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If you're working solely by yourself (never on other people's productions) say as a wedding videographer or small in house corporate productions, then yes getting say an EVA1 + S1H + S5mk2 (for when AF is critically important, say when shooting solo on a gimbal unpredictable content) would be a nice little package to have! Of course it depends a lot on where you live, and what kind of markets you work in (narrative vs doco vs sports vs commercials vs whatever can all have very different preferences. Likewise low vs mid vs high budget tiers can have different preferences too. Ditto what's popular in Berlin vs Vancouver could be quite different) but generally speaking if you're looking to work quite a bit as a Cam Op / Second Shooter / etc it would be rather foolish to pick anything other than a Sony. With a very strong preference for going with the Sony FX6, maaaybe the FX9 depending on your market niche and/or budget. (some people might even be targeting the Sony BURANO, such as this guy who just posted about it this week: https://www.youtube.com/watch?v=91_psSssbGk&ab_channel=CrankyCameraman As that what makes sense for his market and the work he does) But if on a very tight budget, and the FX6 isn't viable, then go with either the FS7 or FX3/FX30 instead. If for perhaps you hate Sony and your joy is more important the $$$ in the bank account, or maybe you are targeting a niche where Sony isn't so big & relevant (say narrative for instance) then you can think about other non-Sony alternatives. For instance if you're trying to break into the narrative world and make it as a DoP (or you've already "made it" as a DoP, and you can work on productions where you can use whatever cameras you wish and are suitable for the shoot. As they've got the rental budget for it. But you want a smaller cheaper "personal camera" for yourself, so you can bring it along to passion projects you're shooting that you wish to help out) then I'd be seriously considering non-Sony cameras such as the Blackmagics (any of them) or the RED Komodo (or older cheaper models such as the RED Raven or RED Epic / Scarlet) or an older ARRI Alexa Classic (or perhaps the AMIRA). Maaaaybe the BS1H would get a consideration.

