I am considering going from my s5iix to the eva 1 as it is very similar but bigger body, more audio options, s35 sensor and still supports BRAW with my Video Assist 5 12g
I would actually stick with the S5 IIX over the EVA. The EVA is nearly 7 years old and while its image is wonderful, the ergonomic benefits of the S5iix outweigh what the EVA can deliver in 2024. The audio options for the s5 iix can be expanded using the DMW XLR module for Panasonic mirrorless cameras which brings the audio in line with (and surpasses the eva in noise floor) While it sounds like I’m doing the EVA a disservice, I’ve thoroughly loved using it but as of September 2023, I retired it from my kit. It’s a video I need to make for the channel explaining why.
Sadly after having a chat with the guys from Panasonic’s Pro video division and LUMIX at the Media Show in London this year, the EVA 2 is not on the cards for them. But, LUMIX are doing another product release on the 5th of June, so there’s still hope 🙂
As an Eva1 shooter I enjoyed listening to your thoughts on the camera and could relate to a lot of what you said! Eva does produce a beautiful image when you pair it with quality lenses. I love the image the canon 70-200mm f2.8 IS ii produces on this camera 👌🔥
Its probably my most un-used lens on the EVA 1 and yet it is simply gorgeous. I've got two shoots coming up where that lens will be used extensively on the EVA though. Glad you liked the video :-)
Nice video James. So are you still rocking EVA in 2022? I am currently at the same boat with GH5, looking around where to upgrade for documetaries and short narrative commercials. We work a lot with rented Sonies these days (as many producers request them, and also as everyone around jumpship there), did also some shoots with Blackmagics, but I sort of like to look at the EVA colors, yet still after 4 years. But actually I think it`s not quite wise to invest in 4-year old system for another 3-4 years and especially, as it seems like Panasonic cinema line is getting abandoned (what a pity). We shot on FX6 + FX3 few things, but I am not a fan of Sony cameras, also FX6 rigger is becoming a bit big, and FX3 does not have ND. So it seems like I might be leaning towards C70, as it seems like Canon is lifting up the game, especially with internal raw update. I would be curious to hear your thoughts as a long time owner of Canon and Panasonic. Thanks and keep up great work.
Hey there! In 2022, I am indeed still rocking the EVA although I've now added an S5 into my kit bag and they pair very well with one another. The S5 I would say is now my primary b roll camera but that is because its on the gimbal 95% of the time (and most clients want the gimbal shots). I'm in a very similar boat. Most of my work comes from agencies and they'll either specify a camera system or are happy with what I use. I've not had a lot of time with the FX6/FX9/FX3 sadly. I used an FS7/FS5 for years with one production company and there were always caveats. Biggest one I see with the FX6 for me is their LongGOP codecs are all 8 bit (from memory) and as my work doesn't require ALl-I, it's a big storage jump. I'm also heavily invested in canon ef glass, so it would be a big change over. The C70 looks like a good cross over and honestly the only thing the EVA doesn't offer that the C70 does is autofoucs. The lack of SDI, multiple mounting points and a single tripod hole are big drawbacks for me. I would love for Panasonic to go ahead with the EVA 2 but I'm not holding my breath for it, especially with the lack of available chips and the sensors all coming from Sony, so they'll never surrender their phase detect AF.
Sony are chugging out cameras so fast, I think we are on one a week (or at least it feels that way!) I cant say anything about the FX9/FX6 other than what I've seen from other operators local to me and their footage from those cameras looks really pleasing to the eye but I can't fault the EVA and its colours, they are just sublime.
@@Jeronnimooo I can't disagree with that statement. I know a couple of Panasonic EVA owners who have jumped back to Sony simply because Sony is the more recognised brand (especially in broadcast over here in the UK). For my work in corporate though, I'm still really happy with the image of the EVA and it doesn't compromise (except on the LCD screen). I finally cracked and got the zacuto evf for it.
@@jw_film oeh, because it’s ‘the more recognized’ brand? As in, audiences relate more to SONY image than to Panasonic? Strange, because the EVA1 feels like Varicam, and we all know Varicam because of the movies we’ve seen.
Cheers Richard! I wanted to make a video on this but wanted to put much more detail in than I had on my previous videos, which feel quite surface level. I know one area I didn't touch on was auto focus with these cameras but honestly you have to just think that it isn't there because it is borderline useless! Glad you liked the video. I'll try not to leave it so long between postings next time 😉.
Hi Harry. Yes it can using the h265 compression. Its a 10 bit 4:2:0. For my edit station, the h265 is an absolute nightmare so I either transcode or create proxies to work with. Its one of the reasons I use the Ninja V so much because I can create those ProRes files as I'm going without the need to transcode and the h265 acts as a backup. It's not something I picked up on when doing this video but something I have since worked into my workflow after ditching h264 :-)
@@JunyNoLimit I very rarely use the internal recordings and record directly to the Ninja V and use the ProRes 422/LT files. That being said, I have become more and more aware of a banding issue inside of Premiere when using V log in ProRes as the correct metadata doesn't get encoded so Premiere reads it like a Rec709 file. I think I have got to the bottom of the issue when it comes to it and it involves preview files and colour management, whether you shoot in HD or 4K (a lot of my work is still HD recordings). Its another one of the videos I've got planned to make. Have you had trouble with the h264 files?
@@JunyNoLimit Honestly its not something I've really tested out. I used to stay away from it on the C300 and C100 because it turned the image into a pulpy mess. When I do use noise reduction, its in Neat Video.
I am deciding to purchase either Panasonic AU EVA1 or S5XII Is the video image quality and features better on S5IIX than Panasonic AU EVA1 please advise ? What is the pros on the S5XII? What is the pros of EVA1? Which has the best sensor / cinematic look? Which camera is more pro? Thank you,
Hands down the better camera now is the S5IIX. All of the features except having internal ND and am SDI port. However, the S5IIX has more features, better low light performance, a larger sensor and autofocus that works. If you already have EF glass and get the MC-21 adapter, you'll get full autofocus performance with Sigma EF and Canon EF glass (Tamron EF I'm not sure on). To have the same audio features, get the DMW XLR1 module and then you have 2 xlr ports same as the EVA. I'm going to be trading my EVA in for and S5IIX when they launch here in the UK.
@gurugamer8632 A question I hope to answer myself! Personally I own an FX3 but I got it before the S5 II and S5 II X were announced. I think it depends what system you are coming from and your budget. The A7S III is nearly 3 years old, isn't receiving any further firmware updates where the S5 II X, while I'm guessing isn't as clean at 12,800 ISO is going to be more than a match for any situation it comes up against. Are you coming from Canon, Sony or another Panasonic body?
Thanks Barry! First time I didn't use a shotgun mic and just used the lav mic for the pieces to camera. Some fairly heavy EQ on the pieces to camera but they've come out well I think. Glad you enjoyed it. I've been watching your recent Nikon videos and the urge to jump to it for stills is very real!
A very well made review! I also like the sound from oktava. If I became a full time producer I would consider the Eva 1. Now I use Fujifilm x H1 and external recorder for sound but need a second camera. I am consider the canon c100 but are concern if it's hard to match colour. Regards from Peter in Sweden
Hi Peter, the EVA and C100 are two very different cameras and as much as I loved my C100, its definitely had its day and no longer comes out on shoots with me. For me having two cameras of the same brand gets you closer to the mark in terms of colour matching, there are definitely differences between the EVA and the GH5S but I know how to iron them out in the edit. What sort of work are you doing at the moment that needs a second camera to your xH1?
@@jw_film I do corporate and documentary and need a second camera for a second angel of view. Need also a camera with no 30 min time limit. I do have a Nikon d610 but the video quality is not that good.
