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Boy do people like to complain. A camera is announced two days ago with a feature and you expect every other camera to have it? We're also talking different recording media than the C200 and Blackmagic. Different ecosystems can support different things. It seems like they're trying to push as much into this ecosystem as possible, while keeping the "real" costs of a full kit as manageable as possible. And everyone's losing it over the internal raw of C200, yet the reality is that 98% of the time that raw is used will be in a controlled environment where external monitors are the norm and an external recorder isn't a big deal. And if you start factoring in the difference in SSD costs vs cfast... well, cost-wise the playing field starts to even. The weirder thing would be building a small camera that's perfect for doc and indy uses, shoving raw internal into it, an old ass 8 bit codec, and nothing in between... and no way to get non-raw 10bit... even from the output...

I hate to say it, but I agree. Only maybe 5% of tv and 20% of theatrical features (I'm guessing, but it's along these lines) are shot on RAW. Because it's not worth the extra expense on productions already costing $250,000/day to get that last tiny little bit of image quality. And yet it's a huge omission on a camera that costs $8000? You can't expect everything. Or you can, but you'll be disappointed.

Sucks so bad the Panasonic EVA1 lacks a Locking Micro Four Thirds Mount (like a baby made from the union of the JVC LS300 & Sony FS7 mk2 mounts). Panasonic has blown a massive opportunity to provide an upgrade path for their GH users as they progress through their career, & was an opportunity to grow Panasonic GH5 sales at the same time. However credit can be given to Panasonic for blasting out of the water the C200 which Canon just announced, but that fact should surprise exactly no one.

Believe it or not, that amazing Varicam 35 reel that blew us all away a few years ago was shot on the same 10-bit AVC-Ultra codec.

If they were to do that I think it would be in a DSLR/Hybrid format. This won't eat into their Pro Camcorder sales, but a $4000 version would. I predict that JVC will add internal Raw to the LS300 and it will look and work amazingly, and no one will care.

The mount is perfect for the customers they are targeting the EVA1 at. If they'd gone with the Micro Four Thirds size sensor and mount to match, the amount of extra M43 glass they would have sold would probably not compensate for the losses Panasonic would experience through damaging their presence in the C100/C300/rental market, which is all about Super 35 and EF lenses. A good, pragmatic decision and I am sure the GH5 will sell a lot of extra Panasonic lenses to filmmakers any way! I am not sure Panasonic quite has the ergonomics right yet... The form factor is nice and small now but the physical controls are 10 years past their sell-by date and need to be rethought, as does autofocus if they are to catch Canon.

I enjoyed 13 reasons why, watched on not an expensive TV set, really excited about the Varicam look. Until the 2 cameras are out, and final specs and prices are set, Canon still can be an option, this Panasonic isn't a C200 killer -if the rumored 8000$ stays. The ND in Canon is 10 vs 6 here, it seems like Sony will be ahead of those for the next 3-5 years with their e-ND. Internal Canon raw, even for 15minutes per 128GB is a thing, can't complain about it, better to have (ain't this right @mercer ). The Panasonic raw is rumored to be a paid upgrade in the feature (we certainly do not know, it seems possible for a company that sells log for 100$!), still I do not blame them, if it save the camera a 500$, but still.. Canon C cameras are no slouch in high ISO, maybe not native 5000, but certainly no problem to work with a similar number. We don't even know the base ISOs of this camera, it can be 800/3200, and 3200 is perfectly fine for C cameras. The camera is still in development while people will have C200s in August or early September (and still in development, 5 months before its estimated release, is a bit worrying, it is not good to rush things). Dual Pixel AF is something I want in my next camera. I have enjoyed using it occasionally with the Canon C100mkII, and I am hearing great things from C300mkII users. AF it is not a gimmick, and having a touch screen to choose AF on a less than 9999$ camera, it can be exactly what will make it more mainstream in video professionals. I have used 120(100)frames on my NX1 twice in the 2 years I own the camera, and a couple of times we have rented a FS700 for slow mo purposes in the last 3 years maybe. 60(50) frames is mandatory to have, 120(100) is perfect for most uses. I won't deny the Panasonic advantage, even for small bursts is a great feature, but I won't base my decision in this (while internal raw and Dual Pixel are huge - for me!). That dramatic slow motion effect is over rated in my opinion and this is coming from someone that used to be a high speed camera operator for some time! The price difference (8-7500$) is not that huge from the C200, while a JVC LS300 (that keeps mentioning here and for good reasons) is 2650$ (that is a competitive price! not even close in specs, but hold some aces into its sleeve as well, and for the price..). Panasonic should be closer to 5500$ to be competitive to Canon/Sony, not 7500$, and that shows something about how much a really competitive S35 professional video camera can cost. If Panasonic can't make it cheap (while selling a camcorder with a fixed lens at 4500$), and BlackMagic can't make it cheaper, then maybe it ain't possible. Of course we have to address the elephant in the room, C200 has no middle codec. This Panasonic announcement will probably push Canon to announce in winter time a middling 10 bit codec I guess. While they still can sell cameras (Panasonic has no definite delivery time, while Canon has) and keep the C300mkII people silent for a few more months, but C200 (as the name indicates!) is the perfect "middling" tier camera, only that it isn't! Sony FS5 mark II anyone?!

