Fritz Pierre

@jax_rox...I only own 4 Panasonic native lenses...and I bemoan NOTHING...I'm expressing why this mount and camera means nothing to me...please refrain from inferring that you have any idea of my intent with my equipment...you don't....I am expressing my point of view re why this camera does not suit me with an EF mount and I don't give a fuck who Panasonic targeted with this camera...but it's not me...and as for the value in being able to adapt a multitude of lenses to one system....plenty of forum material on the internet.

Exactly!...lol if I want to shoot a feature with either of these to cameras now, I'd be better off buying the C200 and shooting RAW internally...and I've been shooting on Panasonics since the DVX100....way to go Panasonic!! Because a Varicam is 27000 unless you just want to buy it and sit and stare at a very expensive paperweight...these cameras are very far apart in every way...they may call this a Cine Camera but starting with the push button lens release on the mount the resemblance stops there...at least Panasonic was generous enough to include 2 bolts for their top handle as where Canon could only afford 1 lol....though initially very curious, this camera is not for me with this mount!

The mount choice and sensor size have nothing to do with one another...the relevance to everyone, you included if this camera is of interest to you, is that if they used an M4/3 mount on a s35 sensor , the camera could have adapted any and all lenses including cropping to M4/3 and S16...please see below if in doubt. As for the professional EF mount on the EVA...why no locking ring...it's a DSLR style lens release button...the only action this "Cine Camera" will see in it's current incarnation will be weddings, Corporate interviews and run and gun....any idea of the cost of a Canon Cine Lens...lol...the lens will be 3 times the price of the camera...I collect lenses....not cameras...cameras come and go...for me personally the EF mount is dead as a choice @AndrewReid 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. Why does the M4/3 mount have to be synonymous with a M4/3 sensor....it does not, as JVC released exactly the same iteration in a camera in 2015...with a variable crop sensor...people invest in a system for years...the pro range mount is a hollow concept to me...the only place pro belongs is behind the cameraI...one could shoot a feature on any M4/3 GH or whatever camera...I would choose a Varicam style camera for the rigors of production and form factor...The EVA with EF mount...lol....I don't think so!... https://www.bhphotovideo.com/c/product/1096581-REG/jvc_gy_ls300_4kcam_handheld_s35mm.html/printPage/N?c3api=2572%2C138045322040&gclid=COmt-9qapNQCFQFDhgod3kcFFQ https://www.bhphotovideo.com/bnh/controller/home?O=ProductDetail&A=showItemLargeImage&Q=&sku=1096581&is=REG been around since 2015....Matias on this forum owns one.

Curiously people keep confusing a M4/3s sensor with a M4/3s mount....if I had to change all the mounts on my legacy glass using something like Leitax mounts to adapt to EF mounts, that alone will cost me over 2000 and then I lose the ability to squeeze a GH5 into a tight space for a car interior or grab a quick handheld IBIS shot....for me the negatives with this mount are considerable...If we acquired the Varicam for a feature, production would buy a PL mount and I would rent Arri masterprimes and shoot BCam on the GH5 in tight spots...so the mount on the EVA for me is a dealbreaker...in all other ways it makes the C200 look like a badly thought out joke to me!! Alonso curious about what so many Canon "color science" lovers are doing in the Panasonic thread lol???....not enough excitement going on in the C200 thread...this feels like the GH5 all is revealed thread starting anew....probably deep down everyone loves Panasonic and is looking for a group intervention to bring them around!!!?????

+100 here ....you said exactly how I feel perfectly...this camera might have gotten my money...instead if I do a project I have in developement, I will go to the Varicam LT instead....I own far too many lenses to mess around on an EF mount on this camera...perhaps Panasonic will pay attention and add an optional M4/3 mount...and I'd like to see a professional locking mount instead of a DSLR push button release!

Agreed...and better to keep the price lower, and allow those who want a EVF to purchase the one they want, and rig appropriately for shoulder work....plus at Varicam level, focus is even more critical and unforgiving, so a professional quality EVF would be the order of the day with the EVA...Panasonic may even release a budget version of the Varicam LT EVF (which is one of the best in the business albeit at $5000+) Agreed...this alone will keep me away from this camera...unless they develope it as an optional mount instead of the EF...like BMD did on their first Cine cam

Guarenteed read/write speed of 30 Megabytes per second=240 mbps...this is probably a more important designation ont the card than the 95mbs read write speed...I would format the card in camera and test extensively before your shoot...something like rippling water in a fast flowing river for example, to stress the codec in the camera.

