AU-EVA1 $6,495 MSRP
Compact and lightweight, the AU-EVA1 is tailor-made for handheld shooting, but also well suited for documentaries, events, commercials, and music videos. The newly-designed 5.7K Super 35mm sized sensor can capture up to 14-stops of latitude and features Dual Native ISOs of 800 and 2,500, which will allow cinematographers to shoot in almost any lighting environment.
For a limited time, Panasonic is offering an exclusive 24 Month, 0% finance option on Panasonic cinema products.
For a limited time, Panasonic is offering an exclusive 24 Month, 0% finance option on Panasonic cinema products.
|Power||DC 7.28 V (battery operation)
DC 12 V (AC adapter operation)
|Power consumption||19 W (with LCD/HDMI/SDI ON)|
|Operating temperature||0 °C to 40 °C (32°F to 104°F)|
|Operating humidity||10% to 85% (relative humidity)|
|Storage Temperature||-20 °C to 60 °C (-4°F to 140°F)|
|Weight||Body: Approx. 1.2 kg (2.65 lb)
Shooting: Approx. 2.05 kg (4.52 lb)
|Dimensions||135 mm (W) x 133 mm (H) x 170 mm (D)
(excluding protrusions and accessories)
(5-5/16 inches x 5-1/4 inches x 6-11/16 inches)
|Image Sensor||Super 35 mm, MOS sensor|
|Number of Pixels||Total pixels:
Approx. 20.49 megapixels, 6340 (H) x 3232 (V)
Approx. 17.25 megapixels, 5720 (H) x 3016 (V)
|Sensor Area and Max Frame Rate||S35: 4K/UHD 60 fps/50 fps
2K/HD 120 fps/100 fps
4/3": 2K/HD 240 fps/200 fps
|Gamma||eV-Look Gamma (2 types)
Hybrid Log Gamma (HLG)
|EI Settings||[ISO] mode: NATIVE ISO: 800, 2500
800 Base: 200 to 2000
2500 Base: 1000 to 25600
[dB] mode: (Normal) -12 dB to 8 dB
(High) -8 dB to 20 dB
|Shutter Speed||[deg] mode: 1.0 deg to 358 deg (0.5 deg step)
[sec] mode: 1/24.1 sec to 1/8000 sec (23.98p)
|Color Temp||ATW, AWB, 2000 K to 15000 K ±10.0 GMg
|Lens Mount||EF mount|
|Image Stabilization||Electric Image Stabilization (EIS)|
|Auto Focus||One Push Auto Focus|
|ND filter||CLEAR, 0.6ND, 1.2ND, 1.8ND, Electrical driven|
|IR Cut Filter||USER assignable IR shooting (filter ON/OFF)|
|Memory Card Recorder||-|
|Recording Media||SDHC memory card (4 GB to 32 GB)
SDXC memory card (32 GB to 128 GB)
UHS-Ⅰ/UHS-Ⅱ UHS Speed Class3 is supported,
Video Speed Class V90 is supported
|Recording slot||SD memory card slot x 2|
|Recording Resolution||4096 x 2160 (4K), 3840 x 2160 (UHD),
2048 x 1080 (2K), 1920 x 1080 (FHD),
1280 x 720 (HD)
|Recording System Frequency||59.94p, 50p, 29.97p, 25p, 24p, 23.98p
59.94i, 50i (AVCHD only)
|2slot Functions||Simul Rec, Relay Rec, Loop Rec*1,
|Other Rec Functions||Pre Rec, Interval Rec*1, One Shot Rec*1|
|Quantizing||MOV: 4:2:2 10 bit/4:2:0 8 bit
AVCHD: 4:2:0 8 bit
|Video Compression Format||H.264/MPEG-4 AVC High Profile|
|Recording Audio Format||MOV: 48 kHz/24 bit, 2 CH, Linear PCM
AVCHD: 48 kHz/16 bit, 2 CH, Dolby Audio™
|Headroom||18 dB/20 dB (menu switchable)|
|Video Output | SDI OUT||BNC x 1, SDI REC REMOTE is supported
0.8 V [p-p], 75 Ω, 4K (6G), HD (3G/1.5G)
Output format (4:2:2 10 bit):
・4096 x 2160: 29.97p, 25p, 24p, 23.98p
・3840 x 2160: 29.97p, 25p, 24p, 23.98p
・1920 x 1080: 59.94p, 50p, 59.94i, 50i, 29.97p, 29.97PsF, 25p, 25PsF, 24p, 24PsF, 23.98p, 23.98PsF
・1280 x 720p: 59.94p, 50p
RAW* output format (10 bit):
・5760 x 3072: 29.97p, 25p, 24p, 23.98p
・4096 x 2160: 59.94p, 50p, 29.97p, 25p, 24p, 23.98p
|Video Output | HDMI||HDMI x 1, TypeA, HDMI REC REMOTE is supported,
Viera Link is NOT supported
Output format (4:2:2 10 bit):
・4096 x 2160: 59.94p, 50p, 29.97p, 25p, 24p, 23.98p
・3840 x 2160: 59.94p, 50p, 29.97p, 25p, 24p, 23.98p
・1920 x 1080: 59.94p, 50p, 59.94i, 50i, 29.97p, 25p, 24p, 23.98p
・1280 x 720: 59.94p, 50p
・720 x 480: 59.94p
・720 x 576: 50p
Output format (4:2:0 8 bit):