He said there is internal stabilization on the sensor side.

100% Fact you have no idea what you are talking about....... C200 looks like video (especially when that is it;s intended market), GH5 I would say in-between and more cinematic now using anamorphic mode with lenses. Panasonic Varicam LT resembles film and if this new camera will provide the same image it will be amazing and one of the best cameras at this price range in the market. I easily put Varicam footage right next to Amira and in many situations much better when shooting at higher iso's

I suppose not, but they are calling it AVC-Ultra, which is not the same codec used in the GH5. I'd highly doubt it's the GH5 codec for two reasons: 1. The codec in the GH5 was brand new, not the same one shared with the larger varicams. 2. The Lumix team and Varicam teams HATE each other, and rarely share anything between the two lines.

Short video of Chicago trying the GH5. There is 4K, 180 VFR slomo (with aliasing...), timelapse and hyperlapse. Even though the sensor can't match my 5D and 6D for ISO, the DR seems better for timelapse.

Seriously though, these past few months have been great for the indie filmmaker. Gotta love competition!!! They filmed it in sLog.

LS300 with internal 2K RAW. Great idea. Instant buy!

I'm disappointed they didn't leave it Super 35 and just stick to the MFT mount. I'm guess others that have invested in panasonic glass may be having the same reaction right now...

So this looks awesome. Any chance of a lower specced version at $4k?

With a completely new Super 35mm sensor, the Panasonic EVA1 has just been announced at CineGear Expo. The EVA1 is a compact version of the Varicam digital film camera. Read the full article

Great work @BTM_Pix On the GH5, maybe we could unlock that 400Mbit 4K mode ahead of time CineLikeD on the GX80 is a great start.

The latest C300 II firmware has an option to completely disable NR, and thus no more ghosting/artifacts. I've always liked Varicam footage, however I'll need to review this video in more detail when I have time. In a quick scan I didn't see where the V35 looked significantly better (on a technical or aesthetic level)- which time segments did you see this? I'm confident if I had both cameras at the same time (we have C300 II) I could make them match pretty well (I think even the GH5 Vlog can be filmic with a little post work). The big issue for us for these cameras is AF and native EF lenses (EVA1 has native support but no video AF (yet?)). For non-scripted shooting especially without a (great) AC to pull focus, DPAF-level AF is super useful. If the shots aren't in focus, especially in 4K, nothing else matters. We considered getting an Alexa Mini, which is arguably superior to all these cameras, except it doesn't have AF (and when kitted up it's pretty big and complicated).

The price has surprised me to be honest. CVP are saying it will be 'under 8000 Euros', which will be an ex-VAT price. Thought it was more likely be a bit above the BM Ursa Mini Pro level and certainly not to be more than the new Canon. Its not that its particularly wildly expensive for what it does but I just thought they'd be more aggressive. Sony and Canon are the safe bets for most people in that price bracket so I'd have thought if you were going to take them on it would make sense to at the very least be a few quid cheaper rather than more expensive. Seems to me that someone looking to take a chance and go another way from Sony and Canon would be more tempted by the Ursa Mini Pro now? The other surprise is the mount. I just don't get the mount choice when you are an actual manufacturer of a wide range of MFT lenses and the users that you want to bring up to this new level of camera all own those lenses and all of the adapters to convert anything to that mount, why would you NOT put that mount on it? JVC have already shown what a great combination the Super35 sensor with the MFT mount is. (By the by, JVC actually got their firmware update out a day late this week but I haven't had chance to put it on yet.) I just do not understand it having an EF mount as a real benefit to anyone other than, erm, Canon. Who will now win whichever of these two cameras that you choose.