Do you think the EVA 1 is still a good camera worth getting in 2024? I want to upgrade from my Panasonic Camcorder. I really like the picture of the S1H and EVA 1, a bit more of the eva 1 but i don't know if its worth getting in the beginning? I could get a GH5s for 1000€ with sigma 18-35, ND filter, gimbal. S1H body only is 1500€ and eva would be around 2000€ without a lens
A lot has changed in terms of my own work since I made this video about the EVA, and despite my best efforts to make a follow up, I can’t seem to put “pen to paper”. The EVA’s image quality is still fantastic but the biggest hurdle I found here in the UK is that producer’s just haven’t heard of it, which did impact the amount of work I was able to take on and in the end I ended hiring an FS7 and C300 more and more for commercial jobs. My own work has now moved into more PR and away from the traditional corporate work and for that I lean almost exclusively on the Sony FX3 now (which I got before Panasonic announced their new S5 II lineup). The EVA has definitely had its time and is no longer supported by Panasonic, so if you are looking to purchase and want to stay with Panasonic then the S5 II is going to be the way to go (the sigma EF to L adapter is great with EF lenses) or if you’re not brand committed then go for the Sony FX30 (used the Sigma 18-35 on it a few times with the Sigma EF to E adapter and again the autofocus just works like a native lens).
@@jw_film thanks for the answer. To me it’s a bit crazy that producer decide to hire people depending on their gear 😅 I mean the Varicam colours, for me, are so beautiful. It’s sad to hear that Panasonic kinda abandoned Their cinema cameras, I just like the form factor a bit more, but the price for these cinema camcorders are out of my budget. I guess you get used to the DSLM form factor. I‘m not really brand committed. To me Panasonic always had the most video functions out of All the other brands, that’s why I only looked for Panasonic, but yeah maybe I should also take a look at the FX30 or maybe canon. Thank you for your answer, it helped me :-)
@@Jake_203 No worries at all. It’s down to what’s in production houses here that dictates operators and their camera packages and Sony pretty much have the market cornered here in the UK. Most of the scenarios would be multi cam shoots with FX9/FS7 and throwing the EVA into the mix just wasn’t what they were after. I think the EVA wasn’t a big seller (despite the fact that I thought he competed with the FS7 and then some). We might get an EVA 2 but I highly doubt it. Hope to be proven wrong 😁
@@jw_film ah okay, I understand ^^ I hope too, but we‘ll see :D i don‘t know what Panasonic will release this year, so I’m always struggling to decide if I should buy a camera now or just wait for what they will release, maybe a S1h ii? But I think I’ll buy the s5 ii or s5 ii x, only problem I read is, that they have noticeable moire, so some traded their S5 ii for the S1H because of that
Hi, I want to know whether you would recommend an Eva 1 for unboxing video for UA-cam. The reason why I am asking is because there will be a lot of movement and since there is no auto focus, how do you think it will hold up. Can you maybe make a video about bringing items in frame and see how it reacts
Hey there. The EVA really isn't designed for those types videos unless someone is operating the camera. The EVA doesn't have a continuous autofocus system, only a one touch autofoucs that is contrast based and frankly isn't any good (I'm not a big autofocus user so this wasn't an issue for me when getting the EVA). As a straight on camera which you don't move things in front of the lens, the EVA is amazing. If you wanted to use it as a top down camera, with a light enough lens you could use it but again, not bring anything right up to the lens. For a top down, I don't normally shoot anything under f6.3 as I've not need the depth of field on a top down. I do have a Sony ZV1 which is perfect for those types of videos where you bring objects directly in front of the camera and then back out again. I've got a few ideas on what to do for a video for that, so I'll add in about using it as a product review camera.
Hello how are you? James, we are migrating from Sony FS7 to Panasonic EVA. I am responsible for the photography of the programs of a TV channel here in Brazil. So, I would like to know from you, what would be our biggest challenge working with this camera? For photography, of course.
Hi John, good to hear from you. What types of programmes does the channel run and what's your biggest reason from going from the fs7 to the eva? Do you do lots of studio work, or out in the field programmes? Sorry for the barage of questions back - should give me an idea of what you'll be looking to know about the EVA :-)
@@jw_film We are migrating to reduce costs with the leasing of the 3 Fs7. Through the channel it was better to buy the EVA's, financially speaking. I think the FS7 are amazing, they are tanks and the image is super acceptable, but we will do this migration. The programs we do are in locations, kitchens and restaurants because it's a food channel, we don't have a studio! We have a very dry electricity park, but it has done the job. 2 Apurture 300D and 2 Forza Nanlite, plus tripods, flags and filters. Here are some links to the programs: ua-cam.com/video/ZJHI0YwVhqA/v-deo.html ua-cam.com/video/ckWwpFHnNs4/v-deo.html ua-cam.com/video/Tjuz3-_5QCw/v-deo.html
@@johnc.m.7138 First off, love the look of the videos. I used to use the FS7 quite a bit as a rental myself and it is good image. I'm really glad you said you do food video production as that is the majority of my work, filming on kitchens and on location in restaurants. That's been most of my work over the last year and the EVA has been with me on every one of those shoots (I need to step up game as a graphic designer though as again, yours are fantastic!). Ergonomically the EVA handles very like the FS7 (minus the menus you can get lost in). It's very customisable in how you want to shoot with it (it doesn't limit functions or buttons if you shoot without the handgrip). The LCD is awful. Either get the Zacuto viewfinder for it or get a gratical eye. The LCD is a control unit. I think I got the viewfinder about a week after making this video and haven't looked back. I shoot mostly in the 150mbps codec internally as I've normally got an Atomos Ninja V going with ProRes 422. I love that I don't have to sacrifice my SDI port if I don't have to for a zacuto. I use the HDMI port more as that can do 4K 50fps out whereas the SDI is limited to 4K 30fps (unless you shoot in ProRes RAW). The handgrip is quite weak. Mine's been back to Panasonoc once for repair but my repair centre is an hour away so not a big deal and they are fantastic at customer service and repairs if anything does go wrong. My biggest gripe with the EVA has to be audio. It's a good preamp, can do both consumer line level and proper line level (something for some reason Canon didn't put in until the C300 MK II). Headphone amp is a little weak but gets the job done. The weak spot is that all the audio controls, except for volume are in the menus and that can be an absolute bugger for anyone who doesn't know the camera or you need to send phantom power to a mic quickly. It's caught me out a few times unfortunately! Low light performance isn't bad but it's nothing to write home about. 3200 ISO and you know Neat Video is needed. 5000 it's dancing but recoverable. 12,800 - forget it, it's a mess. Another thing to watch out for is when switching from 50fps 10 Bit 420 back to 25fps, it defaults the codec down to 8 bit 420 (again, caught me out more than once!) so just watch out for that. Honestly though it feels and handles the same way as an FS7 so I think you'll be good with it.
Great video and seems like a fantastic and considered set up you have designed :) I just wanted to sat, YES! 4K is not the standard delivery expectation, despite UA-camrs desire to push for that. Fhd is still the norm, sometimes even 720p. Also in the corporate video world, saving storage space is very important. Shooting 4K is helpful for interviews for a quick emergency 3rd camera when you need. Not other than that fhd completely suffices
Hi Jock, glad you liked the video :-) Since making this video, my own work has moved to a full 4K workflow but the deliverables are so much more varied now with how popular Instagram, Tik Tok etc have become. I rarely find myself shooting in HD anymore
@@jw_film that’s great to hear, how do you manage your storage? We tend to shoot everything that’s being shot at 25fps in 4K and anything that’s 50fps in 1080, which is often how we shoot our broll, and then almost always deliver in 1080p I will definitely say when it comes to these varied formats, from 1:1, 9:16 or 4:5 for social medias, shooting 4K is much much easier to work with. Not gonna lie I still find verticals format very difficult to work with if the content they want to present isn’t shot for vertical specifically, if your cropping a horizontal video you lose sooo much of the composition it rarely ever looks good. If you’re composing for vertical specifically then it’s alright. As a photographer I prefer vertical compositions so I can compose vert shots, just kills me to crop an image for vertical editing delivery. Back to the point though! We do find my clients don’t care for 4K so we often only ever deliver in 1080p
Managing storage is a constant battle. It's one I haven't quite properly figured out (and I don't think I ever will). I've taken to filming more b roll in 4k 50fps HEVC. What I'm finding is like you, those social media formats are a nightmare with just 1080 (at least for the majority of my work). For a lot social media based shoots, I'm either on the GH5S or the S5 now, again because it's just easier for vertical filming.