・4096 x 2160: 59.94p, 50p
・3840 x 2160: 59.94p, 50p
|Internal Mic||Stereo microphone|
|INPUT1/2||XLR (3-pin) x 2 (INPUT1/2), input high impedance,
LINE/MIC/MIC +48 V (menu switchable)
MIC: -40 dBu/-50 dBu/-60 dBu (menu switchable)
LINE: +4 dBu/0 dBu (menu switchable)
|Audio Input/Output | SDI OUT||Linear PCM 2 CH|
|Audio Input/Output | HDMI||Linear PCM 2 CH|
|Phones||3.5 mm stereo mini jack x 1|
|Speaker||20 mm diameter, round x 1|
|TC IN/OUT||BNC x1 for IN/OUT (menu switchable)
IN: 1.0 V [p-p] to 4.0 V [p-p], 10 kΩ
OUT: 2.0 V [p-p] ±0.5 V [p-p], low impedance
|REMOTE||2.5 mm Super Mini Jack|
|USB 2.0 (HOST)||Type-A, 4-pin for Wireless Module (AJ-WM50)|
|EF Mounting Contact||8-pin|
|DC IN 12V||DC 12 V (10.5 V to 13.5 V) EIAJ type 4|
|Size||3.5-type LCD monitor (approx. 1,150,000 dots)
(MENU control, Shooting assist functions)
|LCD Monitor | Switches||MIRROR (OFF, B/T, ROTATE)|
|Mounting Mechanism||One touch rotatable/Detachable|
|Hand Grip | Switches||REC, MENU/IRIS dial, User switch x 2|
|Accessories||Battery (5900 mAh), Battery charger, AC adapter, AC cable, Shoulder strap, Microphone holder, Microphone holder adapter, LCD monitor (with hood and mounting attachment), Handle, Grip, Grip belt, Mount cap|
|Note||*1: Functions to be supported by firmware update.
* Dolby, Dolby Audio, and the double-D symbol are trademarks of Dolby Laboratories.
* Specifications are subject to change without notice.
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Panasonic has exclusive 24 month / 0% or 36 month / 1.99% financing offers available on select professional video products.
Offered through Panasonic Business Finance this special promotion enables you to spread out the cost of your equipment upgrades, avoiding larger up-front costs and not freezing up your cash flow. See complete program terms, conditions and details at the link below or apply now to see if you qualify.
Panasonic developed a process to read the sensor’s photosites in a fundamentally different way than it’s traditionally done. More information can be extracted without degrading the image. That effectively gives the imager greater sensitivity and separates the signal from the background noise. It’s essentially a different way of reading the camera sensor and it gives it two different native ISOs or sensitivities. In other cameras, you just dial the gain up to get more sensitivity, but you get a lot of noise in the image. You can also do that on the EVA1, but if you just switch between the two native ISOs, they’ll look the same as far as the amount of noise. There are two ways that one might likely want to use this. First, you can shoot with zoom lenses when normally you would have to shoot with primes because zoom lenses generally aren’t as fast. Instead of having to switch prime lenses, you have more versatility while still getting the right exposure. Another way of using Dual Native ISO is the ability to lower your light levels. In shooting with lower light levels, you will save money, time, and you can shoot with more practical lights in your surroundings. Cinematographer William Wages, ASC says that Dual Native ISO let him reduce his lighting package from an 18-wheeler to a small box truck, and he saved a couple hours in the beginning and end of each day not unloading a huge truck and running long lines of power cabling. That can be for a high-end production or a more modest production where it can be used for savings, or a stylistic choice. The Dual Native ISO ratings on the EVA1 are 800 ISO and 2500 ISO, and the sensor captures a Dynamic Range of 14 stops, so you can really see far into shadows and highlights.
