Back with you to discuss the strong and weak sides of a camera that I put as the best cinema camera under 10000 and what is the cheapest camera for filmmaking as well as special abilities with some real-life projects we will see how versatile Eva can be rigged and used.
whether or not this is the right camera for you so hopefully with my experience using this camera over the years I’ll help you decide.
Table of Contents
- sensor with internal recordings
- resulting in higher resolving images
- dual native ISO technology
- ND filter wheel with 2, 4, and 6 stops of filtration
- ire-cut filter
- Bit-rates up to 150 Mbps for high image quality
so I definitely say for two purposes this is my go-to camera number one would be for interviews and number two would be filming action.
This camera is compact enough that for lots of different types of uses.
When the Panasonic TV A1 was introduced almost a couple of years ago I was quite interested in this camera.
Panasonic AU-EVA1 or as I like to call it the mini VariCam light is the perfect camera release for Panasonic.
It seemed to check a lot of boxes for a simple all-in-one camera so I was recently allowed to get my hands on an evaluation copy to put it through its paces.
- 5.7K Super 35 mm Sensor
- base ISO 800
- support a v60 rated SDXC card
- electronic image stabilization
- built-in ND filters
- BNC connection for timecode
- V log and V gamut
- 14 stops of dynamic range
- dual native ISO
- dual powered XLR inputs onboard
- ND filters
- dual high-speed
- SD card slots
- STI HDMI
- long battery life
- lightweight ergonomic design
- EF lens mount
- HDMI port 4k up to 60 frames per second
- 10 bit recording and high frame rates
- timecode electronic
- electronic image stabilization
- LCD monitor with a removable hood
- no built-in viewfinder
- no built-in EVF
- no autofocus on post
the camera doesn’t weigh that much in fact it feels a little too light it’s only one point two kilos for the surprisingly low body Panasonic has clearly taken great lengths to keep the weight down.
when they’re designing this camera and I think that really works if you’re going to shoot handheld with it either like this or on a shoulder rig this sort of weight is actually a really nice sweet spot.
it’s not so light that it’s hard to stabilize and can give you shaky shots and it’s not so heavy that your arms get tired of using it and you need really big expensive equipment to stabilize this fits right in the middle.
There are XLR audio inputs that can be found on the camera body providing 24-bit 48 kilohertz L PCM audio files for high-quality recordings.
It has a grip on the side that allows you to control the menu and start and stop the camera and it has two of the nine user-assignable buttons.
it does come with an EF mount standard which is capable of doing a one-shot autofocus feature.
The design looks like Canon with a removable side handle and a removable handle that allows you to convert the camera and also Canon’s esque potato cam format.
ND filter system
the built-in ND is lovely offering an ND 2 in d4 and M in D 6 and it covers all the bases there’s a powerful internal ND filter system that uses a stacked setup of NDS to achieve a variety of different levels of control as well as controlling the infrared cut filter that all digital CMOS style sensor cameras have and actually allows to use of a really unique feature where you could take that out entirely.
variable frame rates are where things get really interesting in addition to those other speeds there’s a mix 2.8 K mode that lets you shoot 2k or HD with no cropping in 10-bit 422 up to 120 frames per second.
if you really want to get high-speed there’s a mix to point to cave mode that n crops the sensor down to a 4/3 inch size that you can shoot in 2k or HD an 8 bit for 200 up to 240 frames per second.
supports HD 3G and 6g SDI outputting a 10-bit or two to signal for both 4k up to 30 frames per second and Full HD up to 60 frames per second there’s also an HDMI output for 4k + HD up to 60 frames per second what’s really important is that they can both work at the same time even while the camera is recording.
The batteries lasted about two and a half hours each which was pretty amazing for a camera like this size.
so there’s a standard battery that the AU-EVA comes with, I mean it lasts about three hours but the bigger bags that I have are not expensive.
I got a third-party version that lasts about five to six hours per batteries so with two batteries you’re able to run a whole 10 hour shoot day opposite these mirrorlesses and DSLRs.
It brings me about five or so to be able to stand the same amount so with that say you don’t have to bring a beam mount to mount.
it onto the evil one those two batteries do the job and it allows me to just work throughout the whole day.
So the specs of this camera are pretty amazing 14 stops of the dynamic range 5.7 K super 35 sensors, dual native ISO onboard scratch, audio onboard shotgun mic dual-powered XLR inputs onboard, ND filters dual high-speed SD card slots STI.
As well as HDMI long battery life, lightweight ergonomic design, EF lens mount, and onboard 10-bit recording, high frame rates timecode, and electronic image stabilization.
You get it that’s a lot it really is so what does the camera do well it’s fairly light and compact packing a lot of power into a somewhat organ ama crack age.
So the image out of the camera is quite nice it feels very much like a GH 5s or one of the very cam models.
