Selecting A Camera | Video Production San Francisco
Panasonic guns for the C200 and the FS7 with the new EVA1.
They may be late to the party, actually very late, but Panasonic have finally announced a sub-$10,000 S35 video camera, the AU EVA-1. While they were the first manufacturer post the Canon 5D MK II to bring out a large sensor video camera, the micro four thirds AF100, they never followed up.
The newly-designed EVA1 sensor is Super 35 sized (24.60mm x 12.97mm) with 5.7K resolution. With an active resolution of 5720 x 3016, the EVA1 delivers more than 17.25 million photosites. By starting at a higher native resolution, the 5.7K sensor yields a higher resolving image when down-sampled to 4K, UHD, 2K, or even 720p. Additionally, the increased color information results in a finer, more accurate finished image.
The lack of a camera from Panasonic in this market to compete with the Canon C300, C100, Sony FS7, FS5 etc has always been surprising. Panasonic make excellent cameras. Their 4K Varicams are superb.
After letting some of its marketshare slip to Arri and RED over the last decade, Panasonic has made a huge step back into the cinema market with the Varicam renaissance, starting three years ago with the Varicam 35. Panasonic is now also aiming squarely to reclaim ground lost in the indie cinema marketplace by releasing the new EVA1, announced recently at Cine Gear Expo on the Paramount Lot in LA.
Weighing just under 3 pounds, with a compact form factor and a removable handgrip, EVA1 can be used for efficient handheld shooting applications and can also be mounted on a drone, gimbal rig, or jib arm for complex yet smooth camera moves.
The EVA1’s Dual Native ISOs are 800 and 2,500, which will allow cinematographers to shoot in almost any lighting environment. And the EVA1 delivers 14-stops of Dynamic Range, enabling fine gradation in exposure from bright to dark.
For lensing, the camera utilizes a native EF-mount, giving shooters access to the broad EF lens ecosystem, including dozens of cinema-style prime and zoom lenses from numerous manufacturers. There will be full Iris Control, One-Push Auto Focus, and Lens Data.
The new EVA1 is a great all-round camera. It’s an ideal choice for independent cinema and drama, and it’s small and light enough to be chosen for that documentary look and feel.
camera brands and models for a corporate video shoot
Considering various factors is essential to meet specific production requirements. Let’s explore key considerations and take Sony, Arri, and RED brands as examples:
Video Production Budget
Consider the budget constraints for the corporate video project. For example, Arri, RED and Sony offer camera models at descending price points, allowing for flexibility based on financial considerations.
Video Image Quality
Prioritize image quality based on the project’s needs. Sony cameras, renowned for color science and low-light performance, may be suitable for a wide range of scenarios. Arri’s cinematic image quality and RED’s high resolution are also factors to weigh.
Camera Flexibility and Versatility
Evaluate the versatility of the camera for various shooting scenarios. Sony’s range, from the Alpha series to professional FS models, offers flexibility. Arri’s Alexa series provides post-production flexibility, while RED’s modular design allows for customization.
Camera Ease of Use and Ergonomics:
Consider the ease of use and ergonomics, especially for run-and-gun situations. Sony cameras are often praised for user-friendly interfaces, while Arri emphasizes straightforward controls. RED’s modularity may impact ease of use depending on the setup.
Camera Low-Light Performance:
Assess low-light performance for shooting in challenging conditions. Sony cameras, including the Alpha series, excel in low-light. Arri’s Alexa models are known for low-noise in low-light, and RED cameras vary in low-light performance based on models.
Camera Dynamic Range:
Examine dynamic range capabilities for capturing details in various lighting conditions. Sony cameras offer impressive dynamic range, similar to the renowned dynamic range of Arri’s Alexa series. RED cameras provide a range of dynamic range options.
Camera Resolution and Frame Rates:
Choose the camera based on required resolution and frame rate options. Sony cameras offer a variety, as do Arri and RED cameras, with RED being known for high resolution and high-speed capabilities.
Post-Production and Editorial Workflow:
Consider the post-production workflow and compatibility with editing software. Sony cameras typically offer straightforward workflows, while Arri and RED may have specific requirements depending on the chosen model.
Camera Size and Portability:
Evaluate the size and portability of the camera for on-the-go shooting. Sony’s compact designs are suitable for portable setups. Arri cameras may be larger and more studio-oriented, and RED cameras vary in size based on models.
Camera Brand Reputation and Support:
Factor in brand reputation and support. Sony is a trusted brand with a comprehensive support system. Arri is associated with top-tier cinematic productions and provides excellent support. RED is recognized for pushing the boundaries of digital cinema and offers support for its users.
Camera Accessory Ecosystem:
Consider the availability of accessories for customization. Sony, Arri, and RED each have ecosystems of accessories, with Sony offering a wide range, Arri providing professional-grade accessories, and RED’s modular design supporting customization.
Choosing a camera brand and model for a corporate video shoot involves a thoughtful consideration of budget, image quality, flexibility, ease of use, low-light performance, dynamic range, resolution, post-production workflow, size, brand reputation, and accessory ecosystems. By aligning these factors with the specific needs of the corporate video production, filmmakers can make informed decisions to achieve their creative vision.
For all of your high-end camera San Francisco video production needs, contact Capitola Media.