+100 lol!...my favorite post of the day so far??? seriously though....pretty amazing clip....he posted a screenshot on flicker too...very impressive!

Nice clip of the moon shot on the GH5!...as long as you can live with the harsh highlight roll offs?????????

@tugela posted earlier that the 10bit is a hardware, not software issue....

Agreed...and I was actually just expanding on your point of how rare 4K requirements actually are, but I would not buy a non 4K camera today unless it was a used Alexa classic, a F35 or F900R...the 3 Cine cameras that are positively droolworthy...still I'm reading more and more about clients asking about 4K delivery and this is bound to increase...

Netflix streams plenty of content that was delivered in 1080p...If they produce though under the Netflix label, they do not just require 4K content, they actually have a list of cameras that are approved for their productions...probably does not mean you can't use a 4K hybrid sneaked into a car interior etc.....virtually everyone uses smaller crash cams...I'm sure the brunt of a series they produce has to be shot on a camera they specced as suitable...and as Netflix want to be producing around 50 percent of their content over the next couple of years, this makes total sense....especially as they become or are the biggest studio in the world and 4K TV's have already been out for a while.

I would think this is exactly @Jn-'s point....

The RED one is a heavy camera too, and though you can get a deal on a package, the tripod and any other support gear, will already blow past your cost for a UM4.6k...then if something fails on the RED, you're now quickly into into Varicam LT territory...buying the RED is like buying a Mercedes when you only have the maintenance budget for a Toyota...and in the end only 9 stops of DR, so you'd have to factor in cost of lights, as you mention you own some old beaten up ones. The 4.6 K suddenly starts looking like a bargain!

+100...Elequently put!...Its impossible to evaluate how hard these people work on this kind of show, unless you worked on one...or a film...or a commercial with a budget for instance (I'm not meaning to be pedantic in stating this so please don't take it as such!)...a good analogy I can think of is how it is impossible for people to understand how much work parenthood is, until you have your first child!...you think you have an idea, and then the child comes and you realize your time is no longer your own...EVER...this is the same....whether it's frustrating or not, when you reach the holy grail in this art form be it a series or a feature, you either pull your weight, or your first shoot day will also be your last!...in this business, literally the only security you have is your talent, your work ethic and the ability to not make any mistakes of consequence, regardless of your role in the production...and the higher up the food chain you go, the tighter the noose becomes...not everyone wants to direct...just like not everyone wants to be president of a country...few are uniquely suited to handle the kind of stress directing anything comes with....and I'm not talking about non budget projects with friends here...the job comes with the final responsibility for every decision when something goes right or wrong, while a $150,000 + per day crew is looking at you to make your next decision!

??perhaps my favorite quote of the day!

I guess that's how Mel Gibson got best director for Braveheart lol...anyway...I get the frustration though!

Not her debut...she's directed episodes of House of Cards too...and with Fincher as an executive producer she definately gets good advice...the reality though is, she has a lot of time on set...and that experience goes way beyond filmschool...it's easy enough to dismiss them as rich, but at this level you need talent...Netflix doesnt just "give" you an episode or two to direct...having said that, the last season bored me, but no mistake, this woman is talented.

@Alt Shoo...I looked at the very first clip they released...which I liked...and then started hearing rumors of a different sensor used after the clip was shot...at that time the camera was around 10k...and then the complaints about very low DR started coming in....I liked the form factor purely from a Cine style camera though...I like what Panasonic does with their cameras though...the KineMax was really the only other camera I considered...but you could get a Cion for next to nothing now...and as with all cameras, the negatives are always never ending...I would advise if you were considering it, to find one to rent...maybe it's a sleeper....we tend to blame cameras far too much these days...there's a great Cooke Masterclass series where Ridley Scott's DP, Mathieson talks about how he shoots battle scenes and the Fstops that are practical and how they solve various problems...the word camera never comes up in the discussion lol...the Cion may well be a camera you'd love...B&H lists the camera for $5000 and specs it out at 12stops....go figure??....link below...the camera I really want is the Varicam LT ?? been lusting after it for over a year, but it would have to be bought for a big project that would pay for it in lieu of renting! https://www.bhphotovideo.com/c/product/1044863-REG/aja_cion_4k_uhd_and_2k_hd.html/?c3api=2572%2C113041916107&gclid=CMXhusbpmNQCFRBahgodKaUBCw

I looked at the Kinefinity cameras...though I have to say I preferred the form factor of the Kinemax...ultimately any questions I had were either only partially responded to or not at all...and I was inquiring as a potential buyer....after a while I decided that buying the cam would be too risky to me and let it go....perhaps with a US distributor I could have gone that way...I found the image lovely though...truth for me is there's probably a large number of cameras I could use...with a professional colorist, good DP and gaffer, any number of cams....even inexpensive ones could yield a lovely image...when you're shooting a wedding or a feature or television series...and have to get the shot, the Kine camera would made me nervous....especially after the communication in my earlier enquiries.

