Best 4K Cinema Camera under $10,000? A Fun Comparison between the Blackmagic Design URSA Mini Pro 4.6K, Canon C200, Panasonic AU-EVA1, Sony FS7 Mark II, Canon C300 Mark II and Red Raven

This article is a comparison of the specifications of the following medium budget 4K or UHD cameras for cinema work with currently available information:

Important: Some of the information is unverified. Some are just rumors. Therefore, don’t take this comparison seriously. Don’t take the prices or the specifications seriously either. For accurate information please consult manufacturers’ websites and data. Don’t take any decisions based on this comparison.

Here’s the comparison video:

Update:

I apologize because I made a mistake when I said the C200 has only 10-bit RAW, it has 12-bit RAW up to 30p and 10-bit up to 60p. I also made a mistake when I said the C200 was limited to 13-stops of dynamic range. I picked that spec from B&H and I should have verified it. The C200 can shoot RAW up to 15 stops.

Here are some additional differences and thoughts between the C200 and EVA1 (all taken from the official specs published):

  1. Canon says the C200 shoots “up to 15 stops”, but doesn’t say how and at what ISO. Panasonic clearly says the EVA1 “delivers 14-stops”, similar to the Varicam. Going by Canon’s record of overstating DR, and Panasonic’s strict adherence to it, I’d say they’ll both be similar at about 14 stops, give or take.
  2. The C200 only shoots 4K in RAW mode, you can’t shoot 4K in MP4. Moreover, you can’t record 4K externally while recording RAW 4K internally. Internally, in MP4, you’re stuck to 8-bit 4:2:0. The EVA1 can shoot in all resolutions internally in 10-bit 4:2:2. You don’t need to be a rocket scientist to realize the EVA1 is a more versatile camera as far as internal recording goes.
  3. C200: The SDI is limited to 2K 10-bit 4:2:2, so forget about getting 4K via SDI. EVA1: SDI is 10-bit 4:2:2 up to 30p (4K). 5.7K RAW is limited to 30p. It is a pity the C200 is limited here.
  4. C200: The HDMI can do 4K but only at 8-bit 4:2:2, otherwise it is also limited to HD. EVA1: HDMI is 10-bit 4:2:2 up to 60p (4K). 5.7K RAW is not available via HDMI. It is a pity the C200 is limited here.
  5. RAW is 12-bit up to 30p and 10-bit up to 60p. The EVA1 is 10-bit across the board. I don’t expect to see any differences here.
  6. Canon has dual pixel AF, both touch and continuous+face detection. The EVA1 has 1-push AF. Canon clearly has the home-field advantage here.

Of course, it doesn’t change the final result of the analysis in any way. If all you want to do is shoot RAW, the C200 is not bad. For anything else, Canon’s choices are inexplicable.

Exclusive Bonus: Download my free guide (with examples) on how to find the best camera angles for dialogue scenes when your mind goes blank.

What makes cinematic quality?

These things:

  • 4K (UHD or 4K, it doesn’t matter)
  • Must be RAW video so you can color grade it
  • Cinematic dynamic range (an audience shouldn’t be able to tell it was shot on video)

What makes a cinema camera?

I’ve chosen the following traits that people have come to expect from a cinema camera:

  • Large sensor that can deliver a shallow DOF*
  • XLR inputs for audio**
  • SDI inputs for greater reliability
  • Have a rugged construction to withstand some abuse
  • Simplify filmmaking to its bare essentials – plug and play – does not need accessories to perform any of these functions
  • Have an easy straight-to-edit workflow
  • Good battery life
  • Long-enough duration shooting^^

*You don’t really need shallow DOF, but a cinema camera is expected to have this ability when the need arises. 

**If you don’t agree with this stop reading! 

^^All of these cameras can do 30 minutes or above.

Because this is a fun comparison, only one camera will stand when the dust settles. Let’s get to it!