Depending on the type of work you do, EVA1 answers a lot of different needs. It is designed to be a versatile machine that you can plug into a lot of different situations. There are people who have been shooting on smaller cameras such as DSLRs or all-in-one camcorders, and they have felt limitations. At the same time, you have other people who have been shooting on large production cameras and they sometimes have need for a camera that is slimmed down and more portable. What we wanted to do was build a camera that could sit in-between those spaces where you could essentially rise up from the small cameras where you want more versatility and you don’t have to fight the machine sometimes. Or you could slim down from a bigger camera for projects where a larger system may be too difficult to deal with or simply too expensive for the production. On the little cameras, you can get amazing work out of these tiny machines but because they’re so small, dealing with the controls can become a barrier and you often must devise workarounds. Shooters put up with the workarounds because these small cameras are so convenient to shoot with. We’ve risen the scale of the camera so now you have these high-end features and easier access to controls in a camera that is a more functional size for most shooters. For users of higher-level production machines, we’ve tried to be judicious in keeping as much professional functionality as possible into a compact form factor. If you design it correctly, it’s easy to make any camera expandable with accessorizing. Getting it small but still functional is the challenge.
There are three things. The EVA1 sensor has 17.25 million active photosites in Super-35. That’s almost twice the resolution of a 4K image. When you start with one resolution and you go to a lower resolution, it always improves the resolving power of the final image. When you start with more and get to less, more information comes through. The result is a more finely detailed image. That can be true when you go from a 5.7K sensor to 4K, UHD, 2K, HD, or 720p – all of which are available on EVA1. Second, there’s more color information. At 5.7K resolution, you have more individual examples of red, green, and blue – all of which enrich the resulting image in whatever resolution you choose to record. Third, the EVA1 has can be switched to RAW data output from the camera to a separate recorder. Currently the Atomos Shogun Inferno can record EVA1 5.7K up to 30p in ProRes RAW. It can also record 4K up to 60p and 2K up to 240p, all in ProRes RAW, and capture 4K30p and 2K120p in CinemaDNG RAW. More is more, and it gives you greater choices in what you might do with it in the future.
The first thing is that people who are shooting with a [Panasonic Lumix] GH5, is that they are shooting with a Micro Four Thirds sensor and EVA1 contains a Super 35 sensor, which gives you a different look and feel. The larger body size of the camera, the design of the interface, and where the LCD is located all give you better access to the controls to make adjustments while rolling. With small DSLR cameras, you can’t comfortably change things as you’re rolling in a run-and-gun style and that’s a problem – you need to be able to adjust on the fly. In addition, we have proper connectors – real XLR audio inputs, full-size HDMI and locking SDI connectors for video outputs. We have a full-fledged camera that’s designed for video production. It has a removable side handgrip with integrated controls. The EVA1 is designed to be held up to your shoulder as opposed to way out in front of you, or at your waist. Another example of control you have while shooting video are the integrated ND filters. You have a filter wheel that is built into the camera, so you can adjust exposure as you roll – you don’t have to stop and screw on a filter in front of the lens. The overall design of the EVA1 is to make it more comfortable for video production, as opposed to a stills camera that is doing double duty as a video camera. And if you want the option to output RAW, the EVA1 is the only camera to offer 5.7K, 4K and 2K with a frame rate up to 240fps.