I personally have never shot with the EVA1. Have worked on a TV Series where the EVA1 was fairly regularly used as an extra camera. (their day to day usage was shooting with 3x Panasonic Varicam LT Every. Single. Day. That was a joy for the Sound Dept!) Any time a fourth (or even 5th!) camera was needed then it probably was going to be an EVA1 ( think sometimes they could get their hands on 4th Varicam? But wasn't that often during the reason) Also worked on a handful of various no/low/mid budget productions (shorts/commercials/etc) where an EVA1 was used as there was one DoP around here who used to own an EVA1 who I'd semi regularly work with. (he sold it off a couple of years ago? Uses a RED Komodo now. These days I honestly could not think of even one DoPs who has an EVA1 here locally) So yeah, worked in productions using the EVA1 a fair bit, but in the grand scheme of things it was quite rare. I think the Panasonic EVA1 was sadly dead on arrival when launched. As it came out waaaay after the FS7 was already on the scene, thus even though the EVA1 was arguably "better" than the FS7, it was just way way too late. The FS7 was already entrenched in place. Heck, Canon had even already launched the C300mk2! Thus the EVA1 was put squarely in at least 3rd Place (arguably even 4th Place, or worse. As the Blackmagic URSA series attacked hard the no / low budget section of the market which was non-FS7). Here is the niches where the EVA1 still makes sense in 2024 (but only if you're buying it bargain secondhand prices. Would be crazy to buy it brand new!!): 1) you don't need to ever worry about working with productions that use Sony shooters (say for instance if you do everything about a production in house yourself, and not working as a freelance Cameraman For Hire). Has not having a camera compatible with the #1 brand puts you at a big disadvantage (or heck, at least have a camera in the top five! Sony/ARRI/Canon/Blackmagic/RED) 2) you work in a weird little niche where somehow strangely Panasonic has clawed itself into the top three market share or better. As I'm sure there are little pockets of the filmmaking communities where you might find a large handful of your buddies are all shooting Panasonic. (for instance here in NZ if I was not a PSM but a Cam Op / DoP who was tight with Producers / Directors who work all the time 24/7 with SPP, then maaaybe I'd consider picking up a Panasonic EVA1 as maaaaybe it could pick up a few rental dollars here or there going onto those productions which I'd already be working on) 3) you stubbornly ignore all those factors above (or you're lucky and they don't apply to you) and you really want the power of a FS7/XDCA (or F5) but in the smaller form factor of a FS5 body (and/or you don't like "the Sony look") but you can't afford a FX6. (and for whatever reason, you're a Canon hater, so the C300mk2 is ruled out) Then the Panasonic EVA1 is perfect for you! 4) or you already own a Panasonic Varicam, and you need a smaller and/or cheaper B Cam. But you don't want the rigging hassle of a S1H/BS1H. Then the Panasonic EVA1 is perfect for you! 5) you're a S1H/S1/S5/etc shooter and you really really really want built in NDs (or SDI out, or BNC TC, or whatever... but don't want the BS1H). Then the Panasonic EVA1 is perfect for you! 6) you're a contrarian with a conspiracy minded bent. And it was either this or a ZCam/Kinefinity, but you didn't want the CCP spying on you. Then the Panasonic EVA1 is perfect for you! 7) you get offered the EVA1 for free. Then the Panasonic EVA1 is perfect for you! That I think is a fairly extensive list of who I think the Panasonic EVA1 is suitable for someone to get in 2024. Might have missed out one or two niche exceptions, but I think it's quite comprehensive. I hope this year Panasonic brings out an EVA2 with a L Mount (or a MFT mount.... ha!!). But if it happens, the EVA2 will fall victim to the same crime the EVA1 was guilty of: just was simply far too late to market. The FX6 has been out for yonks now (heck, I bet within the next couple of years we'll see a mk2 for either the FX6 and/or the FX9. That's just how long it's been!). And the Canon C70 and Blackmagic Pocket 6K cameras have been out for a good chunk of time too, together with the RED Komodo they've swept up nearly every corner of the low/mid budget market. Only a few little corners left to exist in such as where ZCam and Kinefinity are, or Panasonic's own BS1H. There is very little space left there for EVA2 to take market share, it would have to fight hard for every inch of it. I think Panasonic's best move is not an EVA2, but to relaunch the BS1H (the "BS2H"?) with built in NDs, the AF of the S5mk2, and with the problematic delays of the SDI out fixed that was in the original BS1H. If they can do that at the same price point as the original BS1H was launched at, then they might see some traction they can then build upon. As such a BS2H could be "the poor man's ARRI 35" who can't afford anything close to ARRI prices, but wants: a box format camera, with good color science, 4K, with built in NDs, SDI, TC, and all at an affordable price. (as strangely enough... think about, what camera meets this?? None aside from the ARRI 35!! And Mini LF. Plus perhaps the OG ALEXA Mini if you ignore the fact it's technically upscaled 4K, not true 4K. On a low budget the closest thing otherwise is using a stripped down FX6 body, or similar. Such as C70) But the BS1H is only a little over two years old, so I can't see a BS2H coming out this year so soon. More likely (at least... we hope?? Be terrible if they don't even do at least this) is that the S1H will be updated with the PDAF of the S5mk2, but otherwise no other major changes of note, just general smaller improvements here or there from the original S1H. Then another year or two after that we get the box camera version announced of the S1H mk2. But by that point, it will be too late? As Blackmagic/RED/ZCam/Kinefinity/Canon/etc won't keep standing still in the years to come.

A word of caution about the Atomos/Zoom partnership when it comes to the Connect module for the Ninja V is that it doesn’t work. I got the Connect in a bundle with the AtomX Cast so it wasn’t a massive financial hit but it’s annoying nonetheless as I was looking to it to provide sync of my Zoom recorders when recording ProRes RAW. Needless to say no firmware update has been forthcoming. Which brings me to the second note of caution about their alliance which is that the new Atomos branded UltraSync Blue does not work with my Zoom H3VR due to the same Bluetooth incompatibility with their new chipset whereas the original TimecodeSystems ones do. My F2BT and F3 with the BTA-1 module work perfectly with it but it’s a no-go for the H3VR and, again, needless to say no new firmware has been forthcoming to resolve it. It was interesting to see earlier in the week that FujiFilm are releasing a firmware update to allow the XH2 and XH2S to join the Nikon Z8/Z9 in being able to receive timecode from the UltraSync Blue and hopefully Panasonic and Sony might join in to give the option to use their generally underutilised Bluetooth ports (for video at least) for something useful too.