It has a little more dynamic range than GH 5 and it shoots full v-log instead of the v-log light.
This really comes out in the highlights where the GH 5 would clip everything over 82 Ayari the AV A1 doesn’t do it at all.
the image out of the camera is quite nice it feels like a GH 5s or one of the very cam models it has a little more dynamic range than GH 5 and it shoots full v-log instead of the v-log.
at native 800 ISO, it produces a very nice image when you have plenty of light at native ISO 2500 it produces an extremely clean image in much lower lighting scenarios.
the camera is a super 35 sensor camera that’s in a small lightweight form factor it’s become sort of the sweet spot in the industry for a type of camera that has a certain level of performance.
so a super 35 sensor gives you a shallow depth of field look and you help separate images from the background.
it’s also very sensitive because of the size of the photosites on it and its very high resolution a large range of exposure a dynamic range so from very bright to very dark within the same shot with rich color and a very attractive image.
Panasonic AU EVA1 Sensor
AU EVA sensor is considerably larger than micro four-thirds and very much appreciated the resolution is 5.7 K downsample to 4K, therefore, it’s a super-sampled internal recording resulting in high resolving images with less noise and artifacts.
the EVA1 can also use the full 5.7 case sensor to shoot DCI 2k or Full HD in 10 bit 4 2 2 up to 60 frames per second at 200 megabits per second.
- the e AU EVA1 features a native EF lens mount which is a logical choice as enables shooters to use a broad EF lens family which encompasses many brands of lenses.
- Records 2K up to 240 fps
- Records 4K up to 60 fps
- Eve lens mount
- Dual native is
- Compact 5. 7K super 35mm cinema cam
- Canon CN-E 18-80mm
- T4.4 COMPACT SERVO Cinema Zoom Lens
- Soft Padded Carryng Case
- Deluxe 5 Piece Cleaning Kit
- Microfiber Cleaning Cloth
It’s comfortable shooting all the way up to 100 re now noise-wise the EVA one just does quite well.
the EVA1 has built-in ND filters providing exposure control in two four and six stops the IR cut filter can also be actuated electronically allowing for night vision and unique photographic effects outputs include one BNC locking connection that supports HD 3G and 6g SDI outputting a 10-bit or two to signal for both 4k up to 30 frames per second and Full HD up to 60 frames per second.
So built-in and is lovely offering an ND 2 in d4 and M in D 6 and it covers all the bases and it honestly had a pleasing look to them as well.
This camera is fairly light and compact packing fully featured it’s got everything you can imagine XLR inputs HDMI SDI outputs more flappy bits than there’s two four and six dot ND filter.
there’s a mix 2.8 K mode that let you shoot 2k or HD with no cropping in 10-bit 422 up to 120 frames per second if you really want to get high-speed there’s a mix to point to cave mode that crops the sensor down to a 4/3 inch size that you can shoot in 2k or HD an 8 bit for 200 up to 240 frames per second who as fast.
there’s also an HDMI output for 4k + HD up to 60 frames per second they both work at the same time even while the camera is recording this is great because you can send output to multiple monitors recorders at different resolutions.
so for instance you can send an HD signal with normal color in contrast to a director’s monitor while also sending a 4k signal and v-log and beat gamma to a recorder.
Panasonic AU-EVA1 shooting most of everything in UHD 10-bit V long I found that it produced the vises image overall you can shoot in both DCI 4k and Ultra HD 4k intended for 2 2 up to 30 frames per second neither log up 150 or all I 400.
there is no built-in viewfinder the 3.5 inch touchscreen monitor makes up for it it is incredibly sharp 1.1 million LCD providing critical built-in monitoring tools and scopes like peaking waveform zebras and spot meter.
There’s a built-in waveform monitor focus assist and punch an ability to nail focus.
so the one thing about this camera when it comes to the highlight roll-off it looks beautiful, soft, and harsh.
If I compare with GH5s I found the shooting options to be almost identical to the gh5s same bit rates codecs and color.
- EVA 1 features a native EF lens mount which is a logical choice as enables shooters to use a broad EF lens family which encompasses many brands.
EVA1 features a dual native ISO they carried it over from the Panasonic VariCam and VariCam light line and what it does is instead of boosting the signal at higher ISOs it gives you two native ones at 800 and 2500 by offering two signals out of the sensor so presumably when you shoot at 2500 with this camera, it is going to give you a cleaner signal.
so just like on the VariCam lineup Panasonic has given the Eva 1 a dual native ISO it’s basically the sweet spot in terms of ISO performance where the camera will capture the most dynamic range with the dual native ISO that either one has two of those sweet spots.
one at 801 at 2500 so what this means is that you’ve got those two ISOs just choose from while still keeping the max of the dynamic range of the camera.
it also gives you a slight edge when it comes to raising the ISO up higher because it’s starting from 2500 to raise up rather than starting from 800 as it would do.
if it had only 800 as its only native ISO because it’s starting at 2500 you get slightly less grain and more importantly more noticeably you get more dynamic range so do native ISO on the AU-EVA1 is a big plus.
as I mentioned the native ISO is 800 but if you switch to high sensitivity mode the native ISO becomes 2500 and at either 800 or 2500 ISO you can still use regular cam if you want all the way from two hundred and twenty-five thousand six hundred ISO.