The EVA1 is a professional production machine, and that means that it has proper professional features and controls in every aspect. The camera can record two tracks of audio and it features a pair of XLR audio inputs. There’s also a built-in stereo ambient microphone and an isolation mount for a shotgun mic. Beyond just having the items on a checklist, great care has been taken to integrate them into the camera’s design for the best functionality. The XLR jacks are in the back of the camera behind the handgrip mount and are angled slightly so that connected cables will point away from the camera. The camera’s handles can be removed without loss of the audio functions and there are no cables pulling in odd directions or protruding where they can be easily snagged. There are a few physical knobs and switches for audio level control right on the operator’s side of the camera, with an audio level display available on the LCD screen while viewing the image and several pages of fine detail control available in the menu of the EVA1. This allows proper live adjustment of levels while shooting without cluttering the camera’s control surface. There’s even a clear plastic door covering the audio controls so that the operator can check the settings without fear of accidentally altering levels while handholding the EVA1.
The EVA1 can shoot internally to the SD cards in 4K up to 60fps and in 2K up to 240fps. That’s a lot of information to process so fast, so at some frame rate and resolution combinations the EVA1 does some clever tricks. When shooting 2K and HD, the EVA1 can sample the full sensor’s resolution in half, averaging the information while still seeing 2.8K. Then it oversamples that 2.8K down to 2K or HD, yielding a high-resolution image while saving processing power. By doing this, EVA1 can shoot at 2K or HD and retain the full Super-35mm field of view of the sensor up to 120 fps and record in a 10-bit 422 codec. To get up to 240 fps, the frame is slightly cropped to 4.5K, sampled in half to 2.2K and then that 2.2K is oversampled to 2K or HD. It might sound complicated, but it’s quite clever math that allows EVA1 to shoot 2K and HD at high frame rates and still capture a high-quality image. And instead of cropping in the image to a tiny rectangle in the center of the sensor, the crop to get to the highest framerates is still about 80% that of the full Super-35 sensor.
We see a lot of people shooting documentary style work with the EVA1 – talking head interviews and B-roll shots in the field. It’s very convenient for that style of shooting. You’re also going to have people who do news shooting, as well as live event type work such as weddings and sports videography. And a lot of high-end production for narrative work needs the versatility of a camera like the EVA1. That means TV series shot with multiple cameras and productions shot on larger cameras like VariCams with the EVA1 as a B-Camera. For some mobile productions, the EVA1 becomes the A-camera with small mirrorless cameras like the GH5S grabbing additional footage. In addition, there will be people who will want to rig the camera for specific types of remote work, meaning mounting the camera out on a crane, or jib arm. You want it fully featured yet small and lightweight because the bigger your camera is, the bigger crane you would have to use, just like on a Steadicam. Gimbal devices like a [Freefly Systems] Movi or a [DJI] Ronin want a fully featured camera but in a small and lightweight package. With EVA1, you get the dual advantage of having great capabilities while being lightweight and small. Same goes for underwater housings, car rigs, or anytime you need to place a camera somewhere where you want a slimmed down unit that won’t get in the way. You still want to have a capable camera, especially with a Super 35 sensor, and the EVA1 provides just that.
Sometimes the only person looking at the shot is the person behind the camera. Sometimes there may be multiple people but they don’t all want to see the same thing. If it’s just one person, he or she can view the shot on the adjustable LCD screen or set the SDI output to clone the display of the LCD to another monitor or viewfinder. All of the heads-up data such as frame rate and lens settings can be individually switched on/off and assist functions such as focus, framing and exposure aids can be customized and switched on/off at will. If shooting in V-Log, the image can be displayed with or without a Rec709 monitoring correction, but the exposure tools will always display the Log levels to allow for quick comparisons. If others need to see the image as well the EVA1 offers great flexibility. There are two video outputs, an HDMI and an SDI, and both are capable of 4K and always active even when recording. There are several combinations of signal possible: one output can be in 4K while the other is HD, and one could be a clean image with no display information while the other has just the info you choose to show, which can be different than what is displayed or not on the camera’s LCD. If shooting in V-Log, the monitoring Rec709 correction can be selected individually for any or all of the three outputs. An example of how this flexibility can be used would be an EVA1 recording in V-Log for post color grading; the camera LCD displaying the 709 monitoring correction with a waveform monitor exposure tool in the corner of the frame showing the V-Log levels for comparison and the on screen display data showing lens and color temperature info; the SDI output in 4K 10-bit 422 in V-Log with no data displayed going to a video recorder, and the HDMI output sending HD video with the monitoring correction applied and the clip name and timecode displayed feeding a video transmitter for a script supervisor and director to view. That’s just one scenario but there are lots of possibilities and for other cameras this level of flexibility would require a small cart of boxes and converters.