Hi James, thanks for the very informative video. Would the Eva1 be usable if I ditched the provided LCD and just use my own monitor? Or is the touch screen essential for menu navigation?
I think you can certainly live without the LCD panel, you'll just need to re-route the LCD display options to either the HDMI or SDI port (they'll just be burned into the image if you use a Shogun 7 or Ninja V recorder though). If you run it out to an EVF like a Zacuto gratical, you'll have no problems but I'm not sure the home screen options pass through to the HDMI/SDI, just not something I've ever tried to do. The only time I really use the LCD is to quickly change between the two native ISO's if I haven't got the ISO locked on "Native" only and even then I don't use the touchscreen function.
I've rented the FS7 quite a bit over the last 5 years for jobs and the camera always fought me. That's not to say its not a good camera, because it is (and became much better when combined with a speedbooster and ef glass). I've not regretted the EVA since I got it because of its codecs and slow motion capabilities although the FS7 was a definite draw. Now in 2021, if I was buying again, I would probably have gone down the FX6 route.
I have used the Eva for about 3 years now. It is garbage. The plastic is ridiculous. It just feels cheap and it is cheap. The View finder is an absolute joke. And it is $150 to replace. Better buy several. It has nice enough picture. But it is like a cheap knock off and feels that way. Save up your money and get something worth the cash. Total field use here. Panasonic used to make nice monitors, maybe they still do. But their cameras are garbage. I will be honest, I didn't watch the video. But I can say first hand try using it in a real world situation, and this thing fails...miserably...and often. My work forces me to use Panasonic, they do a serious kick back thing. It is crap. 35 years shooting television and documentaries. Bring it on.
Hi Tom, I'm sorry you've had a bad experience with the EVA. I've had mine for over a year now and used it pretty much every day for corporate work and it never skips a beat. Promotional videos, case studies, mini-documentaries, it is fantastic for all of what I do. In the video, I look at the shortcoming of the camera (it's definitely not perfect!) Could the LCD screen be better? Absolutely - the thing is a mirror and but with a Zacuto viewfinder, it's pretty usable but and my main monitor is the Ninja V. The handgrip has gone once on it but from a customer service and repairs point of view, I told Panasonic about it, shipped it off and less than 48 hours later the camera was back in my hands again - I've yet to have such good service from either Canon or Sony. Since I got the EVA I attached a top plate to it and a nato rail on the handle because I know they are first things to go (or at least they were always going on the FS5 and as they share so much of the same design physically, I made sure I wouldn't fall into that - I've seen and heard a few horror stories of the handles ripping off the FS5 and witnessed an LCD hinge collapse). Before I had the EVA I used to shoot regularly with the FS7, FS5 and C300 (I owned a C100 but the companies I used to work for would have those cameras in their kit rooms) and in terms of the image quality, the EVA for me just blows them out of the water. The codecs and frames for the EVA at the time of when it was released were so much better which is why I went for it. Now the FX6, C70 and FX3 are all on the market, I probably would have leaned towards the FX6. If money was no object, then without a doubt I would have got the C300 MKIII. Saying that though, when it comes to looking back at the work I've produced over the last year, I'm always really happy with the image quality that comes out of the EVA. The worst breakage for me so far has been the handgrip lock - I wasn't expecting it to break within a year. What has your worst one been with the EVA?
@@jw_film Hi and thanks for the reply. First let me say the picture quality is very nice. We have some nice lenses and I am happy with the picture. My main problem is the fit and feel. We have 3 EVAs. I think I was just upset because the viewfinder attachment point broke off right at the begining of a shoot. We had to rig it up to work, but it was out in the field and it was very hot outside. We do have the Zacuto viewfinders and they are nice. I use a Shogun as my main monitor/viewfinder. There are lots of things to like about the camera, but also lots to not like. I guess it just depends on what you use it for. For my uses I wish it had a little more power and power out so I can power mics and a light. So please take my comment with a grain of salt. :) I was a little upset because it just broke and it was in front of a client. But I do believe they could use a better plastic for some critical parts. Thanks for response and I will update you if I find a solution to the viewfinder. Right now the solution is epoxy. :) Take care.
@@tommorrison8424 Hi Tom, epoxy and gaffer tape is always a good solution - I've had to tape up a C300 LCD before after a rather large labrador charged into my tripod (now that was a fun day!) I'm absolutely on board with it needing more power. I'm not a massive fan of sticking v mounts on so I've stuck with the Panasonic/Swit batteries and they give a decent amount of time but the moment I plug in anything else, I get the fear of "well that battery's life just halved". Smallrig do a good LCD mount replacement. It's the same one as the FS5. Much better than the one the EVA ships with.
I love my gh5s I have had it since it came out. I shoot vlog and leave the ISO on auto. This allows me to choose my aperture and the results are great. I just got an Eva 1 yesterday. I could use advice on ISO For indoor interviews under LED lights. Thanks for the great video
Auto ISO is the one thing I miss from the GH5S to the EVA - very handy on the gimbal! When shooting in V Log on the EVA, 95% of the time when I'm lighting it, I've got the EVA at 800 ISO. On that lower circuit, I wouldn't generally push it above 1250. If I need to go higher than 1600, I'll switch it into its 2nd native ISO of 2500 and then adjust down and that has yielded cleaner results for me. I do find myself working using the 2500 circuit more for indoor work in factories and office spaces (when is not a lit interview).
@@jw_film I have read there was a firmware update (2.5 ?) for EVA1 with smooth noise reduction inside camera. Did you used that for this test against the GH5S? I have the GH5s. thank you for your detailed video!
@@BONLEV Hi there Tom. When I got the EVA I updated it to the latest firmware at the time, 3 something I think. I didn't use the noise reduction feature inside the EVA in this test, although in hindsight I should have. At the time I didn't realise that the GH5S achieves its low light capabilities through its own internal noise reduction. After 5000 ISO, I find the GH5S to be pretty unusable because of this. After nearly 2 years of use with the EVA, I generally just go between the two Native ISO's of 800 and 2500 when filming in V Log and I'll light each scenario to accomodate.
How can I match Panasonic AU-EVA1 to my B roll camera Sony A7S III. I do like S Cinetone on Sony and like Scene 2 on EVA1. What is the best method to make the cameras match up? Should I shoot in VLOG and SLOG3? I have no idea 😬
Hi Gurmeet, I used to use an X Rite Colour Checker and line up the colour chart chips to get them in the ballpark and then match to taste. I now use Cinematch by FilmConvert to do the heavy lifting on this part, where it takes the colour information and tells Premiere Pro that it should interpret a shot filmed on the EVA 1, as a Sony A7S III shot for example. As a plugin, it only works with Log and HLG footage (V log and Slog 2,3 etc) and it works really well. I've been using it with both my GH5s and EVA to get them to match up closer than I used to be able to get them to. I've used it to match a C300 MK2, and EVA and my GH5s together recently and it worked great, so I would recommend you try out Cinematch.
Great review James. This camera is around 3 years old now... still very good I'm sure but camera tech (even Panasonic's AF has advanced alot). I'm currently researching for a camera upgrade -- I'm GH4 & 5. Do you have any idea what a good quality used EVA 1 might go for in US dollars? Thanks.
The GH5 is still a very good camera. I've got a GH5S and it's image is fantastic. In the UK, a used EVA goes for about £3,000-£4000. The EVA is a lot more capable now, even since I did this review. I now a lot of ProRes RAW with it using the Ninja V and the SDI module. What other cameras are you looking at?
@@jw_film Debating on whether it's worth it to go to upgrade to an entry level "cinema" cam like EVA ... love the image quality, XLR inputs, ND filters, etc. etc. I also happen to think that a BIGGER camera set-up equates to more serious shooter by many clients. And that they'll pay more too. What's your experience? Other options include staying in small format like GH5+ whatever it is or wait on the GH6. Or something in the Sony line-up. I still have a soft spot though for Panasonic.