Its always entertaining to scroll through dreamy wishlists here

Yep, totally. Canon C line seems to always overdeliver compared to the spec sheet. The footage will tell the tale, as it always does!

@Kisaha US prices are $5999 for the C200B and $7500 for the full kit... so I guess 5300 and 6600 euro respectively... give or take. I would love a C200b. A small 4K monitor and my Nikkor lenses... yeah I could dig that. I may rent one next summer... I'm sure they will be reserved until then. I guess I'll just deal with ML Raw until then.

The C200 is in reality a crippled camera that aside from raw (and let's wait and see how well/badly it is implemented) has a shitty shit shit codec inside it.

Yup, that's the major "if" at this point. I've learned not to trust paper specs. The proof is in the image.

Haha, what´s up with the skintones of these two guys?

That's good to hear. Definitely keeping an open mind. I've got a big four month job coming up that will finish in the fall, leaving me flush with cash for a new camera this fall. PS -- my very first camera, when I was a teenager, was a Panasonic SVHS camcorder.

I was pretty excited that the C200 was offering compressed RAW, 15 stops of DR, and solid color science. buuuut there are a lot of compelling specs in the EVA -- 240fps in 2K, even in short bursts, would be fun to have. If they can truly attain Varicam color and 14+ stops of DR, i might be tempted. But I worry that 400mbps won't be enough. That's half what 10 bit ProRes 422 HQ would be at DCI 4K. Anyone know the crop factor for the Varicam line? I know, I know, screw crop factor. I only ask because I want to calculate the widest taking lens I can use with my anamorphic set. Canon Super35 is 1.6x. Not sure about Panny. 1.5x maybe?

Idk, if I were a GH5 owner I think I'd be pretty damn happy right now... by the end of August's FW update, for more than half the price, you're getting the same 400mbps 10bit with 5-axis IBIS.

Shot this last weekend. Mostly in to 150 fps. Some shots were overexposed, but you get the idea, it was very sunny and hot. Used a DEC lens regain, Sigma 18-35 and Canon 85mm, shot mostly handheld with stabiliser on. Two shots are twixtored. Straight from the camera the Rec709 is awesome, period. I added an osiris lut to pop some colors.

Believe me, I know. I'm working on a few Netflix series now and YouTube and Hulu series, too. (Well, not at this very moment but this year.) Netflix is pickiest about cameras. YouTube will accept 4k Alexa footage and most of their content is shot on 4k-upscaling Alexas. Netflix won't accept Alexa footage so I'm mostly seeing Red and F55 and I think there's some C300 Mk II mixed in, too. My preference would be Alexa but it's their choice to make. But yes, they'll buy rights to anything even if it's in 1080p, even if they later release it as an original. I'm only saying that at the low end of the industry where I work, only Netflix really cares about 4k, and even they will accept 1080p content for their originals (if used sparingly or if a show or movie is produced before they acquire it). I don't think that changes too much until you're working on tentpoles. The features I work on are all 2k DCP deliverables even if they're shot on 4k. I guess my only point is, if you need 4k, you will know, because your clients will tell you before you roll a frame of footage. So speculating about it is a bit foolish. Whoever needs it knows they need it from the get go.

Sorry to hurt your feelings. The GH5 looks like homevideo unless you filter it a lot in production and post production. If the EVA1 looks like the GH5 I will buy the C200 with it's unprocessed RAW codec, which won't look like video since it's unprocessed. If the EVA1 looks like the Varicam LT/35/HS I will buy the EVA1, since the Varicam LT/35/HS look like organic film since their lack of internal processing like sharpening, NR and what so ever, and of course it's 10 bit internal codec which will make editing and storage easy. And I agree, if this is the case, no manufacturer, not even Blackmagic, can compete. You can easily see the ugly processing the C300 MKII does in the ungraded footage. The Varicam looks like organic film while the C300 MKII looks cheap and processed (the original C300 was way more filmic). The C200 will provide internal RAW, which hopefully will be unprocessed. I see no issue here honestly. And we still don't know how many parts of GH5 technology the EVA1 will be made of. I honestly hope, none. After watching the full comparison I can say: - Canon color science doesn't even come close - DR on Varicam as well as highlight rolloff is amazing, shadows are way cleaner, the C300 MKII looks almost like the GH5 in highlights... - Ghosting and electronic grain on the C300 MKII in dark and low contrast areas.