When the EVA1 is switched from video mode to RAW mode, it becomes a bit of a different camera. The EVA1 uses its 6G SDI output to send RAW data to a separate recorder. The RAW outputs are 5.7K up to 30fps, 4K up to 60fps, and 2K up to 240fps. 5.7K uses the full Super-35 sensor area, 4K is a 4/3" pixel-to-pixel crop, and 2K uses the 4/3" 4K area. Currently, the Atomos Shogun Inferno and Sumo 19 recorders can capture the EVA1 RAW signal, recording all resolutions and frame rates in ProRes RAW or 4K up to 30p and 2K up to 120p in CinemaDNG RAW. These recorders can also take the RAW signals, process them into video and record traditional ProRes or DNx video files.
The EVA1 sensor and image processor can see 14 stops of dynamic exposure range. That’s a very far reach into bright and dark at once. There are different ways all this information can be used. There are five Scene Files preset in the EVA1, two that are cinema looks with one allowing greater information in the highlights and the other providing more in the shadows. The next two are broadcast video looks, again with one giving extra room for highlights and the other extra room for shadows. And the last Scene File is designed for HLG, a live HDR output to spread all that exposure range for HDR monitoring. Anyone can create their own Scene Files to load into the camera to utilize the image information as they wish. And the EVA1 can also record in V-Log, which flattens out all the exposure info to store as a video file for later color grading in post. While the Scene Files are designed to be used as finished images, V-Log is specifically for post image grading. It captures the full range of exposure and color for later manipulation. A V-Log image appears pretty washed out on its own, so the EVA1 includes a standard Rec709 monitoring mode so that a normal color correction can be viewed while shooting. The three monitoring outputs, the LCD, the SDI out and the HDMI out, can individually set to view in either V-Log or the “corrected” view, and User Buttons can be programmed to quickly toggle any of the outputs between the two views.
ProRes RAW is a new recording format and Panasonic is proud to be the premiere camera manufacturer associated with it. ProRes RAW is a compressed form of RAW and is currently available in two compression levels, ProRes RAW HQ is 3:1 and ProRes RAW is 4:1. It was developed by Apple in coordination with Atomos. Atomos recorders can accept RAW data signals from several cameras and record using ProRes RAW. These files can then be seamlessly edited in Final Cut Pro X. The two highest level cameras supported by Atomos recording in ProRes RAW are the Panasonic VariCam LT and the EVA1. All the EVA1 RAW formats are supported, 5.7K up to 30p, 4K up to 60p, and 2K up to 240p.
Part of the design ethos of the camera was to not only make the camera itself affordable but it had to be affordable to use. The EVA1 uses SD cards to record footage and it can record in various codecs, including 4K 10-bit 422 to fast SDXC cards. The cards are readily available everywhere in the world so if you’re a documentary shooter in a remote location, you can purchase more cards and stick them in the sides of most laptop computers or pick up an adaptor at any electronics store. The usability of the camera is high, and the expense is kept at a minimum. Depending on the selected format we require cards that can do certain read and write speeds. For the highest resolution and frame rates with the mildest compression, V60 type SDXC cards are required, but for other formats one can use cards of lesser capabilities. The EVA1 has two SD card slots and you can choose to either Span recording – capturing continuously from one card to another for extended record times – or Clone recording – recording simultaneously to both cards for an instant backup. There’s also a single frame record mode for shooting time lapse and a prerecord function for wildlife and sports.
EVA1 is designed to be used in a variety of situations for a variety of clients. Its highest-level recording format, 4K 10-bit 422 All-I, is approved for all productions by Netflix. It can shoot 2K 10-bit 422 up to 120p using the full Super-35 sensor, or if you really need some speed, it can get up to 240fps in an 8-bit 420 mode. For several modes the EVA1 offers recording options in both All-I and LongGOP codecs. They’re of comparable quality, it’s really a question of workflow options. All-I takes up more room on the memory card but is easier to process in a computer. LongGOP uses about a third the storage space but it requires the post-program to read multiple frames at once. If you’re shooting a long form documentary, you might really care about storage space and can deal with a beefier computer once you get to post. If you’re shooting a commercial, you might want large files, but still be able to view them on your laptop on set. EVA1 gives you a choice. We even added an option after release. Several news shooters were interested in the camera, but their workflow dictated 1080i recording in a small high-quality file size, so Panasonic added HD 1080i in All-I 100Mbps and LongGOP 50Mbps.