@@reddogvideo6524 I think it all depends on the type of work you do. I shoot a lot of long form content which the EVA handles without breaking a sweat. The XLR's are a bit hot, I know with any Rode wireless systems I have to turn the output gain on the mic system right down. In the video I talked about the LCD screen and how poor it is. Well, not long after I made this video, I bought a Zacuto viewfinder for it and I haven't looked back. What type of video work do you do?
@@jw_film My focus is on small to medium businesses mostly doing "about us" videos for web pages and social media. Nothing long form & strictly online. I would like to build on that and I'm coming to the conclusion that I need better quality images to stand out more. I actually don't do enough shooting; I've got many hats to wear like so many other independents. I'm still on the fence about the EVA 1. Recently I've been impressed by the Sony FX3. I wish I could really chat at length with someone like yourself - experienced corporate shooter -- to talk pros & cons of investing in a 4-year old entry level cinema cam (where's the EVA 2 already? vs something like the FX3 which is full-frame and has 4K, 120. low-light beast, etc. Also, if Philip Booth is sold on the incredible benefits of reliable autofocus, I am too. As a Panasonic user, just having that confidence in AF could be a game changer. What are your thoughts?
@@reddogvideo6524 I've been shooting corporate videos now for nearly 7 years. I was a C300/C100 shooter and the EVA/GH5S were a natural progression and when I got the EVA last year, I couldn't afford the C300 Mk iii or the FX9. If I had the cash again to get a new system, would I pick the EVA and GH5S? No I wouldn't. The pandemic put a lot of my work, which involved working for other video production companies who would have their own kit that they would loan me for the shoot. When the pandemic hit, that stopped and I needed a system to fill the void, which is where the EVA came in. Had I waited just 3 more months, then I would have sold all of my EF lenses, C100 and GH5S and gone all in on the Sony FX6 and A7S III. While I am always thrilled with the image from the EVA (and I love the colour science of Panasonic) all of my peers and colleagues here in the UK jumped ship and went to Sony. The EVA 2 isn't coming and if it does, it will still have the same contrast based AF system that Panasonic always have (the sensors are made by Sony and they aren't going to give Panasonic the keys to their Hybrid AF). So here I am, saying that actually Sony for corporate work is in 2021, the way to go.
In 2023, I have to say no but it’s nothing to do with image quality. The EVA has a great image. What let’s it down is that (certainly for me) the whole industry has gone to Sony and I’ve lost a lot of work over just having to try to explain to producers what the EVA is. They expect an FX6 or FX9, or C300 III/C70. It’s a shame but that sadly is how the industry is for corporate video work here in the UK and the dominance of Sony.
@@ggdfggdfgdffgfddg34 The monitor connector is a proprietary connector joined to the monitor itself, much like the Sony FS5/FX6, so if you want to replace the cable, you’ll sadly need to replace the monitor. If you’ve got a cable problem, it’s worth reaching out to your local Panasonic Pro repair centre and see what can be done.
@@jw_film haw match pin connector. have? I think essentially this cable is a cable for connecting monitors in laptops. I think there is an adapter from pins to usb c to directly connect a bright touch screen. or just change the LCD panel to OLED. I think if you find a good master it can be done
@@jw_film thx for the quick reply. are you using the bottom arca/plate to connect the bottom portion of the strap under the cage or going directly to the cage (customized)?
Really liked your take on both cameras. I love the image out of the EVA1 camera, it's got very natural colours, really fine detail in 4k and beautiful tonality. Highlight rolloff is superb and there's a denseness to the image that make it cinematic. I was wondering whether the Lumix BGH1 would be an ideal second camera for you if it was available when you bought the GH5s? it's basically the same image sensor except an extra stop of dynamic range; also it has a box style form factor without an EVF or monitor included but has the convenience of SDI port. Thanks again.
I got the GH5S back in August 2019 but undoubtedly, if the BGH1 was around then I would have looked very seriously at that. As it stands, I do think the S1H would also be a great fit with the EVA. What cameras do you shoot with?
I shoot in the Cine V profile a lot, both on the EVA and GH5S. Much easier to work with and gives a better "moderately baked in" look which still has plenty of room to manipulate if needed. What was the feature film about you got the EVA for?
@@jw_film the feature is a mystery love story with some ghostly elements, it's micro budget and we are yet to cast, I'm thinking of shooting it in black and white, although I've ben told to shoot in V Log and post accordingly, which is probably what I'll do. I was looking at the BGH1 as a specific gimbal camera to partner with the EVA1.
@@eyeballbilly I love ghost stories! I would agree to shooting in V Log and then do a post conversion. FilmConvert have some really authentic black and white film stocks as part of their plugin, I used one to replicate a shot with an old steam train supposed to be from the early 1900's and it worked wonderfully. The BGH1 looks like a good gimbal cam but what I do like about the GH5S is that it does have a little screen on the back and the white balancing feature is much easier to do on the gh5s than the EVA (its a small box like the gh5) rather than fill the whole frame and actually thats been invaluable when running around like a headless chicken to try and get the shots. Where are you going to film your feature?
That’s a tough one to dive into, but here goes! I have a Sony FX3 and frequently mix the cameras on productions (usually the EVA as the talking head and then the FX3 as the b cam/b roll/sequence camera and then I match them in the edit using Cinematch). The EVA is a long form workhorse and I’m regularly using the SDI and HDMI sources at the same time (one for a ninja, one for a wireless video transmission - not to say the same can’t be done with the fx3, you have to loop it out through the ninja). The FX3 however is far more flexible for my work now in 2023 than the EVA. The image between them is very comparable but you do see the difference in noise between the two sensors but both have robust enough internal codecs to cope with the matching process. Here in 2023, the EVA has had its time and I much prefer using the FX3. I pretty much have a 1-5 stop variable ND on the FX3 all the time and that pretty much puts it neck and neck with the FX6 (I shoot a lot of corporate and the lack of a 10 bit LongGOP codec in the FX6 is what puts me off it). Better than the A7S III? Yes and No. The A7S III is a photo first camera to me and doesn’t have the ergonomics I rely on. Better than the FX3? Absolutely not. Been a bit bogged down with client work as of late but this is a comparison video I’ve got planned and want to bring out before September.
![[UA] NAVI проти G2 Esports | Blast Premier Fall Final](http://i.ytimg.com/vi/QWlIm4FGESQ/mqdefault.jpg)
I am considering going from my s5iix to the eva 1 as it is very similar but bigger body, more audio options, s35 sensor and still supports BRAW with my Video Assist 5 12g
I would actually stick with the S5 IIX over the EVA. The EVA is nearly 7 years old and while its image is wonderful, the ergonomic benefits of the S5iix outweigh what the EVA can deliver in 2024.
The audio options for the s5 iix can be expanded using the DMW XLR module for Panasonic mirrorless cameras which brings the audio in line with (and surpasses the eva in noise floor)
While it sounds like I’m doing the EVA a disservice, I’ve thoroughly loved using it but as of September 2023, I retired it from my kit. It’s a video I need to make for the channel explaining why.
I love my EVA1
Use it for all my work, live sports, documentary and Corprate work, it's a very versatile camera.
The EVA is still a great camera and produces a great image. Sadly here in the UK, the whole market for what I do is Sony now, so I’ve had to move over
EVA-2 please 8K at 60p 10 bit 4:2:2. RAW and Apple Pro Res.
Sadly after having a chat with the guys from Panasonic’s Pro video division and LUMIX at the Media Show in London this year, the EVA 2 is not on the cards for them.
But, LUMIX are doing another product release on the 5th of June, so there’s still hope 🙂
That would have been a amazing they need to fix their rolling shutter issues no camera no camera should have it with in the last 5 years
As an Eva1 shooter I enjoyed listening to your thoughts on the camera and could relate to a lot of what you said! Eva does produce a beautiful image when you pair it with quality lenses. I love the image the canon 70-200mm f2.8 IS ii produces on this camera 👌🔥
Its probably my most un-used lens on the EVA 1 and yet it is simply gorgeous. I've got two shoots coming up where that lens will be used extensively on the EVA though.
Glad you liked the video :-)
This camera is long overdue for a refresh. We need an Full frame L mount version with the GH6 specs for $6500.