I was using this camera in a variety of situations in the studio inside locations and outdoors and the camera did everything that I asked of it.
Because of its features I can count this camera as one of the best cinema cameras compared to others.
It ended up shooting most of everything in UHD 10-bit V long I found that it produced the vises image overall.
Now when I say the image has a very cam look to it well what I mean is it has kind of that grace.
In color science, it is very pleasing to the eye and able to be shaped in many ways that you might need to push the color.
I did say some but I found the shooting options to be almost identical to the GH 5s.
Same bit rates codecs and color depth as well it was very familiar to me and easy to expose and get the shot.
I would definitely say that Panasonic AU-EVA1 has a big upside when it comes to the look and quality that it produces.
Panasonic storms back into the cinema world with au eva1 5.7K a camera that allows you to shoot excellent videos in any lighting
no matter it’s day or night with a new 5.7 k resolution and the dual native iso 800 and 2500 this camera provides a higher resolving image and more accurate color.
even in low lighting places the Eva 1 contains v-log and v-gamut that delivers high dynamic range and broad colors, therefore.
you can enjoy accurate colors and rich skin tones in your cinematography using ef mount lenses you can get access to the broad ef lens ecosystem.
additionally, it features electronic image stabilization for reducing the camera shake and blurry packed with a 5900 milliamp-hour battery.
it provides you with one hour and 30 minutes of continuous operation so you can enjoy a long time after videography without worrying about battery backup.
- 5.7K sensor capable of producing smooth 4K images
- The 5.7K sensor resulted in higher resolution images with less noise
- Dual Native ISO technology built into this sensor
- Dual native ISO uses alternative circuitry within the sensor to increase sensitivity while maintaining a high signal-to-noise ratio
- The standard native ISO works in production situations
It’s hard to describe but once you see a Panasonic image you can always see it is very much like Sony and their sensors before the recent changes.
|Sensor type||Super 35 mm MOS sensor 5.7k|
|Sensor resolution||6340 x 3232|
|Lens Mount||Canon EF|
|Image stabilization||Electric Image Stabilization|
|Screen type||Tilting Touchscreen LCD|
|Screen Resolution||1,150,000 Dot|
|Shutter type||Electronic rolling shutter|
|Shutter speed||1.0 deg to 358 deg (0.5 deg step)|
1/24.1 sec to 1/8000 sec (23.98p)
|Video recording||4096 x 2160 (4K), 3840 x 2160 (UHD),|
2048 x 1080 (2K), 1920 x 1080 (FHD),
1280 x 720 (HD)
|Video compression||H.264/MPEG-4 AVC High Profile|
|Recording format||MOV: 48 kHz/24 bit, 2 CH, Linear PCM|
AVCHD: 48 kHz/16 bit, 2 CH, Dolby Audio
|Video format||4K DCI 24p, 25p, 30p, 50p, 60p|
4K UHD 24p, 25p, 30p, 50p, 60p
HD 1080 24p, 25p, 30p, 50i, 50p, 60i, 60p
|Video resolution||SDI RAW 5.7K 24p, 25p, 30p|
SDI RAW 4K DCI 24p, 25p, 30p, 50p, 60p
SDI RAW 2K DCI 24p, 25p, 30p, 50p, 60p, 100p, 120p, 200p, 240p
SDI video 4K DCI 24p, 25p, 30p
SDI video 4K UHD 24p, 25p, 30p
SDI video HD 1080 24p, SF24p, 25p, SF25p, 30p, SF30p, 50i, 50p, 60i, 60p
SDI video HD 720 50p, 60p
|Video Bit Rate||10 Bit 4:2:2 up to 400 Mbps|
|Focal length multiplier||1.5x|
|ND Filter||2/4/6/ stops|
|Connectivity||USB 2.0 (HOST) Type-A, 4-pin for Wireless Module (AJ-WM50)|
|Storage type||SDHC memory card (4 GB to 32 GB)|
SDXC memory card (32 GB to 128 GB)
|Log Gamma||V Log eV-Look Gamma (2 types)|
Hybrid Log Gamma (HLG)
|Storage temperature||-20 °C to 60 °C (-4°F to 140°F)|
|Operating Humidity||10 to 85%|
|Operating temperature||0 °C to 40 °C (32°F to 104°F)|
|Shutter angle||1 to 358|
|Storage||SD memory card slot x 2|
|Dynamic range||14 stop|
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