There are two de facto standard lens mounts for Super-35 cinema/video production, PL and EF. There are literally hundreds of available models of EF lenses, and the sheer volume of lenses available is mind-boggling – it’s somewhere between 100 and 200 million lenses! This means they’re readily available with lots of options, and many people already own some. Most EF lenses have electronic features of which the EVA1 can take advantage, such as iris control, optical image stabilization, one-push auto focus, and on some lenses even a motorized zoom and a record trigger. Panasonic has tested many models of EF lenses and published a compatibility chart for their use on the EVA1 (https://pro-av.panasonic.net/en/eva1/lens/). In addition to these electronic EF lenses, there are many manual lenses available and these are all compatible with the EVA1. Most EF lenses are quite affordable, small and lightweight, which compliments similar aspects of the EVA1. And many modern cinema lenses are available with interchangeable mounts. For those who need a PL mount, there’s a retrofit kit available for the EVA1 from a 3rd party manufacturer.
A battery (coin-type battery) is built in the camera body to maintain the settings for date, time and TC.
If “BACKUP BATT EMPTY” is displayed on the LCD monitor, the built-in battery is exhausted.
To charge up the built-in battery, connect a charged battery or AC adapter to the camera and leave them connected in STANDBY mode for approx. 24 hours.
If “BACKUP BATT EMPTY” is still displayed after charging, please consult your reseller.
Compact and lightweight, the AU-EVA1 is tailor-made for handheld shooting, but also well suited for documentaries, events, commercials, and music videos. With its compact size and a new 5.7K sensor, the EVA1 is positioned between the VariCam LT and the LUMIX S1H, making it ideal for a variety of filmmaking applications and cinema-style acquisition.
New EVA 3.0 firmware now available for download!
Filmmaker Dane Hansen uses the AU-EVA1 to capture this fashion short for BlackMilk Clothing
Filmmaker Barry Green, author of “A Guide to the Panasonic AU-EVA1 Camera”, gives an overview of the EVA1.
AU-EVA1 Firmware Upgrade Version 2.0
Hands on with the EVA1: 5.7K Sensor
Hands on with the EVA1: Configuration
Hands on with the EVA1: Focus Aids
Hands on with the EVA1: Video Routing
Hands on with the EVA1: WiFi Remote
Hands on with the EVA1: Image Stabilization
Hands on with the EVA1: Dual Native ISO
Hands on with the EVA1: Recording Media
Hands on with the EVA1: Menus
Short film Radio 88, shot by cinematographer Johnny Derango on the EVA1.
Short film Near To Superstition, shot by cinematographer Elle Schneider on the EVA1
Weighing only 2.6 lbs. (1.2 kg / body) with a compact form factor (6.69” L x 5.31” W x 5.23” H) and a removable handgrip, EVA1 can be used for efficient handheld shooting applications and can also be mounted on a drone, gimbal rig, or jib arm for complex yet smooth camera moves. There will also be numerous mounting points and Panasonic is currently working with top accessory makers to allow further customization with the EVA1.
The newly-designed EVA1 sensor is Super 35 sized (24.60mm x 12.97mm) with 5.7K resolution. With an active resolution of 5720 x 3016, the EVA1 delivers more than 17.25 million photosites, nearly double the 8.8 million for 4K DCI (4096 x 2160). By starting at a higher native resolution, the 5.7K sensor yields a higher resolving image when down-sampled to 4K, UHD, 2K, or even 720p. Additionally, the increased color information results in a finer, more accurate finished image.
A key feature of the VariCam cameras, Dual Native ISO utilizes a process that allows the sensor to be read in a fundamentally different way, extracting more information without degrading the image. This results in a camera that can switch from a standard sensitivity to a high sensitivity with almost no increase in noise or other artifacts. Dual Native ISO has allowed cinematographers a greater variety of artistic choices as well as the ability to use less light on set, saving time and money. The EVA1’s Dual Native ISOs are 800 and 2,500, which will allow cinematographers to shoot in almost any lighting environment.