I am very curious to see what Panasonic do with the GH6 and I'm going to try and watch the launch live if I can.
Can you do comparison of image quality of GH7 and Sigma 18-35 f1.4 vs EVA1 and Sigma 18-35mm f1.4 with metabones adapter
Great Review
Thank you! 🙂
Nice video James. So are you still rocking EVA in 2022? I am currently at the same boat with GH5, looking around where to upgrade for documetaries and short narrative commercials. We work a lot with rented Sonies these days (as many producers request them, and also as everyone around jumpship there), did also some shoots with Blackmagics, but I sort of like to look at the EVA colors, yet still after 4 years. But actually I think it`s not quite wise to invest in 4-year old system for another 3-4 years and especially, as it seems like Panasonic cinema line is getting abandoned (what a pity). We shot on FX6 + FX3 few things, but I am not a fan of Sony cameras, also FX6 rigger is becoming a bit big, and FX3 does not have ND. So it seems like I might be leaning towards C70, as it seems like Canon is lifting up the game, especially with internal raw update. I would be curious to hear your thoughts as a long time owner of Canon and Panasonic. Thanks and keep up great work.
Hey there! In 2022, I am indeed still rocking the EVA although I've now added an S5 into my kit bag and they pair very well with one another. The S5 I would say is now my primary b roll camera but that is because its on the gimbal 95% of the time (and most clients want the gimbal shots).
I'm in a very similar boat. Most of my work comes from agencies and they'll either specify a camera system or are happy with what I use.
I've not had a lot of time with the FX6/FX9/FX3 sadly. I used an FS7/FS5 for years with one production company and there were always caveats. Biggest one I see with the FX6 for me is their LongGOP codecs are all 8 bit (from memory) and as my work doesn't require ALl-I, it's a big storage jump. I'm also heavily invested in canon ef glass, so it would be a big change over.
The C70 looks like a good cross over and honestly the only thing the EVA doesn't offer that the C70 does is autofoucs. The lack of SDI, multiple mounting points and a single tripod hole are big drawbacks for me.
I would love for Panasonic to go ahead with the EVA 2 but I'm not holding my breath for it, especially with the lack of available chips and the sensors all coming from Sony, so they'll never surrender their phase detect AF.
YES, colour science of Panasonic EVA1 is so fucking good. Don’t understand why everyone is so into SONY.
Sony are chugging out cameras so fast, I think we are on one a week (or at least it feels that way!)
I cant say anything about the FX9/FX6 other than what I've seen from other operators local to me and their footage from those cameras looks really pleasing to the eye but I can't fault the EVA and its colours, they are just sublime.
@@jw_film yes! I’m from the Netherlands and they say here that ‘Panasonic was too late’ and that’s why everyone is going in the SONY tunnel.
@@Jeronnimooo I can't disagree with that statement. I know a couple of Panasonic EVA owners who have jumped back to Sony simply because Sony is the more recognised brand (especially in broadcast over here in the UK). For my work in corporate though, I'm still really happy with the image of the EVA and it doesn't compromise (except on the LCD screen). I finally cracked and got the zacuto evf for it.
@@jw_film oeh, because it’s ‘the more recognized’ brand? As in, audiences relate more to SONY image than to Panasonic? Strange, because the EVA1 feels like Varicam, and we all know Varicam because of the movies we’ve seen.
@@jw_film i just purchased one myself - after many rentals - and can’t wait to shoot longform with it, such as documentaries.
Great breakdown of the switch James.
Very interesting to watch even though it's beyond the scope of my videos needs.
Cheers Richard!
I wanted to make a video on this but wanted to put much more detail in than I had on my previous videos, which feel quite surface level.
I know one area I didn't touch on was auto focus with these cameras but honestly you have to just think that it isn't there because it is borderline useless!
Glad you liked the video. I'll try not to leave it so long between postings next time 😉.
The EVA can actually record 50fps at 10 bit with the firmware update.
Hi Harry. Yes it can using the h265 compression. Its a 10 bit 4:2:0. For my edit station, the h265 is an absolute nightmare so I either transcode or create proxies to work with. Its one of the reasons I use the Ninja V so much because I can create those ProRes files as I'm going without the need to transcode and the h265 acts as a backup.
It's not something I picked up on when doing this video but something I have since worked into my workflow after ditching h264 :-)
I’m a big Eva user. Great review.
Thanks Paul :-)
Please do more videos about the Eva1
I've got one planned for ProRes Raw and the EVA :-)
@@jw_film Have you ever had banding in the sky with h264, 4K 10 bit?
@@JunyNoLimit I very rarely use the internal recordings and record directly to the Ninja V and use the ProRes 422/LT files. That being said, I have become more and more aware of a banding issue inside of Premiere when using V log in ProRes as the correct metadata doesn't get encoded so Premiere reads it like a Rec709 file. I think I have got to the bottom of the issue when it comes to it and it involves preview files and colour management, whether you shoot in HD or 4K (a lot of my work is still HD recordings). Its another one of the videos I've got planned to make.
Have you had trouble with the h264 files?
@@jw_film yes using Premiere. Do you use noise reduction internally in 2500 iso? I want to know if it’s better to leve that off
@@JunyNoLimit Honestly its not something I've really tested out. I used to stay away from it on the C300 and C100 because it turned the image into a pulpy mess. When I do use noise reduction, its in Neat Video.
I am deciding to purchase either Panasonic AU EVA1 or S5XII
Is the video image quality and features better on S5IIX than Panasonic AU EVA1 please advise ?
What is the pros on the S5XII?
What is the pros of EVA1?
Which has the best sensor / cinematic look?
Which camera is more pro?
Thank you,
Hands down the better camera now is the S5IIX. All of the features except having internal ND and am SDI port.
However, the S5IIX has more features, better low light performance, a larger sensor and autofocus that works. If you already have EF glass and get the MC-21 adapter, you'll get full autofocus performance with Sigma EF and Canon EF glass (Tamron EF I'm not sure on).
To have the same audio features, get the DMW XLR1 module and then you have 2 xlr ports same as the EVA.
I'm going to be trading my EVA in for and S5IIX when they launch here in the UK.
@@jw_film Is the S5IIX more superior than Sony A7S III?
@gurugamer8632 A question I hope to answer myself!
Personally I own an FX3 but I got it before the S5 II and S5 II X were announced.
I think it depends what system you are coming from and your budget. The A7S III is nearly 3 years old, isn't receiving any further firmware updates where the S5 II X, while I'm guessing isn't as clean at 12,800 ISO is going to be more than a match for any situation it comes up against.
Are you coming from Canon, Sony or another Panasonic body?
@@jw_film the S5IIX is lot cheaper than A7SIII I really want to know if it will beat the A7SIII in image quality.
@@gurugamer8632 This guy is doing a direct comparison on his channel soon between the S5II and FX3: youtube.com/@GeekyNerdyTechy
Gracias 😊
Awesome video James!
Thanks Chris! It has been a while since I did a video like this and wanted to get the tone and structure set out for future videos.
Great video mate! Image and sound is just awesome.
Thanks Barry! First time I didn't use a shotgun mic and just used the lav mic for the pieces to camera. Some fairly heavy EQ on the pieces to camera but they've come out well I think.
Glad you enjoyed it. I've been watching your recent Nikon videos and the urge to jump to it for stills is very real!
A very well made review! I also like the sound from oktava. If I became a full time producer I would consider the Eva 1. Now I use Fujifilm x H1 and external recorder for sound but need a second camera. I am consider the canon c100 but are concern if it's hard to match colour. Regards from Peter in Sweden
Hi Peter, the EVA and C100 are two very different cameras and as much as I loved my C100, its definitely had its day and no longer comes out on shoots with me. For me having two cameras of the same brand gets you closer to the mark in terms of colour matching, there are definitely differences between the EVA and the GH5S but I know how to iron them out in the edit.
What sort of work are you doing at the moment that needs a second camera to your xH1?
@@jw_film I do corporate and documentary and need a second camera for a second angel of view. Need also a camera with no 30 min time limit. I do have a Nikon d610 but the video quality is not that good.
