 the new Panasonic EVA-1, EVA-1. Hello, so who are you? Hello, I'm Luc Barra, I'm the Cinema Product Manager Europe for Panasonic. And we are here at IBC 2017, and Panasonic stand with the new EVA-1. So this is a very exciting product for the whole cinema broadcasting everybody, right? Like this is a big deal, right? Put it in front here. I think the target for this camera is very, very wide. Because, first, it's a very compact camera. So the idea was to have something compact to put very easily on a gimbal stabilizer or drones. You can very quickly remove the handles and the grip and have a very compact box. It's just 1.2 kilos. And then it's part of the cinema camera range because it has the same kind of sensor as the VARICAM. The sensor was newly developed by Panasonic. And it has all the VARICAM technology. It's a dual native ISO. It has the VARICAM logo. It has the VARICAM color space. So it's a perfect match with the VARICAM. If you have both, you can use the same color workflow with the same LUT or the same IDT. It's a new sensor. You've developed a Super 35, right? Do the VARICAM use that format? Yeah, I mean VARICAM and EVA have the same size. Super 35. It's about 24.6 millimeters. But the EVA has a 5.7K sensor. It's about 17 million pixels. It's just kind of like that. But the GH5 has a 6K record mode. Is it something similar to the GH5 6K? We don't record 6K or 5.7K. We record only 4K. But to have a real 4K resolution on the picture, you know what we call TV lines. If you want to have 2,000 TV lines, you need to have more than 4K resolution. It's just like for HD or 2K. If you want to have 2K, you need something like 2.8K on the sensor. Then it kind of optimizes the image, downscales it. Exactly. That's having more details. Yeah. Actually, if you want to have HD, you know that you need to have three sensors, like one blue, one green, one red. When you have large sensor, you cannot have three sensors. You have a mono sensor, but you need more resolution than HD to have a real HD resolution. It's same for 4K. Can we look in the menu? Yes, sure. So right here, this is included the screen that you have, LCD. And you have two kinds of menu. You have this one. It looks like the menu you have on every cinema camera. And you have this menu, like kind of menu you have on every camera, every ENG camera. So can we look at the record settings? Or is there anything secret in there or not? No, no, it's not secret. So record settings. And can you show the code action, everything that you have? So further, three recording modes. You have the super solid 5.7K. So you can record up to 60p in 4K using the full resolution sensor, full sensor resolution. Then we have what we call a mix 2.8K. It means that if you want to shoot up to 120 frames per second, you have to mix the pixels. So you keep the full size of the sensor. But you mix pixels four by four. And the resolution is 2.8K. And then you record 2K from this up to 120 frames per second. And then the third mode is what we call four-third crop and mix 2.2K. It means two things. Like a four-third sensor, like GH5 sensor. So it will have the same size, actually a bit wider. You crop and you mix the pixels. So you have a 2.2K pixels and crop. And you can record 2K up to 240 frames per second. And it's nothing to do with using an adapter and putting on a micro-quarter of the lenses on there? No, no, no, no, no, no. It's just the size we crop. After the crop, we have about the same size of GH5 or GH4. And if we go in a 5.7K, let's go in there. Let's look at all the codecs that you have. Yeah, it's somewhere else. Here you have the main pixel. So you can shoot from K, you'll try HD, 2K, HD, or even HD 27, sorry, 720p. Then if you choose, OK, now we are on HD. We have the main codec, a lot of codecs here. It's 422 long-gop, 422 10-bits long-gop codec at 150 megabits per second. For 60 frames per second. No, up to 30 frames per second. Then up to 60 frames, it will be 420. You can shoot 422 10-bits up to 30 frames per second. And we will have, in the next upgrade, Intra codecs. So it will be 422 Intra at 400 megabits per second. All right. And as possible, you might also have something with H265. I think that the platform inside the camera is H265 ready. But it should be possible. And it's hard to do post-production with H265, right? Yeah, and now I think it's still not something people want. Is it possible you will upgrade it to make it possible to record 5.7K full? We will have a raw output in the next upgrade. On the X, that will be output. Yeah, we have a SDI output and HDMI output. So on the SDI output, you can output 4K, 422 10-bits up to 60p. So if you have an external recorder, just like the Chauvin inferno, you can record 4K, 60p in Pro-SHQ, for example. And on the SDI output, you will be able to output 5.7K raw up to 30p or 4K up to 60p with a prop. Is it any chance you will record it internally in 5.7K? No, not raw internally, no. Or maybe in one of the codecs. And so that was for the codecs. And you have all the controls that people would like to have on the side here. Yeah, we have the control for the iris, auto iris, manual iris. We can have auto, push auto, caucus. We have switch, so we have a lot of assignable buttons. So you can assign whatever you want on these buttons. We have eight other buttons. Here, with this dial button, you can control the white balance, you can control the ISO, or you can control whatever you want, like the audio level in the headphone. There are two nice features you can talk about. One is you can assign here a function that removes the IR filter, the infrared filter, you can see it here. There's something physical inside, right? Yeah, you can see it in the filter wheel. So this is something that... And you can put your own filters in there? No, no, no. No, but IR filter, a lot of people who shoot documentary want to remove the IR filter. So usually they have to remove the mount and the filter and to modify the camera. Now, on this one, you can just push a button to remove the IR filter and put it back, very, very simply. When the IR filter, what kind of function is it for dark? Yeah, the idea of IR filter is to shoot at night. If you shoot in the nature at night, you have a lot of infrared light that you cannot see, but the camera can see it without the IR filter. So the colors will not be the right color anymore, and you get all the details. I mean, you have a very, very high sensitivity. Can we take off the lens and show the... It's just a standard attachment. Yeah, it's a F mount, so the mount is inside the camera, so there is nothing outside. This is the sensor. And this is... So you have Sigma, there's lots and lots of different lenses Most of the photo lens are of the EF mount. Then on the cine lens, you