • Zacuto EVA1 Z-Finder Recoil ProB&H
  • Zacuto Gratical Eye Bundle for Panasonic EVA1 CameraB&H
  • Zacuto Gratical HD Bundle for Panasonic EVA1 CameraB&H
  • Zacuto Z-Finder Loupe for Panasonic EVA1 CameraB&H

Atlas Releases Affordable, Quality Orion 2x Anamorphic Prime Lenses, 40mm, 65mm and 100mm T2, in EF and PL Mounts

Atlas Lens Co. has released the first three lenses in its Orion Series of relatively affordable cinema quality anamorphic prime optics, comprising 40mm, 65mm and 100mm focal lengths, all at a maximum aperture of T2 and with a choice of Arri PL or Canon EF mount. 

The Orion 40mm T2 lens may well make an excellent first anamorphic lens for anyone wishing to explore or seriously shoot in the CinemaScope Anamorphic format on Panasonic Lumix cameras like the GH5 and GH4, whether renting or purchasing the lens.

The makers recommend adapters for those wishing to use the Orion Series lenses on cameras without EF or PL mounts:

An Interchangeable Mount System means you can use Orion Series Anamorphic lenses on any PL Mount camera one day, and any compatible EF,  E-mount, or Micro 4/3 camera with appropriate adapters for your next shoot or second unit.

One possibility may be to attach an Orion 40mm T2 to your GH5 or GH4 via a Metabones EF-to-M43 Speed Booster or Smart Adapter, thus obtaining different effective focal lengths from the one lens.

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Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Metabones Canon EF Lens to Micro Four Thirds Camera T CINE Speed Booster XL 0.64x (Fifth Generation)B&H
  • Metabones Canon EF Lens to Micro Four Thirds Camera T CINE Speed Booster ULTRA 0.71x (Fifth Generation)B&H
  • Metabones PL Lens to Micro Four Thirds Camera T Adapter (Black)B&H
  • Metabones T Smart Adapter for Canon EF or Canon EF-S Mount Lens to Select Micro Four Thirds-Mount CamerasB&H
  • Metabones T Speed Booster XL 0.64x Adapter for Full-Frame Canon EF-Mount Lens to Select Micro Four Thirds-Mount CamerasB&H
  • MTF Services Ltd PL to Micro 4/3 AdaptorB&H
  • Novoflex PL Lens to Micro Four Thirds Camera AdapterB&H
  • SLR Magic PL to MFT-Mount AdapterB&H
  • Vocas Micro Four Thirds to PL Lens Mount AdapterB&H
  • Wooden Camera MFT to PL Mount Pro for Panasonic GH3/GH4B&H

Panasonic: 5.7K Super 35 Handheld Cinema Camera | AU-EVA1

http://business.panasonic.com/AU-EVA1.html#sc_sp=business-category_featuresAd_products-professionalvideo-cinemacameras_AU-EVA1&start=1&cgid=products-professionalvideo-cinemacameras-aueva1

JVCKENWOOD Updates the Incredible JVC GY-LS300 4K Camcorder Firmware to Version 4.0, Adds 4K 4:2:2 Recording and 4K60p Output

One of the most underestimated, sadly rarely heard of, Super 35 4K camcorders out there is the JVC GY-LS300 by JVCKENWOOD USA Corporation’s JVC Professional Video division. I have never had the pleasure of trying out the GY-LS300 or even seeing one from a distance, so must rely on the professional insights of documentary cinematographer Rick Young who has expressed nothing but praise for the camera. 

The JVC GY-LS300 has intrigued me from the moment I first read about it, at a time when I was wondering whether I should stick with hybrid stills/video cameras or look into the emerging world of 4K camcorders.

With an independent self-funded photographer and moviemaker budget, and the need to adequately cater for both creative fields, I opted for hybrid cameras but sometimes wonder if I have made the right decision on the video side of things.

Should I have bitten the bullet on the JVC GY-LS300 4K camcorder and made do with a smaller selection of cameras and lenses for stills photography? Given the ongoing problems we have in this country with our lousy online upload speeds, some of the worst in the world, I made the best choice available at the time and opted to start off Untitled: Stories of Creativity, Innovation, Success by focussing more on documentary photography than short documentary movies.

If things had been different for Australian Internet access I would gladly have chosen to focus more on video than stills and I most likely would have selected the JVC GY-LS300 as my prime video camera with M43 hybrids as my B and C cameras. If full-length documentary features enter the picture sometime soon, then I may well do exactly that.

Before JVC announced its version 4.0 firmware update, the JVC GY-LS300 possessed a specifications list to impress:

  • 4K Ultra High Definition video.
  • Super 35 4K CMOS sensor.
  • Micro Four Thirds lens mount.
  • Variable Scan Mapping for native angle of view with a wide range of lenses including M43, Super 16 and Super 35.
  • Lens mount adapters for EF and PL lenses.
  • Built-in 3-position ND filters – 1/4, 1/16 and 1/64.
  • HD-SDI (3G) and HDMI outputs with 4K only via HDMI, feeding and triggering external recorders.
  • DCI Cinema 4K 24p and DCI Cinema 2K 24p recording.
  • Full HD 4:2:2 recording at 50Mbps.
  • JVC-Log aka J-Log for 800% dynamic range.
  • 120fps HD slow motion recording.
  • 2-channel XLR phantom-powered audio inputs and included shotgun microphone.
  • Hot-swappable dual SDVH/SDXC card slots for dual, backup or continuous recording.
  • Handle unit for XLR input and microphone.
  • And more.

The one widely-reported downside to the JVC GY-LS300? Its viewfinder. Given current electronic viewfinder technology, JVC could easily add a far better EVF to the JVC GY-LS300 and really knock one out of the park.

Meanwhile Paul Leeming of Leeming LUT One and Visceral Psyche Films says this about footage from the JVC GY-LS300:

I was impressed with the footage I was given when I built my LUT for it. J-Log is log done right, because it uses the full 8-bit space to assign values, meaning very little banding compared to truncated log profiles such as 8-bit V-Log for Panasonic and S-Log3 on the Sony cameras in particular.

Links:

Image Credits:

Quick and dirty image graphic concept by Carmel D. Morris.