Do you think the EVA 1 is still a good camera worth getting in 2024? I want to upgrade from my Panasonic Camcorder. I really like the picture of the S1H and EVA 1, a bit more of the eva 1 but i don't know if its worth getting in the beginning? I could get a GH5s for 1000€ with sigma 18-35, ND filter, gimbal. S1H body only is 1500€ and eva would be around 2000€ without a lens
A lot has changed in terms of my own work since I made this video about the EVA, and despite my best efforts to make a follow up, I can’t seem to put “pen to paper”.
The EVA’s image quality is still fantastic but the biggest hurdle I found here in the UK is that producer’s just haven’t heard of it, which did impact the amount of work I was able to take on and in the end I ended hiring an FS7 and C300 more and more for commercial jobs.
My own work has now moved into more PR and away from the traditional corporate work and for that I lean almost exclusively on the Sony FX3 now (which I got before Panasonic announced their new S5 II lineup).
The EVA has definitely had its time and is no longer supported by Panasonic, so if you are looking to purchase and want to stay with Panasonic then the S5 II is going to be the way to go (the sigma EF to L adapter is great with EF lenses) or if you’re not brand committed then go for the Sony FX30 (used the Sigma 18-35 on it a few times with the Sigma EF to E adapter and again the autofocus just works like a native lens).
@@jw_film thanks for the answer. To me it’s a bit crazy that producer decide to hire people depending on their gear 😅 I mean the Varicam colours, for me, are so beautiful.
It’s sad to hear that Panasonic kinda abandoned Their cinema cameras, I just like the form factor a bit more, but the price for these cinema camcorders are out of my budget. I guess you get used to the DSLM form factor.
I‘m not really brand committed. To me Panasonic always had the most video functions out of All the other brands, that’s why I only looked for Panasonic, but yeah maybe I should also take a look at the FX30 or maybe canon. Thank you for your answer, it helped me :-)
@@Jake_203 No worries at all.
It’s down to what’s in production houses here that dictates operators and their camera packages and Sony pretty much have the market cornered here in the UK. Most of the scenarios would be multi cam shoots with FX9/FS7 and throwing the EVA into the mix just wasn’t what they were after.
I think the EVA wasn’t a big seller (despite the fact that I thought he competed with the FS7 and then some).
We might get an EVA 2 but I highly doubt it. Hope to be proven wrong 😁
@@jw_film ah okay, I understand ^^
I hope too, but we‘ll see :D i don‘t know what Panasonic will release this year, so I’m always struggling to decide if I should buy a camera now or just wait for what they will release, maybe a S1h ii? But I think I’ll buy the s5 ii or s5 ii x, only problem I read is, that they have noticeable moire, so some traded their S5 ii for the S1H because of that
Hi,
I want to know whether you would recommend an Eva 1 for unboxing video for UA-cam. The reason why I am asking is because there will be a lot of movement and since there is no auto focus, how do you think it will hold up. Can you maybe make a video about bringing items in frame and see how it reacts
Hey there. The EVA really isn't designed for those types videos unless someone is operating the camera. The EVA doesn't have a continuous autofocus system, only a one touch autofoucs that is contrast based and frankly isn't any good (I'm not a big autofocus user so this wasn't an issue for me when getting the EVA).
As a straight on camera which you don't move things in front of the lens, the EVA is amazing. If you wanted to use it as a top down camera, with a light enough lens you could use it but again, not bring anything right up to the lens. For a top down, I don't normally shoot anything under f6.3 as I've not need the depth of field on a top down.
I do have a Sony ZV1 which is perfect for those types of videos where you bring objects directly in front of the camera and then back out again. I've got a few ideas on what to do for a video for that, so I'll add in about using it as a product review camera.
@@jw_film my friend you are most gracious. Thank you for your detailed answer.
@@m.masumi721 No worries :-)
Hello how are you? James, we are migrating from Sony FS7 to Panasonic EVA. I am responsible for the photography of the programs of a TV channel here in Brazil. So, I would like to know from you, what would be our biggest challenge working with this camera? For photography, of course.
Hi John, good to hear from you.
What types of programmes does the channel run and what's your biggest reason from going from the fs7 to the eva?
Do you do lots of studio work, or out in the field programmes?
Sorry for the barage of questions back - should give me an idea of what you'll be looking to know about the EVA :-)
@@jw_film We are migrating to reduce costs with the leasing of the 3 Fs7. Through the channel it was better to buy the EVA's, financially speaking.
I think the FS7 are amazing, they are tanks and the image is super acceptable, but we will do this migration.
The programs we do are in locations, kitchens and restaurants because it's a food channel, we don't have a studio!
We have a very dry electricity park, but it has done the job. 2 Apurture 300D and 2 Forza Nanlite, plus tripods, flags and filters.
Here are some links to the programs:
ua-cam.com/video/ZJHI0YwVhqA/v-deo.html
ua-cam.com/video/ckWwpFHnNs4/v-deo.html
ua-cam.com/video/Tjuz3-_5QCw/v-deo.html
@@johnc.m.7138 First off, love the look of the videos. I used to use the FS7 quite a bit as a rental myself and it is good image.
I'm really glad you said you do food video production as that is the majority of my work, filming on kitchens and on location in restaurants. That's been most of my work over the last year and the EVA has been with me on every one of those shoots (I need to step up game as a graphic designer though as again, yours are fantastic!).
Ergonomically the EVA handles very like the FS7 (minus the menus you can get lost in). It's very customisable in how you want to shoot with it (it doesn't limit functions or buttons if you shoot without the handgrip).
The LCD is awful. Either get the Zacuto viewfinder for it or get a gratical eye. The LCD is a control unit. I think I got the viewfinder about a week after making this video and haven't looked back.
I shoot mostly in the 150mbps codec internally as I've normally got an Atomos Ninja V going with ProRes 422. I love that I don't have to sacrifice my SDI port if I don't have to for a zacuto. I use the HDMI port more as that can do 4K 50fps out whereas the SDI is limited to 4K 30fps (unless you shoot in ProRes RAW).
The handgrip is quite weak. Mine's been back to Panasonoc once for repair but my repair centre is an hour away so not a big deal and they are fantastic at customer service and repairs if anything does go wrong.
My biggest gripe with the EVA has to be audio. It's a good preamp, can do both consumer line level and proper line level (something for some reason Canon didn't put in until the C300 MK II). Headphone amp is a little weak but gets the job done.
The weak spot is that all the audio controls, except for volume are in the menus and that can be an absolute bugger for anyone who doesn't know the camera or you need to send phantom power to a mic quickly. It's caught me out a few times unfortunately!
Low light performance isn't bad but it's nothing to write home about. 3200 ISO and you know Neat Video is needed. 5000 it's dancing but recoverable. 12,800 - forget it, it's a mess.
Another thing to watch out for is when switching from 50fps 10 Bit 420 back to 25fps, it defaults the codec down to 8 bit 420 (again, caught me out more than once!) so just watch out for that.
Honestly though it feels and handles the same way as an FS7 so I think you'll be good with it.
Great video and seems like a fantastic and considered set up you have designed :) I just wanted to sat, YES! 4K is not the standard delivery expectation, despite UA-camrs desire to push for that. Fhd is still the norm, sometimes even 720p. Also in the corporate video world, saving storage space is very important. Shooting 4K is helpful for interviews for a quick emergency 3rd camera when you need. Not other than that fhd completely suffices
Hi Jock, glad you liked the video :-)
Since making this video, my own work has moved to a full 4K workflow but the deliverables are so much more varied now with how popular Instagram, Tik Tok etc have become. I rarely find myself shooting in HD anymore
@@jw_film that’s great to hear, how do you manage your storage? We tend to shoot everything that’s being shot at 25fps in 4K and anything that’s 50fps in 1080, which is often how we shoot our broll, and then almost always deliver in 1080p
I will definitely say when it comes to these varied formats, from 1:1, 9:16 or 4:5 for social medias, shooting 4K is much much easier to work with. Not gonna lie I still find verticals format very difficult to work with if the content they want to present isn’t shot for vertical specifically, if your cropping a horizontal video you lose sooo much of the composition it rarely ever looks good. If you’re composing for vertical specifically then it’s alright. As a photographer I prefer vertical compositions so I can compose vert shots, just kills me to crop an image for vertical editing delivery. Back to the point though! We do find my clients don’t care for 4K so we often only ever deliver in 1080p
Managing storage is a constant battle. It's one I haven't quite properly figured out (and I don't think I ever will).