can find some Zeiss lens. We have here a CP3 Zeiss lens. You have Angénieux zoom that can be... Look at this one, for example. What is this one? This is Angénieux zoom, and you can change the mount to have it in PL or EF. This is a very high-end lens right there. They have better lens, but I think it's about 10K euro distance. Quite consistent with the price of the camera. And what is this one here? This one has a Canon Prime lens, cine lens. So you put on a Canon Prime cine lens. Yeah, 24, it's T1.5. We also have a Sigma lens, so Sigma, they have photo lens and cine lens. So there is a great variety of lens you can use on the EF mount. And you can also have a PL adapter. There are some PL adapters. They are very small. Can you do anamorphic? We didn't plan initially to do some anamorphic function because there are very few anamorphic lens in EF mount. But still they are. So we are thinking about doing something for anamorphic. And you have all kinds of ways people can set it up. The screws are all in place. Yeah, there are some kind of integrated cheese plate. So here this is accessories from Ari. It's an additional cheese plate. But we thought it was a good idea to have an integrated cheese plate. Basically it's just that part here and people do whatever they want. They can also put an EVF or what's called... You can connect some third-party EVF. But you won't be able to connect it to your cable, right? No, no. What's this LCD connector here? Yeah, it's a connector for the LCD that comes with the camera. But then you can use an EVF on the HDMI output or on the SDI output. All the outputs are active simultaneously. So you don't have to choose between SDI, UFinder or HDMI. Everything is working. So for this one, there's only going to be that screen for now. There's not some other bigger ones for that connector here. But it doesn't matter because you just use the HDMI, right? It doesn't slow anything down to use any of the outputs. It has everything fully active. Absolutely. And the battery is going to be some big ones there? The battery, there is no battery here. It's a standard battery that you can only... I mean it's the same battery as the battery we have for the DVX200 or the PX270. It's a standard battery for Panasonic. Can you show how you can move this around? Yeah, sure. It's like a lens mount. You can very quickly lock it or unlock it. You can turn it to the other side too? Yeah. And once it's locked, there is a push button and you can turn it. So what is that one? That's the connector for this? That's the connector for the grip because in the grip you have the right button, you have the menu button, you have the user button here, and you have the alt button that you can use for the iris or for the menu. Can we walk over here just one second? And maybe grab that one just to get an idea. What do you think is the impact going to be on cinema? All over the world. What is this going to be able to bring? I think for cinema, for big production, it may not be the camera A, but it's very likely that it's a camera B for drones, for a gimbal stabilizer, or when you have to shoot in a very narrow place, especially also because the color science and the sensor matches perfectly with the very camera. So if you can mix the two images, you have the same color workflow, with the same LUT, same IDT, so maybe it will be used in big production. Independent films, right? Independent films, of course, it's a perfect camera. Yes, absolutely. And how does it compare with red, something I can ask? How does positioning is specifically... In terms of price, it's a totally different range of price with red. Maybe with a red raven. I think the difference, the main difference maybe is that it's not only... I don't know much the specification of the red, but we have an internal recorder, an SD card that are very cheap, and we can record... We have an H264 compressed format in 4K, 422, 10 bits. Easy to work with? Yeah, easy to work with. I think the main difference with red, but I don't want to talk about competitors. But on the very cam, we have a very, very nice sensor and color space, and very nice colors. I think if I had to choose the very cam, it could be for the colors, for the sensor, for what you can do with post-production. When you see the picture on the... When you work on the log picture and you, for example, you transform to an AC color space, you see immediately the right color, the right tone, and the right... They are very rich colors. Usually you have to desaturate the color because it's too rich. And the skin tones are just right. Is it ready for HDR? It's ready, yes, it's ready for HDR. It's ready for HDR because we have a very big dynamic range, it's 14 stops of dynamic range, so you can do the grading for HDR screening. And also because we have a log curve, we have the HLG log curve that allows you to record directly with a HDR log curve. Directly, and it looks great. So it's going to be also great for broadcast, right? We have... I met some broadcasters here, they would like to have this camera for news, but for special footage when they need to... when they have time, when they have tripod for interviews or some special shots. So most of the time they need a run and gun camera, but they are interested in that to change the look, to give a more aesthetic look to the image. How's the low light and the noise? So on this camera we have the dual native sensitivity, I can't remember if I talk about it already, but we have 800 ISO and 2500 ISO. So in both modes you have the same dynamic range, the same color, the same contrast, the same log curve. So the only thing that changes is that when you have a very, very low light, you can see what we call the shot noise. It's a noise that comes from the light itself, not from the electronic. But the varicam and the EVA, I mean so far we had the varicam and the varicam is very famous for shooting in a very low condition and it's very, very impressive. The dual ISO and the varicam is 800 and 5000. This is 800 and 2500, so it's still very high sensitivity, 2500 and on this camera it's a native sensitivity, so it means 2500 without any gain or electronic notification. This is a unique something you have from the varicam, unique for your company, nobody has this kind of tech. Yes, as far as I know we are the only one, yes. Alright, so it's going to be great, there's going to be so many movies in the next Cannes festival, right? How soon is the release, how much is it going to cost? The recommended price is 7,290 euros. 7,290 euros. So this is the recommended price, the public price, but you have to ask your dealer what's your price. And how soon? It will come at the end of October, so in one month from now. Very soon, alright, cool, alright, that's awesome.