The basics

Let’s start with the camera bodies:

Camera Price of Camera body Included Accessories /Software* Warranty Lens Mount
URSA Mini Pro $5995 Turret Dust Cap, 12V AC Adapter, Side Handle, LANC Cable, Resolve Dongle 12 months EF, PL, B4
PXW-FS7 Mark II $8,999 Body Cap, Viewfinder, Eyepiece, Grip Remote Control, Wireless LAN USB Module (IFU-WLM3), Wireless Remote Commander, WA Adaptor Bracket, MPA-AC1 AC Adapter, SOBCU1, BP-U30 Lithium-Ion Battery, 2 x Power Cord, USB Cable 12 months Sony E Locking
Canon C200 $7,499 ($5,999 B model) 4″ Monitor, Handle, Grip, Shoulder Strap, Power adapter BP-A30 battery, mic holder, eyecup, tape measure hook, thumb rest, body cap 12 months EF
Canon C300 Mark II $9,999 Same as above, tripod base plate 12 months EF, PL
Panasonic EVA1 $7,345 Battery, AC Adapter, Charger, Shoulder Strap, Mic holder, LCD, Top Handle, Grip, Belt, EF Cap 12 months EF
Red Raven $5,950 AC Adapter, Media Bay 12 months EF mount

*The list of accessories is not complete. 

The C300 Mark II is ‘supposedly’ the most expensive, though we need to finish our comparisons before we know which system costs the most. Sony tends to throw a lot of accessories with their cameras. Things to note:

  • The URSA Mini Pro comes with Resolve. If you’re not using Resolve, or if you’re upgrading from another Blackmagic camera that had it earlier, it might as well be $0.
  • The Red Raven brain is not enough to shoot, you need some accessories.

SonyFS7

Comparison of sensors

Here’s how the camera sensors compare:

Camera Sensor Size (mm) Horizontal Crop Factor Maximum Resolution ISO Range Native ISO***
URSA Mini Pro 25.34 x 14.25 1.4 4608×2592 200-1600 800
PXW-FS7 Mark II 25.5 × 15.6 1.4 4096×2160 800-16000** 2000
Canon C200 24.4 x 13.5 1.5 4096×2160 160-25,600 800
Canon C300 Mark II 24.6 x 13.8 1.5 4096×2160 160-25,600 800
Panasonic EVA1 24.6 x 12.97 1.5 5720 x 3016 200-25,600^ 800+2500
Red Raven 20.48 x 10.8mm 1.75 4608 × 2160 200-12800 800
  • ^The ISO is divided into two parts depending on the native ISO selected
  • **Based on -3 to +18dB Gain setting at a base ISO of 2000. The actual ISO range changes depending on the gamma/preset selected
  • ***This is a guess for some cameras.

The Raven is the weakest in terms of sensor size. The horizontal crop factor makes it close to Micro Four Thirds cameras. The aspect ratio of this sensor is about 2.1, so to get 16:9 or 1.85:1 you’ll have to crop the sides, further reducing the crop factor. E.g., if you need 1.85:1, the horizontal sensor width goes down to 1.8x. For 16:9, it’s 1.9, or very close to Micro Four Thirds.

The maximum resolution is only available in RAW mode on the URSA Mini Pro. All said and done, to some having the ability to crop is an advantage. To others, you are master of your frame, and don’t need to crop. With this in mind, the clear winner is the Panasonic EVA1 (B&H, Amazon). And more so if you consider its dual ISO functionality. As far as low light performance is concerned, it is in a class of its own.

 

 

Comparison of video features

What kind of 4K do you get anyway? First, let’s look at the frame rates, dynamic range, built-in ND filter capability and type of shutter used:

Camera Maximum frame rate at 4K Maximum frame rate at resolution Claimed Dynamic Range Built-in ND? IR-cut? Shutter
URSA Mini Pro 60p 120p @ 2K 15 stops 2, 4, 6 Yes Rolling
PXW-FS7 Mark II 59.94p 180p @ HD 14 stops 2, 4, 6 (7 in Var ND mode) No Rolling
Canon C200 59.94p 120p @ HD 15 stops 2, 4, 6, 8, 10 No Rolling
Canon C300 Mark II 30p 120p @ HD 14 stops 2, 4, 6, 8, 10 No Rolling
Panasonic EVA1 59.94p (5.7K up to 30p) 240p @ HD (Cropped) 14 stops 2, 4, 6 Yes Rolling
Red Raven 120p 240p @ 2K 16.5 stops No No Rolling

This is where C300 Mark II falls behind. For some strange reason it lacks 60 fps in 4K.

The standout is obviously Red Raven and the EVA1, both of which offer 240 fps in up to HD/2K. The EVA1 achieves this in MFT crop mode.

All of these cameras are cinema-quality cameras, and whatever dynamic range difference should really not concern anyone.

