LOS ANGELES—The second season of “A Little Late With Lilly Singh” on NBC has had to reconfigure its production setup because of the COVID-19 pandemic. Now shooting the late-night talk show at Singh’s home in Los Angeles, director of photography Carissa Dorson is utilizing a mix of Panasonic’s AU-EVA1, Lumix GH5S and GH5 cameras to create a dynamic look while following safety guidelines.

The entire show is shot with three EVA1 cinema cameras, two Lumix GH5S mirrorless cameras and one GH5. Two of the EVA1s are used as the A and B cameras, with the third serving as the C camera for wide shots. 

The GH5S cameras are used for varying purposes, including mounting one on a DJI Ronin-S gimbal and one used for Singh’s monologue, which they call rants as it is done in a vlog style, according to Dorson. Dorson praised the GH5S’ dual native ISO technology and auto-focus capability.

Content is captured in full HD (1920x1080) at 23.98 fps. The EVA1s capture 10-bit 422 ALL-I files, while 10-bit 422 LongGOP is captured with the GH5S and GH5 cameras.

“We did some tests beforehand,” said Dorson. “I was able to choose picture profiles for the GH5S and EVA1s that matched as best I could. On the GH5S, I'm using the standard picture profile with the saturation and contrast dialed down. There are certain segments where we're pairing the two cameras together and to my eye they're matching pretty well. The GH5S really holds up to the EVA1, even though it's not considered a cinema style camera. It looks really impressive.”

Canon CINE-SERVO 17-120mm T2.95-3.9 EF zooms are used for lenses, as well as Lumix 12-35mm zoom lenses for the GH5S and GH5.

During celebrity interviews—with Singh on her living room couch and the guest on a Zoom call—Dorson captures a wide angle of Singh on the couch and the monitor with the guest and employs handheld cross-shooting of Singh and the monitor by the B-Cam and C-Cam operators. Sometimes the a full-screen shot of the Zoom screen is used.

“The cameras have been very flexible due to their small size, which helps our small crew. Our one AC/media manager, Iliana Ipes, does a great job juggling all of the cameras and footage,” explained Dorson. “The GH5S is perfect for running around on a gimbal, and for our rant camera in which Lilly is alone in a room talking to the camera. The EVA1s and GH5's make a good compilation of cameras that fit all of our needs.”

For more information, read Dorson’s blog on Panasonic’s website. 

NEWARK, N.J.—Bringing the story of individuals whose lives were cut short by family or friends in Investigation Discovery’s true-crime series “Betrayed” is the job of director and director of photography Yoram Astrakhan. To help him do this, he has chosen to use Panasonic’s AU-EVA1 cinema cameras, as well as some other Panasonic equipment.

Now in its fourth season, “Betrayed” is a fast-paced production, often shooting two episodes over eight day periods that feature both interviews with real people involved in the crimes and scripted recreations. Because of the demands on production, Astrakhan felt that EVA1 cameras would be ideal for keeping up with the speed at which they needed to get things done.

Two EVA1s and two camera operators are used for both interviews and recreations. The team captures 10-bit 422 FHD (1920x1080) V-Log files in 23.98 fps, and the production crew frequently uses the camera’s dual native ISO to help capture clearer images in different lighting situations. Astrakhan also praises the camera’s 14 stops of latitude and ability to work with a wide range of lenses.

However, there was one big reason he went with the EVA1, the color palette, “especially in the way skin tones are rendered and how beautifully they hold up in very dark or bright scenes,” he said.

In addition to the EVA1 camera, Astrakhan also utilizes Panasonic’s BT-LH2170 21.5-inch FHD monitor and the BT-LH910 9-inch field monitor for production.

NEWARK, N.J.—Director of Photography Joe Callahan has completed principal photography on a feature-length documentary on wildlife rescue and rehabilitation in India.

Using a Panasonic AU-EVA1 5.7 cinema camera, Callahan did most of the shooting in jungles, deserts and cities like Jodhpur, Delhi and Agra. The documentary profiles the work of Wildlife SOS, a worldwide organization dedicated to preserving India’s natural heritage, forest and wildlife.