If you haven't done it already, I suggest you do a test to see how much you can zoom in post before it becomes visible. I did this test and was able to zoom to 150% without degradation. Here's what I recommend (and I did): Get your sharpest lens Find a subject with sharp edges / textures Put high contrast lighting on the subject, so the edges have maximum contrast Setup up the shot, be sure to stop the lens aperture down 2-3 stops from wide open so you're in the sharpest part of the lens Take one shot from this perspective Move the camera a bit closer, refocus, take another shot Repeat 6 a few times In post, take the first shot and crop it to roughly match each subsequent shot For each crop, go back and forth between the cropped and normal shots, and add sharpening to the cropped shot until the overall level of perceptual sharpness is even Apply a colour grade across all the shots Export / upload the footage how you would normally deliver Compare each pair of FOVs and see if that level of crop is acceptable I've done this test, and I've seen others do this test too, and the results are surprising. I've also seen a bunch of morons do this test but without applying sharpening, then when the sharpness didn't match they declared that they needed the extra resolution - talk about embarrassing yourself in public! Of course, this test is grossly unfair, as in real shooting it takes a much greater difference to notice, and what is visible on the timeline is often not visible in the export (and is obliterated in the stream...)

Yes (as the main audio - I'm just using it for amateur outdoor documentary stuff). It's the 32-bit float that is the attraction, as it makes audio input level adjustment on the recorder something else I don't have to worry about. Same reason I normally use shutter-priority auto exposure for video - it leaves me free to concentrate on framing and holding the camera still (or moving it smoothly). Yes - I want stereo ambient sound but the VP83F is mono super-cardioid (and somewhat larger in size). I prefer a 90 degree X-Y cardioid stereo configuration, as that gives me the sound-stage width I prefer. I often use a Tascam TM2X stereo on-camera mic (without the extension arm!) as the size versus quality balance of that works for me. I've tried others over the years (both mics and recorders) but that's the one I keep coming back to. What would be really nice is a mirrorless ILC camera with 32-bit float audio support...

Don't forget his father too! (or was it an uncle? Man, was a few years ago, I'm forgetting all the juicy details!)

