9/11/2023 0 Comments Panasonic varicam rec709 lutThe VariCam LT: compact, lightweight and with high-end cinema quality! I wanted to love this camera and was not impressed with the footage!ĥ.7k to UHD settings, 150mbits MOV, 23.976 fps, 180degree shutter, 800 EI.The cinematic look of the VariCam in the palm of your hand The VariCam LT offers extraordinary image quality to realize your "vision". I'd love to hear from other colorists on how they fared with the EVA-1. Under tungsten or (shudder!) mixed color temps things got iffy In particular, skintones were very hard to get looking good. The non-V-Log in-camera options were not very attractive in Resolve, and didn't react well to color grading.(RCM, Color Space Transforms on the Node Tree, LUTs. It wanted to fight me no matter what color management scheme I used. V-Log footage from the EVA-1 doesn't grade nearly as well as V-Log from, say, a GH4.The non-V-Log options available on the camera did not produce an image as attractive as that HDMI output. There is no LUT available from Panasonic (or elsewhere.?) that turns V-Log into that output. There is, unfortunately, NO WAY to get that same image saved to the card. That image looked bright, crisp, and very attractive. ![]() There is an option to output Rec.709 on the HDMI and HD/SDI ports.It is a dream to operate on a Ronin gimbal, and I imagine other gimbals will be great fits for this camera.To be fair, I feel the same about our Red 4.5" touchscreen. I immediately put a SmallHD on there for color & framing and used the touchscren as a control interface and nothing more. I agree about the onboard touchscreen: it is all-weather friendly for touchscreen use, but is a terrible shooting tool.Operating the camera is fairly simple: the controls are clearly designed for shooters on the go who want a lightweight but full-featured camera.I hope to hear some feedback on grading footage shot on the EVA1, because my experience with it has been pretty. I just used one OFX Color Space Transform Node and the usual LGG suspects to make the footage shine. The very limited tests that I did with the camera and lens combo looked very promising. I can't remember using a camera in those situations with so much joy and such a light weight.īut I still need to confirm that focusing and exposure tools were handled properly.ġ4 stops should really give you lots of headroom. The last days I began shooting for a 4k 2,35:1 documentary on a small italian island. Together the EVA1 and the 17-55 make a very nice and most important light and cinematic combination. The 17-55 is still more universal for me. I do documentaries, where I have to carry all my equipment the whole day alone. If you need further stabilization during the actual filming, use the electronic image stabilizer of the EVA1. And it has also a measured T-Stop of 1,8 which is really fast and helps isolating talents indoors. I bought it instead of a prime - it's kinda variable prime. The 18-35 is much sharper and 1 1/2 stops faster. The older cheap S35 camera had a bad rolling shutter and the Image Stabilization of the 17-55 did help a lot when used handheld and it still does! It was my S35 goto lens since this format was available for me with the Sony FS100. The 17-55 is a lens I use quite some years now.
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