“The EVA1 proved itself to be insanely reliable,” Callahan said. “India beat the hell out of the cameras: We shot 12 hours a day in 120 degree heat. There was constant ash in the air, to the extent that we couldn’t see any blue sky.”

The heat was so intense that at one point a metal plate on the build-out burned Callahan’s face. But despite the temperature, there were no camera failures, he added.

From the outset, Callahan understood shooting the documentary –which has a working title of “Where the Wild Things Aren’t”—would be “incredibly taxing,” he said. “What I look for in a camera is reliability, usability and image quality. The EVA1 is one of the top cameras I’ve ever evaluated in terms of color science and dynamic range, and I chose it over much more expensive options.”

Callahan shot in 4K and recorded ProRes HQ externally on an Atomos Shogun Inferno and used the EVA1’s SD cards as an internal backup. Lenses included Tamron 24-70 and 70-200 G2 zooms, as well as a set of primes.

Typically, the DP shot at ISO800, but occasionally used ISO2500, which allowed Callahan to use smaller LED lights, saving money.

The DP praised the versatile form factor of the camera, which he could rig up on car rigs and gimbals in India or break down quickly for handheld work to get shots while tracking tiger poachers.

While Callahan purchased the EVA1 cameras specifically for the wildlife project, he has used them subsequently on a number of commercials, including spots for GEICO, Alfa Romeo, Tide, Black & Decker, LensCrafters and Alaska Airlines.

"The EVA1 is beautifully complemented by vintage lenses, and I’ve used a range of them—Leica Rs, Super-Takumar and older Zeiss models, for instance,” he noted. “The images consistently look great,” he said.

Examples of Callahan’s EVA1 work are available online. More information on Wildlife SOS is available on the organization’s website and additional information on the Au-EVA1 is available on the Panasonic website. 

As I reflect on cameras I’ve owned, borrowed, rented or shot, close to the top of my list is the venerable Panasonic HVX-200. I even still have a couple of 8gb P2 cards somewhere in a box. Whether DSLR, mirrorless, larger digital cinema cameras or even a few high end digital cinema cameras, the HVX footage always just had a “certain look about it.” And it seems that for a few years, Panasonic just didn’t keep pace with other manufacturers, seeming to concentrate more in the broadcast and ENG areas.

All the while, Panasonic was gaining traction in the mirrorless market with its GH series, now even a more significant player with the video-centric GH5s. VariCam 35 came along followed by VariCam Pure and VaricamLT. But there was just a missing gap in the line between the VariCam LT and the mirrorless GH cameras. Panasonic knew it and in fact the company markets our topic of interest here, the EVA1, as the camera that fills the gap.

Panasonic packs a lot into this under $7,500 device and it hits both the right niche and the right price point. I had a couple of weeks with the camera in addition to attending Panasonic demos and will share some impressions. But my first comment probably summarizes my feelings toward the EVA1—it was one demo unit which deeply grieved me to return.

FEATURES

The first impression I had cradling this beauty was it was light and compact (body only 2.6 pounds) yet its buttons and controls did not feel cramped. I have worked with much larger cameras with controls that were too small or two closely packed together, which combined with my clumsy fingers produced some very undesirable results. Not so with the EVA1. Still, the compact size requires compromises. The lower-left WB-User-ISO/db toggle creates extra steps, but there are workarounds such as assigning custom buttons or utilizing the VF menu simulating the LCD panel on a larger camera allow for easy adjustments. Or simply download Panasonic’s EVA app and control the camera via the app. That was actually my preferred way of changing settings and avoiding both buttons and menus. In short, there are a number of ways to perform the same operation.

[Panasonic Rolls Out AU-EVA1 5.7K Camera]

The removable top grip makes the camera even more compact and creates a perfect size for gimbal use.

Viewfinder is remarkably sharp. I was unable to evaluate the native loop and mounting rods since the demo unit came equipped with Zacuto’s superb viewfinder and mounting assembly. And by the way, Zacuto and other third party accessories manufacturers such as Shape, Arri, Vocas and Wooden Camera are developing camera add-ons—another vote of confidence for the anticipated wide adoption of the EVA1.