I've taken to filming more b roll in 4k 50fps HEVC. What I'm finding is like you, those social media formats are a nightmare with just 1080 (at least for the majority of my work).
For a lot social media based shoots, I'm either on the GH5S or the S5 now, again because it's just easier for vertical filming.
Hi James, thanks for the very informative video. Would the Eva1 be usable if I ditched the provided LCD and just use my own monitor? Or is the touch screen essential for menu navigation?
I think you can certainly live without the LCD panel, you'll just need to re-route the LCD display options to either the HDMI or SDI port (they'll just be burned into the image if you use a Shogun 7 or Ninja V recorder though). If you run it out to an EVF like a Zacuto gratical, you'll have no problems but I'm not sure the home screen options pass through to the HDMI/SDI, just not something I've ever tried to do.
The only time I really use the LCD is to quickly change between the two native ISO's if I haven't got the ISO locked on "Native" only and even then I don't use the touchscreen function.
@@jw_film Thanks for the clarification!!
No worries :-)
You should have gone with the FS7 instead
I've rented the FS7 quite a bit over the last 5 years for jobs and the camera always fought me. That's not to say its not a good camera, because it is (and became much better when combined with a speedbooster and ef glass).
I've not regretted the EVA since I got it because of its codecs and slow motion capabilities although the FS7 was a definite draw.
Now in 2021, if I was buying again, I would probably have gone down the FX6 route.
I want the L mount versión of this camera 😢
At least the mft versión 😢
Sadly I don’t think this will come to pass 😞
I have used the Eva for about 3 years now. It is garbage. The plastic is ridiculous. It just feels cheap and it is cheap. The View finder is an absolute joke. And it is $150 to replace. Better buy several. It has nice enough picture. But it is like a cheap knock off and feels that way. Save up your money and get something worth the cash. Total field use here. Panasonic used to make nice monitors, maybe they still do. But their cameras are garbage. I will be honest, I didn't watch the video. But I can say first hand try using it in a real world situation, and this thing fails...miserably...and often. My work forces me to use Panasonic, they do a serious kick back thing. It is crap. 35 years shooting television and documentaries. Bring it on.
Hi Tom,
I'm sorry you've had a bad experience with the EVA. I've had mine for over a year now and used it pretty much every day for corporate work and it never skips a beat. Promotional videos, case studies, mini-documentaries, it is fantastic for all of what I do.
In the video, I look at the shortcoming of the camera (it's definitely not perfect!) Could the LCD screen be better? Absolutely - the thing is a mirror and but with a Zacuto viewfinder, it's pretty usable but and my main monitor is the Ninja V. The handgrip has gone once on it but from a customer service and repairs point of view, I told Panasonic about it, shipped it off and less than 48 hours later the camera was back in my hands again - I've yet to have such good service from either Canon or Sony.
Since I got the EVA I attached a top plate to it and a nato rail on the handle because I know they are first things to go (or at least they were always going on the FS5 and as they share so much of the same design physically, I made sure I wouldn't fall into that - I've seen and heard a few horror stories of the handles ripping off the FS5 and witnessed an LCD hinge collapse).
Before I had the EVA I used to shoot regularly with the FS7, FS5 and C300 (I owned a C100 but the companies I used to work for would have those cameras in their kit rooms) and in terms of the image quality, the EVA for me just blows them out of the water. The codecs and frames for the EVA at the time of when it was released were so much better which is why I went for it.
Now the FX6, C70 and FX3 are all on the market, I probably would have leaned towards the FX6. If money was no object, then without a doubt I would have got the C300 MKIII. Saying that though, when it comes to looking back at the work I've produced over the last year, I'm always really happy with the image quality that comes out of the EVA.
The worst breakage for me so far has been the handgrip lock - I wasn't expecting it to break within a year. What has your worst one been with the EVA?
@@jw_film Hi and thanks for the reply. First let me say the picture quality is very nice. We have some nice lenses and I am happy with the picture. My main problem is the fit and feel. We have 3 EVAs. I think I was just upset because the viewfinder attachment point broke off right at the begining of a shoot. We had to rig it up to work, but it was out in the field and it was very hot outside. We do have the Zacuto viewfinders and they are nice. I use a Shogun as my main monitor/viewfinder. There are lots of things to like about the camera, but also lots to not like. I guess it just depends on what you use it for. For my uses I wish it had a little more power and power out so I can power mics and a light. So please take my comment with a grain of salt. :) I was a little upset because it just broke and it was in front of a client. But I do believe they could use a better plastic for some critical parts.
Thanks for response and I will update you if I find a solution to the viewfinder. Right now the solution is epoxy. :)
Take care.
@@tommorrison8424 Hi Tom, epoxy and gaffer tape is always a good solution - I've had to tape up a C300 LCD before after a rather large labrador charged into my tripod (now that was a fun day!)
I'm absolutely on board with it needing more power. I'm not a massive fan of sticking v mounts on so I've stuck with the Panasonic/Swit batteries and they give a decent amount of time but the moment I plug in anything else, I get the fear of "well that battery's life just halved".
Smallrig do a good LCD mount replacement. It's the same one as the FS5. Much better than the one the EVA ships with.
You're talking giberish. Panasonic cameras are garbage, lol.
I love my gh5s I have had it since it came out. I shoot vlog and leave the ISO on auto. This allows me to choose my aperture and the results are great. I just got an Eva 1 yesterday. I could use advice on ISO For indoor interviews under LED lights. Thanks for the great video
Auto ISO is the one thing I miss from the GH5S to the EVA - very handy on the gimbal!
When shooting in V Log on the EVA, 95% of the time when I'm lighting it, I've got the EVA at 800 ISO. On that lower circuit, I wouldn't generally push it above 1250. If I need to go higher than 1600, I'll switch it into its 2nd native ISO of 2500 and then adjust down and that has yielded cleaner results for me. I do find myself working using the 2500 circuit more for indoor work in factories and office spaces (when is not a lit interview).
@@jw_film Thanks for the info!
@@jw_film I have read there was a firmware update (2.5 ?) for EVA1 with smooth noise reduction inside camera. Did you used that for this test against the GH5S? I have the GH5s. thank you for your detailed video!
@@BONLEV Hi there Tom. When I got the EVA I updated it to the latest firmware at the time, 3 something I think.
I didn't use the noise reduction feature inside the EVA in this test, although in hindsight I should have.
At the time I didn't realise that the GH5S achieves its low light capabilities through its own internal noise reduction. After 5000 ISO, I find the GH5S to be pretty unusable because of this.
After nearly 2 years of use with the EVA, I generally just go between the two Native ISO's of 800 and 2500 when filming in V Log and I'll light each scenario to accomodate.
How can I match Panasonic AU-EVA1 to my B roll camera Sony A7S III. I do like S Cinetone on Sony and like Scene 2 on EVA1. What is the best method to make the cameras match up? Should I shoot in VLOG and SLOG3? I have no idea 😬
Hi Gurmeet, I used to use an X Rite Colour Checker and line up the colour chart chips to get them in the ballpark and then match to taste.
I now use Cinematch by FilmConvert to do the heavy lifting on this part, where it takes the colour information and tells Premiere Pro that it should interpret a shot filmed on the EVA 1, as a Sony A7S III shot for example.
As a plugin, it only works with Log and HLG footage (V log and Slog 2,3 etc) and it works really well. I've been using it with both my GH5s and EVA to get them to match up closer than I used to be able to get them to.
I've used it to match a C300 MK2, and EVA and my GH5s together recently and it worked great, so I would recommend you try out Cinematch.