Thanks Mercer...though still a long ways from paradise??...though if we don't plug away and dream, we'd never get anything done in the first place...there's certainly no longer any shortage of tools to get the job done these days!!

I agree...if I was shooting something alone I would never be out there with a Cine cam of any kind, nor even a rigged out a DSLR style cam...the more low key, the less chance of getting hassled... by police or robbers for that matter...also I should have included IMO in my previous post, as it's all just speculation on my part, as to what Panny will do with this camera...I am working on getting a feature into developement plus have a book optioned (true story) that would make an amazing series on Netflix or Amazon...I would not be a target for this cam either, as if my projects came through, I would opt for the Varicam LT, as it would be perfect for my purposes and already approved for shooting on, if Netflix produces your project. Yes...but it's probably just a rendering...remember the Craft Camera...I think Panny posted a picture, that they knew would stir lots of speculation...the reason I'm hoping for a locking m4/3 mount, would be that then you could adapt anything and if the s35 sensor cropped to m4/3 and s16 as well as it's native s35 you would have an extremely versatile mount that would also encourage the purchase of Panny lenses, which makes sense for Panasonic business wise....anyway...they're certainly getting a lot of mileage with a rendering and a few forum threads lol?? Agreed...the event is streaming live on their FB page on Friday at the Paramount Theatre...against my better judgement I'm so sucked in by now, I'll be compelled to watch...I'll post the link below in case you're interested. https://www.facebook.com/events/1800044130310599/

@mercer...you are right in what you're saying and I understand your choice with the 5D and the image that shooting RAW with it gives you access to...but that's not really a question Panasonic will be trying to address with this design...from a business standpoint you are not their target...you call yourself a hobbyist and you can spend a year or to shooting something that's lovely and as you self fund doing something else, that's OK...but people who are actually going to be spending somewhere between 6 & 12K depending on its base price and how it's configured, will have to earn money with this camera...unless they are Trustafarians, in which case they can probably get a used Alexa or an F65 or a Varicam...not even the Varicam LT records RAW internally and Panasonic has already stated that they would not obsolete the Varicam line with this camera...so regardless of all our personal needs and wants in a camera, Panny will have to make the best business decision for this cam as a company. Doubt that they have accurate info re this camera...Mitch on DVXUser is now working with Panasonic and their Cine Camera line (previously with CD recorder monitors)...the only info from him was that by the time he came on board, the camera was already in full developement...the rumor may be right...a guess based on the picture and the Varicam but at best it's a guess....I'm still guessing s35 sensor with locking m4/3 mount ala LS300.

Agreed...but one of the benefits of a crew is you control the DR of the scene with lights...the first RED had at least 2 to 2.5 stops less DR than the GH5, and I don't know the DR on The 5D but I presume it's at least a stop North of the GH5...maybe more?...but when you look at what Fincher did with the first RED...he and Soderburgh starting using them immediately, one sees the difference. Of course when you have no or a very low budget every extra stop of DR goes towards helping you get a shot that you'd miss without it...when a top notch DP and his Gaffer starts truly painting with light though, the difference is amazing...

Yes...Arri's creamy image is not the only reason why so many get used in feature films...that they are built like tanks and keep working day in and day out, is also part of that equation...if you put a professional camera dept on Dslr style cameras on a properly designed and lit set with wardrobe and all the bells and whistles and a DP who hardly operates...a first and 2nd and depending on the size of the shoot even a 3rd AC...in other words the same treatment and expert crew the Arri gets, be the Dslr a Canon or Sony or Panasonic, and then properly treated in post and by a colorist, the results would be very close...what you get with the Arris is zero downtime...a big part of the choice in that camera goes beyond image. It's about the cost and how an unreliable or sufficiently robust camera can make or break a shoot. @Tim Sewell Excellent point about bulk buys for TV stations or learning instutions...one can probably add rental houses to that equation too...and more importantly...the choices DP's make re what cameras to use when shooting with a $100,000 a day crew...the numbers tend to radically alter the choice.