Sounds like a package of Panasonics are perfect for you right now! Ah this is the problem then, what is right for you "now" isn't right for you now once you consider where you want to be in one, two or five years time. Meh, if you're shooting low budget stuff with mirrorless cameras then just punch in anyway then still use it in your timeline for an upscaled 4K export. Nobody else will notice or care, other than you being extra hard and finicky on yourself. As yeah, in the Sony world you'll need to spend at least Sony FX9 money to get yourself a 6K camera. Although.... the Sony FX30 does record to ProResRaw 4.7K, so if you just want "a little bit more than 4K" that might tick the box for you. Get the FX series cameras and you'll have TC support. (FX30/FX3/FX6/FX9) Just because a camera has great autofocus doesn't mean you have to use it all the time. If I got an FX30 I'd certainly be using the great autofocus on low budget videography jobs but then when I shoot a short film / music video with it then I'd be stealing/borrowing/begging a set of anamorphics for the day. Plus when Sony was #1 for the low/mid budget productions back just before I started, back in the era of Sony EX1 / EX3 then it wasn't #1 due to autofocus. When Sony slipped down to and held strongly the #2 position during the C100/C300mk1 vs FS100/FS700 era (& sort of F3 era), that had kinda almost nothing to do about Sony's autofocus performance. When Sony regained the #1 crown for the low/mid budget productions in the FS7 era (and kinda FS5 / F5 era, they played their part too) that also had nothing to do with their autofocus performance, as it had terrible AF (almost "none" for all practical purposes). Likewise, Sony is still #1 today in the Sony FX Era not purely due to its autofocus performance, but due to all the other factors being the primary reasons why. My suggestion is get the cheapest a7 you can get away with. If it's an original a7 secondhand, then fantastic! (I dunno how important stills are to you, and how much of your work you do as a stills photographer. If it's major, then of course you might need better than an a7mk1! Or is the a7mk4 a body you already have?) So that you've got as much cash free to get a Sony FX6. If you have any budget still left, then get one or two Sony FX30 bodies, otherwise just get it as soon as you can. Having an FX3 by itself as your "best" camera still unfortunately puts you in the same general category as someone shooting with say an a7mk3 or heck even an a6100 shooter. You get viewed as a mirrorless/hybrid shooter. Sure, you can pick up low/no budget shooter jobs as a second videographer for weddings or little short films or whatever. But if you want to have a shot at breaking into the more professional low/mid market, then an FX6 is the price of entry. (or at least say an FS7, although that's becoming rapidly old and irrelevant) Do however consider if you've got the right body of work / showreel / connections to have a real shot at making it up to that next left? If not, maybe buy the Sony FX30 bodies first. Then in a year or two get the FX6 (especially as they'll be even more affordable secondhand by then), and just rent an FX6 until then if you need it. Indeed it is you to a T! If the EVA1 could take photos would you get it?? 😛 🤣

First, thanks for the three replies. You do seem to have a pretty good grasp of the current camera situation at most of the different budget levels. Yes, I agree with your points. My needs are that MOST of the time I would be a one-man-band doing it all myself. And used EVA1s are fairly inexpensive (around $2,500 on ebay). And the 24-015 f/4 L Mount I use currently on my Lumix S1 and S5 OG is a great lens for product photography. But... I would also want to pick up work where I can as, say, a cam op on an agency job, or as a second shooter at a wedding, etc., and here in California, it is much like the rest of the USA (and probably the world) that agencies pretty much want Sony operators, and wedding shooters want second shooters who shoot Sony, too. (Of course I am sure there are some agencies that want RED or Canon, but it seems most of the agency-originated jobs are going to Sony shooters. Unless I am missing somethign completely.) I don't HATE Sony, and in some instances it would make (much) more sense than Panasonic and / or L Mount. My only real gripes are why they don't have 6K resolution? I don't need to DELIVER in 6K, but kind of need it to cover up jump cuts (the kind of talent I work with struggles even with a teleprompter, so being able to cut to a tighter shot can cover up a jump cut... of course, I have a second camera too). Also, I saw a video comparing an FX6 to the Varicam LT (I know, an EVA1 is not a Varicam LT), and I certainly liked the image from the Varicam a lot more than the FX6: Oh, my other gripe is, why can't they put waveforms on their hybrid cameras? And why no Timecode??? (I got the Deity TC-1 and I use Resolve so I can convert audio timecode to meta data in Resolve, but still, since I suck at audio, I like to have as much redundant audio as possible and using up the audio jack on an a7 IV with the TC-1 timecode is kind of a bummer.) Also, S-Cinetone is trash. And I can't stand "creators" who buy sony because of the amazing autofocus, and then shoot in anamorphics on them. Anyway, so now that I am done complaining, I will probably end up with an FX3 and an a7 IV since I need a camera for still photos (that has a mechanical shutter for firing flash). Heck, Maybe I will even get an FX30 since I still have a handful of Sony aps-c lenses like the 10-18 f/4 and the 50mm E OIS, and about four copies of the 16-50 pwoerzoom kit lens that all suck and I can't even seem to give them away...