I was five seconds from walking out of a store today with an A77ii. So I get where you are coming from.

I've been searching for Varicam vs C300 comparison videos to get a sample of how the EVA1 and C200 might compare. Will say this. *IF* Panasonic can pack the EVA1 with their Varicam color science, and maintain 14 or 15 stops of DR, I'd choose that over the C200. Like Mercer, I love shooting RAW, but I'm fortunate that I've got an Odyssey 7Q+ already and am sure that with Mitch Gross involved, Convergent Design is one of the first companies that will have an update to capture the EVA1's RAW output. But more important than that to me are color and dynamic range, and I'm keeping my fingers firmly crossed that Panasonic will deliver.

I could be wrong but I tried changing setting in the camera for storing Custom settings, and I noticed that, maybe, Panasonic has changed something. Cause while the camera does engage CinelikeD, the message comes differently, I think, now. Maybe it still happens, just that the handshake doesn't yield the same results (solely in terms of message on the browser). But everything does seem go happen.

Interesting idea but I have too much invested in EF lenses to make the switch and with 2 very nice higher end EF mount cameras just announced that investment seems very wise and future proofed. Shame that Sony are not upgrading the A7r2/S2 interface software and likley waiting for the mk3 versions but can just about put up with the ergonomics of the A7r2 now that the camera is delivering such amazing image quality through your EOSHD profile!

Guy's,it's been over an hour I'm trying to connect gh4 with image app...I don't know wtf is going on,but there's no way I manage to connect...I tried NFC...with qr code..WiFi direct...restarting both phone and camera....no fu@*ING way to connect....it has been a while from my last attempt to connect but everything was ok then..don't know what has changed....something that I've never seen again,is that all of the times there was a message popping up,that said I had to connect to www.panasonic.xxxxxxxxx to verify...I tried both yes and no...but same result..no connection....

I was thinking more FS5 and C200 (though if it is at the 8000€ mark then the FS7 even with external interface and recorder isn't that far off) but completely take the point. Ditto the mount as well actually. I'm viewing this from underneath rather than above I suppose. Cheap varicam rather than what was expected it might be which was an upscale lensless version of the DVX200. I still think the LS300 has shown that the Super35 sensor with MFT is a viable proposition but as its been a commercial failure then no one would be using it as a blueprint for success! They could have had the Super35 sensor and the MFT mount though. But as my reply above its probably not what the market they want it to be in wants is to have so I've completely misunderstood where they were going with it. I remember how gutted I was when BM released the MFT version of the BMCC and how much of a more flexible solution it offered versus my EF mount version so I'm still bitter !!

It's cheaper than both the FS7 and the C300, and it overall should give a better image (and better specs, in general) than an FS5. URSA Mini Pro is still a bit of a gamble IMO. I'm still not convinced by the BMD image. I attended the launch of the VaricamLT and it was expressed that EF mount is what most professional users want, if not PL. They did a lot of market research, and the VaricamLT has an interchangeable EF/PL mount. The GH5 and Varicam lines are two quite different lines. To really be competitive, they were going to have to make a S35 camera, and MFT is simply not that. I mostly question the timeline: it seems they really wanted to get the jump on Canon. Why else would you release incomplete details of a camera (you don't even know yet what the Dual ISOs are...???) and without footage? Sony, Canon, RED, all release some sort of official footage when releasing a new camera... and I can't imagine any of them releasing a camera without an idea of what the native ISOs are..... I wonder if maybe they were expecting the product to be at completion by Cinegear, but some unforeseen circumstance has kept that from being the case, but they'd committed to releasing details of a new camera... I just don't quite get it. The camera looks great, but how will we know until we see some footage..?

tagged/me ????

