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AU-EVA1 FIRMWARE Ver.2.0 ALL-Intra 400Mbps for Efficient Editing

- "ARIGATOU" by YAMAZARU / On set of the MV -

Yukihiro ISHIKAWA / HOTSHOT EXECUTIVE EDITOR

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HOTSHOT#6
DP: Yusuke TAMURA
Production: Grid Co., Ltd.
(Hideaki TSUBAKI, Shogo IDOGAWA, Mika INOMATA, Toshihiro TSUBAKI)

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The Panasonic AU-EVA1, a compact cinema camera, was released last year. It has a 5.7K large sensor and Dual Native ISOs – ISO800 and 2500′ a standard feature of Panasonic cameras lately. This model is compact and highly versatile. At the end of March, Panasonic will launch a new Firmware Ver.2.0. It will include 4K/UHD All-Intra 400Mbps recording codecs, RAW data outputs and time-laps recording.
In March, the AU-EVA1 Ver.2 was used to the latest MV of YAMAZARU (Sony Music), “ARIGATOU”. It was captured with the new feature: 4K/UHD All-Intra 400Mbps.
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Applicable to a variety of shooting styles

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TAMURA: It’s compact and has great specs. There’s no finder at the back, which makes it flexible when customizing it for rigging, and the search panel on the left side of the body is clean and user-friendly, making it a practically foolproof design. As a cinema camera, it produces a bland and harmless image in a good way. It makes it easier to reflect the videographer’s vision. Naturally the large 5.7K sensor has an impact on the high-resolution quality, and its peaking is different from that of other systems. Rather than saying it achieves a perfect look, you could say that it’s never that far off the mark. I think it’s good for 4K shooting. I used ISO2500 for shooting a train interior, but there wasn’t much difference between that and when we shot with ISO800.
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TSUBAKI (Hideaki): I shot a lot of MVs, using a video camera or a SLR, so this was my first time to use a real cinema camera. I’m always rushing when I’m shooting within a limited time frame, so I thought it was great that the settings were quick to configure. This time I tested out the Zhiyun Crane 2 (3-axis handheld gimbal), and that it fit so easily was a real surprise. At first I was planning to shot with the GH5, but I was able to shoot with the AU-EVA1 the way it was. I thought it was really effective for a small-scale film crew. For someone like me who uses the EOS a lot for stills, the fact that I could use these lenses with the EF mount, that it had good image stabilization, and that I could carry it around even with the Sigma cinema lenses meant it was extremely easy to use.
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TAMURA: When I used the 3-axis gimbal, I used the lightweight EF-S lens. I can take a gimbal shot with the same camera and I can also match skin tones. The balance of the body also has to do with the position of the mount, and it does get harder to balance with the gimbal, but there are screw holes for a cheese plate type top mount to make it easy to use. What I always look for in a camera – to take the kind of pictures I want – is something with operability that allows me to concentrate while remaining stress-free. If the performance of the EVA1 improves here on in, with all of these elements it’s sure to become an ideal camera.

TSUBAKI (Toshihiro): The EVA1 has all its mounting points on the main unit. This is what sets it apart from other cameras. It’s often the case where the mic is attached to the handle or the grip, and when you have to change the rig and the style, it can become harder to use. In that regard the EVA1 was able to adjust flexibly to bizarre shooting styles.

TSUBAKI (Hideaki): This time we were shooting a music video, but the ease with which we could handle image stabilization and ability to customize our shooting style makes this extremely well-suited to shooting snowboarding or other action-based sports. Naturally the image quality is good, but with our type of work, what we are looking for is something lightweight.

ALL-Intra: efficient for editing

INOMATA: When handling ALL-I 400Mbps data, we tested out different types of NLE software. In the past, when we used Long GOP, the movement got weighed down and was difficult with NLE, but once you secure enough disk space there’s no inter-frame compression and the editing can proceed smoothly, which means you can edit on your laptop. In this production we used the EDIUS Pro 9 MBP2017/BOOTCAMP to do our base editing. We were grateful for this because it meant that we could do so much more during editing. When it comes to image quality, it becomes a question of the limitations you experience with extreme processing, and I felt that the ALL-I was a competitive product.
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