EVA1 is based around a native 5.7K sensor that with Bayer pattern mathematics calculates to a true 4K imager. Future firmware updates will enable 5.7K RAW via SDI to a third party recorder, but for the moment users can revel in 4:2:2 10 bit video up to 400 Mbps up to 4K resolutions internally to SD cards. It is worth noting at this point that SD card nomenclature is changing. For 4K, the EVA1 requires at least a V60 card with V90 cards supplied in my demo unit. That statistic refers to the write-rate of the card. Codecs, electronics and storage technology have come a long way and SDXC cards can now handle 4K.

Like the VariCam models, EVA1 has a dual sensitivity sensor rating ISO 800 and ISO 2500. I was somewhat disappointed that the EVA1 was unable to gain the ISO 5000 top rating of the VariCams but understand that lower price demands concessions. But like the three VariCam models, properly exposed footage in the ISO 2500 rating looks good. Underexposed footage can be a little noisy so it is worth the effort to try to expose the camera properly.

Panasonic introduced a focus-assist feature with EVA1, which I must say took some acclimation on my part. I personally like to focus using peaking. EVA1 uses “focus blocks,” which I finally decided is ingenious because the size of the blocks are in inverse proportion to the areas of the image most sharply in focus. In other words, using the focus blocks assists tremendously in shallow depth of field framing of shots.

Ultimately, though, it is “the look” that sells cameras and EVA1 has that Panasonic color science that wowed me even in the days of the HVX200. V-log/V-Gamut are virtually identical to the gamma curve and gamut in the VariCam’s implementation of Vlog meaning not only can the cameras be cut together easily but Panasonic’s downloadable V-log to Rec709 LUT works as effectively on the EVA1 as it does on VariCam Vlog footage. I look forward to shooting the camera again when the RAW update is released.

Panasonic advertises 14 stops of dynamic range. My unscientific impression is that it may not quite be 14 stops but nonetheless there is more than enough dynamic range to intercut VariCam footage.

The choice of EF mount is a wise one. EF glass is widely available from consumer to professional still lenses to now the whole new range of cinema glass in the say $3,500- $15,000 range. There is full electronic communication between camera and EF lens. That means that lenses with built-in electronic stabilization will work and iris can be controlled manually or automatically. EVA1 falls down a bit on autofocus and I would relegate that to communication between camera and lens. Autofocus may be the bane of cinematic purists (count me as one of them), yet for run and gun and particularly gimbal or drone uses it comes in handy.

Wooden camera is selling a $500 modification to enable PL mount glass. That expands the use of the camera and is particularly significant if used as a B or C camera to a larger VariCam shooting PL lenses. With the ability to interchange lenses with the big kids, the look is consistent.

EVA1 has SDI as well as HDMI features and a single time-code in/out BNC connector. Note that this is not genlocked so quite possibly the cameras could drift over time. For serious multicamera work that is timecode critical, I would definitely recommend an external box such as an Ambient Lock-It. This is really only going to affect a handful of users yet it still must be noted.

Build quality is superb. The handgrip attaches via a metal bayonet mount and is easily adjustable. I must note that the handgrip on my demo camera wobbled. It was a known issue with the first few week’s production run. Panasonic noted that on its web site, replaced all of the wobbly handles with a new part, and all production models now are stable. It is only worth mentioning just to give additional kudos to Panasonic. An issue was discovered early on. Panasonic responded immediately and publically on the web site and resolved the issue quickly. That’s the way it is supposed to be in the professional world but with few companies reacting so quickly, Panasonic needs to be singled out for its response.

EVA1 also includes HDR recording in the HLG (Hybrid Log Gamma) variant. HLG is a joint development of Sony and Panasonic and provides an “instant HDR.” It really isn’t designed for heavy grading but basically for viewing on compatible TV’s and mobile devices. HDR footage brought into PremierePro or Final Cut Pro X 10.4 can indeed be output as HLG for viewing on Vimeo or YouTube with compatible mobile devices. Playing out HLG via HDMI to a consumer HDR set is a problem, though. The signal does not seem to have the HLG flag and the TV does not interpret it as HDR.