Want. This might be my next camera but I'm spending way too much money on food and beer. :/

I will definitely go for a C200, is the perfect camera for me, the DPAF is a must now in my shooting style, and 15 minutes of internal RAW is more than enough, with a NPR loaded with 400ft I was just getting 12 minutes, so here I am getting 3 more, just fantastic!!!…..and I feel your pain @mercer, we will have to wait some time to get this baby, if some business go well probably I could get one early next year, otherwise, 4-5 more years

It also doesn't look like there's a viewfinder?

Thanks for this, I'll get on to it when I get back next week.

Hope I won't loose my vlog-l,eh? :-)

It needs to be on a camera, if you've still got a GH4? If you can get it on to a camera then if you then connect to it with the cinelike D html file and send it the commands as per my posts further up to get what it sends back that would be a big benefit.

The DSLR filmmaker community is funny. It's like "Gimme 8bit proxy, 10bit, RAW, Canon colour science, Log, 4K, IBIS, DPAF and HFR in one package, in A7S form factor, max 2500 bux. I need a silver bullet that covers all cinematography and videography scenarios but make it cheap because I'm not a pro and want to shoot flowers/cat in my garden with it. Also has to shoot on SD cards because Cfast is too expensive". There's no silver bullet for everything in cinematography. Every camera body and ecosystem has its compromises. You can hold out for the perfect dreamworld unicorn camera, or you can pick up one that fits your shooting style and then actually shoot something. Also, the C200 looks awesome and exciting - and daaaymn, official 4K RAW on an affordable Canon frame, without the unreliability of hacking stuff. Had I not sprung for an UM4,6K recently I'd be throwing my money at the Canon.

Hey Jon, not to be contrary, but I've always followed Noam Kroll's suggestions for CineLikeD... Con 0, Sharp -5, NR -5, Sat -5. Now he actually prefers CineLikeV in most instances, especially outdoors in bright sun and in CineLikeV he flips Contrast and Saturation, so Con -5, Sharp -5, NR -5, Sat 0. never really tried CineLikeV because I was always pleased with his recommended settings for CineLikeD. I also always underexposed CineLikeD by a 1/3 of a stop to dead center. I think @kidzrevil said he read the Panasonic white papers and that's what they suggest for the curve as well. If you use zebras, I would think 85-90% would probably be a better setting. I am not a fan of ETTR for 8bit footage. Too much info will be blown and the contrast curve will be out of whack. Of course if it works for you, then who am I to say.

Well it was never going to be a low light monster but I can let you have ISO50000 now if you want it as well Top ISO6400 (max for video) Middle ISO25600 (standard max for stills) Bottom ISO50000 (modified max for stills) It still reports it as 25600 in the exif funnily enough. And it doesn't display it onscreen either, just like it doesn't with the Cinelike D So there seems to be a mismatch between the values it writes in the metadata and displays on screen with what it can actually be made to do. This is very potentially very interesting regarding a bitrate I thought I'd persuaded it to do earlier......

No, its easy and it does persist on switch off. But that can be an issue as once you've enabled it you then needed to then use the wifi to go back to the other profiles. And when I say 'you then needed to' I mean in the past tense as I've worked out a way to make it permanently switchable in camera using the C functions so you dedicate one of them to being Cinelike D and you must have one of the others set to Standard or another one of the profiles so you can switch back to them otherwise you'd have to use the wifi. I'm working on something that will be quite the useful little standalone gadget for these Panasonic cameras but for now it can be done using a laptop or phone. I do have an LX100. It currently does 'something' and I just need to work out why that 'something' isn't currently the 'something' we want it to do.

@Andrew Reid Hello Andrew, not sure you're right when you write :"It’s just a shame Windows users aren’t so lucky. The transcoding apps suck on Microsoft’s platform and ProRes is an Apple codec". I made editing on my Windows 10 laptop with Davinci Resolve 12.5 and i work with Prores video files without the need of Quicktime 7 Pro (obsolete now) . I transcode mov H264 files from Canon EOS with ClipToolz convert, a robust well fitted video trancoder to get HD Ready smallest files in Prores. And i own other transcoder apps with ProRes output file option. There is a free trial version od ClipToolz 4.0, and they have a bunch of high quality freewares ! It could be nice to correct your news for your followers working with Windows. CLIPTOOLZ 4.0 (PROFESSIONNAL VIDEO CONVERTER FOR WINDOWS) http://hdcinematics.com/why.html http://hdcinematics.com/ FREEWARES from same company http://hdcinematics.com/freeTools.html Best regards.