Great review James. This camera is around 3 years old now... still very good I'm sure but camera tech (even Panasonic's AF has advanced alot). I'm currently researching for a camera upgrade -- I'm GH4 & 5. Do you have any idea what a good quality used EVA 1 might go for in US dollars? Thanks.
The GH5 is still a very good camera. I've got a GH5S and it's image is fantastic. In the UK, a used EVA goes for about £3,000-£4000. The EVA is a lot more capable now, even since I did this review. I now a lot of ProRes RAW with it using the Ninja V and the SDI module.
What other cameras are you looking at?
@@jw_film Debating on whether it's worth it to go to upgrade to an entry level "cinema" cam like EVA ... love the image quality, XLR inputs, ND filters, etc. etc. I also happen to think that a BIGGER camera set-up equates to more serious shooter by many clients. And that they'll pay more too. What's your experience? Other options include staying in small format like GH5+ whatever it is or wait on the GH6. Or something in the Sony line-up. I still have a soft spot though for Panasonic.
@@reddogvideo6524 I think it all depends on the type of work you do. I shoot a lot of long form content which the EVA handles without breaking a sweat. The XLR's are a bit hot, I know with any Rode wireless systems I have to turn the output gain on the mic system right down.
In the video I talked about the LCD screen and how poor it is. Well, not long after I made this video, I bought a Zacuto viewfinder for it and I haven't looked back.
What type of video work do you do?
@@jw_film My focus is on small to medium businesses mostly doing "about us" videos for web pages and social media. Nothing long form & strictly online. I would like to build on that and I'm coming to the conclusion that I need better quality images to stand out more. I actually don't do enough shooting; I've got many hats to wear like so many other independents. I'm still on the fence about the EVA 1. Recently I've been impressed by the Sony FX3. I wish I could really chat at length with someone like yourself - experienced corporate shooter -- to talk pros & cons of investing in a 4-year old entry level cinema cam (where's the EVA 2 already? vs something like the FX3 which is full-frame and has 4K, 120. low-light beast, etc. Also, if Philip Booth is sold on the incredible benefits of reliable autofocus, I am too. As a Panasonic user, just having that confidence in AF could be a game changer. What are your thoughts?
@@reddogvideo6524 I've been shooting corporate videos now for nearly 7 years. I was a C300/C100 shooter and the EVA/GH5S were a natural progression and when I got the EVA last year, I couldn't afford the C300 Mk iii or the FX9.
If I had the cash again to get a new system, would I pick the EVA and GH5S? No I wouldn't. The pandemic put a lot of my work, which involved working for other video production companies who would have their own kit that they would loan me for the shoot. When the pandemic hit, that stopped and I needed a system to fill the void, which is where the EVA came in.
Had I waited just 3 more months, then I would have sold all of my EF lenses, C100 and GH5S and gone all in on the Sony FX6 and A7S III.
While I am always thrilled with the image from the EVA (and I love the colour science of Panasonic) all of my peers and colleagues here in the UK jumped ship and went to Sony.
The EVA 2 isn't coming and if it does, it will still have the same contrast based AF system that Panasonic always have (the sensors are made by Sony and they aren't going to give Panasonic the keys to their Hybrid AF).
So here I am, saying that actually Sony for corporate work is in 2021, the way to go.
Is this still worth it in 2023?
In 2023, I have to say no but it’s nothing to do with image quality. The EVA has a great image. What let’s it down is that (certainly for me) the whole industry has gone to Sony and I’ve lost a lot of work over just having to try to explain to producers what the EVA is. They expect an FX6 or FX9, or C300 III/C70.
It’s a shame but that sadly is how the industry is for corporate video work here in the UK and the dominance of Sony.
@@jw_filmI have a friend who does corporate video in London he’s been using EVA1 since 2017
What connector does the monitor connect to this camera, I mean standard and not HDMI?
@@ggdfggdfgdffgfddg34 The monitor connector is a proprietary connector joined to the monitor itself, much like the Sony FS5/FX6, so if you want to replace the cable, you’ll sadly need to replace the monitor.
If you’ve got a cable problem, it’s worth reaching out to your local Panasonic Pro repair centre and see what can be done.
@@jw_film name of lcd connector?
@@ggdfggdfgdffgfddg34 Part numbers are listed here: eww.pass.panasonic.co.jp/pro-av/support/content/faq/EN/eva1_parts_e.html
@@jw_film haw match pin connector. have? I think essentially this cable is a cable for connecting monitors in laptops. I think there is an adapter from pins to usb c to directly connect a bright touch screen. or just change the LCD panel to OLED. I think if you find a good master it can be done
@@ggdfggdfgdffgfddg34 I'm not 100% sure this is right, but might put you in the right direction: www.ebay.co.uk/itm/283312580886
what handgrip is that on gh5s?
Its a peak design clutch strap attached to a smallrig cage
@@jw_film thx for the quick reply. are you using the bottom arca/plate to connect the bottom portion of the strap under the cage or going directly to the cage (customized)?
I'm going directly onto the cage itself. It has two points on it for the strap to mount to securely without the need of the arca Swiss plate.
Really liked your take on both cameras. I love the image out of the EVA1 camera, it's got very natural colours, really fine detail in 4k and beautiful tonality. Highlight rolloff is superb and there's a denseness to the image that make it cinematic. I was wondering whether the Lumix BGH1 would be an ideal second camera for you if it was available when you bought the GH5s? it's basically the same image sensor except an extra stop of dynamic range; also it has a box style form factor without an EVF or monitor included but has the convenience of SDI port. Thanks again.
I got the GH5S back in August 2019 but undoubtedly, if the BGH1 was around then I would have looked very seriously at that. As it stands, I do think the S1H would also be a great fit with the EVA.
What cameras do you shoot with?
@@jw_film I bought the EVA1 specifically for a feature project. I have a GH5 for wedding work, no VLog shooting mainly in Cine V profile.
I shoot in the Cine V profile a lot, both on the EVA and GH5S. Much easier to work with and gives a better "moderately baked in" look which still has plenty of room to manipulate if needed.
What was the feature film about you got the EVA for?
@@jw_film the feature is a mystery love story with some ghostly elements, it's micro budget and we are yet to cast, I'm thinking of shooting it in black and white, although I've ben told to shoot in V Log and post accordingly, which is probably what I'll do. I was looking at the BGH1 as a specific gimbal camera to partner with the EVA1.
@@eyeballbilly I love ghost stories! I would agree to shooting in V Log and then do a post conversion. FilmConvert have some really authentic black and white film stocks as part of their plugin, I used one to replicate a shot with an old steam train supposed to be from the early 1900's and it worked wonderfully.
The BGH1 looks like a good gimbal cam but what I do like about the GH5S is that it does have a little screen on the back and the white balancing feature is much easier to do on the gh5s than the EVA (its a small box like the gh5) rather than fill the whole frame and actually thats been invaluable when running around like a headless chicken to try and get the shots.
Where are you going to film your feature?
Is the Sony A7 S III better than Panasonic AU EVA1?
That’s a tough one to dive into, but here goes!
I have a Sony FX3 and frequently mix the cameras on productions (usually the EVA as the talking head and then the FX3 as the b cam/b roll/sequence camera and then I match them in the edit using Cinematch).
The EVA is a long form workhorse and I’m regularly using the SDI and HDMI sources at the same time (one for a ninja, one for a wireless video transmission - not to say the same can’t be done with the fx3, you have to loop it out through the ninja).
The FX3 however is far more flexible for my work now in 2023 than the EVA.
The image between them is very comparable but you do see the difference in noise between the two sensors but both have robust enough internal codecs to cope with the matching process.
Here in 2023, the EVA has had its time and I much prefer using the FX3. I pretty much have a 1-5 stop variable ND on the FX3 all the time and that pretty much puts it neck and neck with the FX6 (I shoot a lot of corporate and the lack of a 10 bit LongGOP codec in the FX6 is what puts me off it).
Better than the A7S III? Yes and No. The A7S III is a photo first camera to me and doesn’t have the ergonomics I rely on.
Better than the FX3? Absolutely not.
Been a bit bogged down with client work as of late but this is a comparison video I’ve got planned and want to bring out before September.