Dynamic range measures the luminance range that a digital camera can capture. The EVA1 delivers 14-stops of Dynamic Range, enabling fine gradation in exposure from bright to dark.
The ability to capture accurate colors and rich skin tones is a must for any filmmaker. Like the VariCam lineup of cinema cameras, the EVA1 contains V-Log/V-Gamut capture to deliver high dynamic range and broad colors. V-Log has log curve characteristics that some would say are reminiscent of negative film and V-Gamut delivers a color space even larger than film. The EVA1 will also import the celebrated colorimetry of the VariCam line.
For lensing, the camera utilizes a native EF-mount, giving shooters access to the broad EF lens ecosystem, including dozens of cinema-style prime and zoom lenses from numerous manufacturers. There will be full Iris Control, One-Push Auto Focus, and Lens Data.
EVA1 employs Electronic Image Stabilization (EIS) to compensate for camera shake and blurring, which will help smooth out handheld or shoulder-mount shots on documentary or run-and-gun projects. Behind the lens mount, an integrated ND filter wheel in 2, 4, and 6 stops allows for precise exposure control. The EVA1 also allows the IR Cut filter to be swung out of the path to the sensor at the push of a button. Unique photographic effects and night vision imagery are possible with this control over infrared. The ND filter and IR Cut filter operate electronically, which will allow wireless remote control from smartphones and tablets.
Ideal for indie filmmakers, the EVA1 records to readily-available, lower-cost SD cards. With two SD card slots, you can capture footage either with Simul Rec (simultaneous dual record) or Relay Rec (continuous record). There’s also One Shot Record, which enables single frame video for stop-motion capture. The camera can record in several formats and compression rates, and offers up to 10-bit 4:2:2 even in 4K. For in camera recording, you can capture in 4K (4096 x 2160), UHD (3840 x 2160), 2K (2048 x 1080), Full HD (1920 x 1080), and HD (1280 x 720). For high-speed capture, the EVA1 offers up to 59.94fps/50fps for 4K/UHD, up to 120fps/100fps for 2K/Full HD, or 240fps/200fps (cropped area). And for fast editing, the EVA1 offers ALL Intra compression (400 Mpbs)) for in-camera recording. Or for longer recording times, with 4K/60 10-bit video, the EVA1 also offers HEVC in-camera recording.
EVA1 offers dual balanced XLR audio inputs with Dolby Audio encoding. The HDMI and SDI video outputs are both 4K-capable and each can be adjusted separately, allowing HD to be fed to a viewfinder or other third-party monitor while 4K is sent to an outboard recorder or monitor. The camera is also equipped with standard timecode functionality. The EVA1 offers a RAW output, up to 5.7k RAW to 3rd party recorders, including the Atomos Inferno (ProRes RAW) and Blackmagic Design Recorders (Blackmagic RAW).
Bundled with the EVA1 is the AG-VBR59 battery (7.28V 5900mAh/43Wh), which should give you approximately 1 hour 30 min of continuous operating time and a charge time (with bundled dual battery charger) of approximately 3 hours 20 min. With the optional AG-VBR118 (7.28V 11800mAh/86Wh) battery, you will have approximately 3 hours 5 min of continuous operating time and a charge time of approximately 4 hours 40 min.
As a professional video production tool, EVA1 contains several professional imaging tools, including Peaking, Expand (Image Zoom), Waveform, Zebras, and Spotmeter (Y-Get). EVA1 also utilizes Focus Squares, an array of green squares that grow in size when their local area appears to be sharp, to enable shooters to achieve critical focus.
In education, corporate communication, press conferences and seminars, House of Worship, social media outreach, and new content delivery over Facebook, YouTube and other streaming providers, live multi-camera production is on the rise. EVA-Live brings a high quality finished look to your live productions at an affordable price in a versatile system that can grow with you over time.
Panasonic has announced a free new firmware upgrade, EVA 3.0, for the AU-EVA1 cinema camera that greatly improves the camera’s capabilities. Updates include 4K60p 10-bit capture, hardwired remote control via USB-Ethernet adapters, and the addition of a user button function for quick switching of shooting modes and frame rates.