HDR editing and delivery in the higher end though are possible since the camera itself has that dynamic range and using a LUT to transform to the standard being edited (HDR10 or Dolby, for example) and to a BT-2020 color space means that the camera can truly be used in high-end HDR work.

Panasonic has given filmmakers an affordable, feature-packed, durable camera that shoots gorgeous images with warm nuanced colors. Third party manufacturers as usual fill in the gaps with enhanced viewfinders and mounts, rigging, larger batteries, external monitor/recorders and mounting points. Even PL is possible reasonably. It is a camera well-deserving of filmmaker’s attention.

Panasonic has announced firmware version 2.0, a major free upgrade which will be available the end of March. In addition to enabling 5.7K RAW video via SDI to compatible external recorders, it adds 4K RAW output up to 60fps and 2K RAW up to 240fps. Additionally, all I-Frame codecs for HD/2K/UHD/4K in 10-bit 4:2:2 will be added. In 2K/HD modes internally, frame rates up to 120fps will be supported. For the broadcast market, there will also be interlaced codecs. Canon compact cine-zooms can be controlled via third-party hardware and there will be new home screen controls.

It’s good to have Panasonic back in this market segment.

FAST FACTS

Summary: A long-awaited entry from Panasonic that does not disappoint. Super35 sensor resolving 5.7K for true 4K; dual 800/2500 ISO. Records 4:2:2 up to DCI 4K on SD cards, convenient EF mount, versatile control options; advertised 14 stops dynamic range; HLG HDR recording. Compact form factor using EF mount lenses with a PL option via third-party modification. A reported 14 stops of dynamic range places it as a device ready for HDR editing and delivery. This camera should be seriously considered by buyers in this price range.

Application: Shorts, indie film, documentary, interviews and as a worthy B Cam to Panasonic’s VariCam and VariCam LT cameras.

Key Features: Dual 800/2500 ISO. EF native mount. Versatile and easy to understand menu structure. Panasonic’s legendary “look”

Price: $7495

Contact:www.business.panasonic.com

NEWARK, N.J.—Panasonic has a treat for consumers this Halloween, announcing that it is now shipping the AU-EVA1 5.7K handheld cinema camera. This new model features a pixel count of 5720x3016, dual native ISO ratings of 800 and 2,500, and 14-stops of dynamic range.

Newly designed, the EVA1 sensor is Super-35 sized with 5.7K resolution, providing a higher resolving image when down-sampled to 4K, UHD, 2K or 720p. The dual native ISO utilizes a process that allows the sensor to extract information without degrading the image. With its 14-stops of dynamic range, the camera enables fine gradation in exposure from bright to dark. The EVA1 also features full V-Log/V-Gamut capture to utilize high dynamic range and broad colors.

The EVA1 weighs in at 2.65 pounds and has a compact form factor with a removable handgrip for use as a handheld camera. It can also be mounted on a drone, gimbal rig or jib arm. The handgrip offers several controls, including menu, Rec start/stop, iris and two user buttons. The camera’s LCD screen is a 3.5-inch touch panel for menu selections, expand positioning and playback controls.

For lensing, the EVA1 has a native EF-mount. It also has Electronic Image Stabilization within the camera, as well as full iris control, one-push auto focus and lens data. Behind the lens mount, an integrated ND filter wheel in two, four and six stops allows for exposure control.

Additional features for the camera include the ability to be controlled remotely through an app; two SD card slots; the ability to record in 4K, UHD, 2K, Full HD and HD with a compression rate of up to 10-bit 4:2:2. EVA1 capture is capable up to 59.94/50 fps for 4K, 120/100 fps for 2K/Full HD, or 240/200 fps for a cropped area. Dual balanced XLR audio inputs with Dolby Audio encoding are also included. HDMI and SDI video outputs are both 4K-capable. There is also standard TimeCode functionality.

Panasonic is offering the AU-EVA1 5.7K camera at a starting price of $7,495.