You can see what I mean about them not standing still; RED just announced this: https://www.newsshooter.com/2024/01/25/v-raptor-8k-vv-x-v-raptor-xl-8k-vv-x-global-shutter-cameras/ Has all of this: global shutter, mirrorless mount, 8K, TC, genlock, SDI, etc etc etc (you kinda sort of ish "have built in NDs", but not really. As the EF adapter can have NDs built into it, but you won't have the clear ND option. And of course no NDs if working with RF Mount lenses) Yeah ok, the RED V-RAPTOR 8K VV [X] is however a $30K camera. But it will still have a knock on domino effect pushing down the secondhand prices of all the RED models below it. Making it even harder for a future Panasonic BS2H / EVA2 (or Varicam LT mk2) to compete against it. My bad, I totally forgot about the box-ish style cameras with NDs which are: Sony VENICE (all versions) + Sony BURANO Still, it doesn't change my point much, as the cheapest of those is the BURANO at US$25K.

Eva1 might look creamier than the S1H regarding sharpness due to a 100% video focused oplf. @IronFilmhas had some projects with an Eva I think. I imagine the color science to be nicer. But that's in my imagination. Youtube shows that people love the image they are getting out of the Eva but so say S1h users or BM lovers. One guy put it right inbetween S1H and Varicam with the latter giving a true high end image. S1H beats it handsdown in lowlight though from the comparisons I've seen.

I’m going to politely disagree with you there. For video, the S1H is not the greatest for tracking forward motion. Depends on the lens, depends on the aperture, depends on the settings. For everything else AF, I’d class it as good/good enough. Again, with the caveats above. For stills/photo, zero complaints or issues. Shooting sports, well yes, there are better options but I shoot events, hybrid, 2 years with the S1H and it’s my favourite body for this that I have ever used. At no time have I ever considered the AF or said, “I wish it was better”. My only gripe is lenses. Or at least lack of what I ideally need. Yes there are lot’s of lens options for L Mount which if they fit someone’s needs is great. But sadly they don’t provide for mine. EVA1, no experience and not my kind of camera for my needs so cannot comment.

@PannySVHS@MrSMW Yeah, that's all pretty compelling. Thank you! @kye re. point #2: 😂 😂

I'd just go with a used S1H which are fantastic value now. Unless you absolutely must have exceptional forward tracking AF and/or full frame 50/60p, it's an exceptional piece of kit that is a joy to use with stellar output.

Not this again... You were the one that made the case against 24p, so you provide the proof that it's inferior. We understand, from your posts, that you are most likely a teenager or young adult, and maybe nobody has ever told you how the real world works but your claims, statements and wishes aren't proof that 24p is inferior...

60p afficiando can be a medical doctor, these two are not exclusive. lol.

because i may be from cairo too. lol.

you mean that guy who cheated some one here on board? i don't want to sell you my selected cameras. i want to hold them until in my cold hands. lol.

He's from Egypt. A double Doctorate in Medicine 💊

I'm starting from the other end! Video first and adding photos. I've 20 year experience on the video side but started experimenting with photos as well last year. Starting with low budget weddings (compared to my normal weddings) whilst I get to grip with how to do hybrid weddings as I explain to the couple that I'm developing this style of wedding and they are happy to get what they get! The video comes naturally but I need to work the photos! The AF and punch in to focus on the S5mk2 has definitely made it easier.

Being serious, it's mostly 'simply' a case of starting out as a 100% stills photographer who through a process of trial & error technique-wise plus balance of tools used, added X% of video per annum at the approx following rate: Year 1 = + 10% (just static single camcorder on tripod ceremony & speeches) Year 2 = + 20% (as above plus a tiny amount of handheld or other bits and bobs on a tripod) Year 3 = + 35% (adding more elements and volume) Year 4 = + 50% Year 5 = + 75% Year 6 = + 100% Since that time, more refinement/evolution than revolution. The principle skills are probably determination combined with the ability to multitask whilst being prepared for quite a few setbacks, especially financial ones as there is no official guide or handbook, just self-education/experimentation. If anyone really wants to know the specifics, they can book and pay for a workshop. But it ain't cheap. Various competitors have been trying to weasel info for years, but I protect my niche like a cornered weasel myself 🤑😈

Yeah, and she said she shot with baked-in colour profiles for lots of it, and then spent 30 hours trying to colour grade it. The struggle is real!