Again, based on overall performance, the Panasonic EVA1 stands out as offering the most balanced set of video specs, or at least the most drool-worthy.

Now let’s look at what’s being recorded: codec, data rates and color (all information for 4K only. Other resolutions are ignored):

Camera Best Internal Recording Formats (4K) Max. Internal Data Rate (non-RAW) Max. RAW Data Rate** Is RAW Internal or External? Color information^
URSA Mini Pro Uncompressed and Compressed CDNG, Apple ProRes 444 XQ 2000 Mbps 513 MB/s Internal 12-bit RAW, 10-bit 4:4:4 in Prores
PXW-FS7 Mark II XAVC-I (Raw only with an extension unit + Recorder) 600 Mbps n/a External 12-bit RAW, 10-bit 4:2:2 in XAVC
Canon C200 RAW Light, MP4 150 Mbps 128 MB/s Internal 12/10-bit RAW^^, 8-bit 4:2:0 Internal
Canon C300 Mark II XF AVC 410 Mbps n/a No RAW 10-bit 4:2:2
Panasonic EVA1 H.264 Long GOP (Intra**) 150 Mbsp (400**) n/a External 10-bit 4:2:2. 10-bit RAW
Red Raven Red RAW (3:1 @24, 8:1 @60, 15:1 @120 fps) Prores/DNxHD only up to 2K 122 MB/s Internal 12-bit RAW
  • ^Internal and External
  • **Supposedly coming in a future firmware update.
  • *Just an estimate
  • ^^12-bit up to 30p. 10-bit up to 60p

The URSA Mini has the best codecs for editing. To edit XAVC-I, XF AVC, and whatever Panasonic throws at us you need computers with fast CPUs to decode all that data. Red codecs are slowly passed on to GPUs so that’s a factor as well.

Except for the RAW from the FS7, all the other cameras deliver compressed RAW options as well, so you save a ton of drive space. We still don’t know what Canon’s RAW light or Panasonic’s RAW is going to look like.

I’m going to give this one to the URSA Mini Pro. You really can’t ask for more.

What about the media used? Here’s a comparison:

Camera Dual Card Slots? Media for 4K Market price per GB (128 GB/120 GB) Price per hour of 4K* @24p Notes Data Rate in MB/s
URSA Mini Pro Yes CFast 2.0 (SD) $2.7/GB $1,708.59 3:1 Compressed RAW 180
PXW-FS7 Mark II Yes XQD $1.2/GB $316.41 XAVC-I 75
Canon C200 No CFast 2.0 + SDXC $2.7/GB $1,215.00 RAW Light (compressed) 128
Canon C300 Mark II Yes CFast 2.0 $2.7/GB $486.47 XF AVC 51.25
Panasonic EVA1 Yes SDXC V60 $0.5/GB $87.89 Intra^ 50
Red Raven No Red Mini-Mag (SSD) $7/GB** $3,002.34 RAW 122

**$1/GB for Sandisk Extreme Pro 240 GB SSDs

*The lowest data rate possible. Values rounded off.

^Coming via firmware later

Both CFast 2.0 and Red Mini-mag SSDs are expensive. Features tend to have higher shooting ratios, so you’ll need at least 3 or 4. The actual figures might be somewhat higher!

Now if you’re telling me you’re perfectly happy to shoot an important project with just one or two cards, I know you’re a asking for trouble.

There’s no doubt SD cards are the cheapest option here. Sandisk Extreme Pro SDXC cards are reliable and rugged enough for many (at least 100,000 writes) cycles of use.

Thankfully the costs of CFast 2.0 and XQD cards have fallen. So have SSD prices. So, why haven’t the prices of Red Mini-mags fallen?

So far we don’t have a clear winner. There’s still audio, ergonomics, ports, battery and cost of ownership left to compare – in a fun way of course!

Exclusive Bonus: Download my free guide (with examples) on how to find the best camera angles for dialogue scenes when your mind goes blank.

RedRaven1

Comparison of audio features

Here’s a look at the audio features:

Camera 3.5mm TRS headphone jack Microphone inputs Channels Audio levels
URSA Mini Pro 1 2 x XLR (mic and line level). Phantom power support 2 Yes
PXW-FS7 Mark II 1 2 x XLR (mic and line level). Phantom power support 4 Yes
Canon C200 1 2 x XLR (mic and line level). Phantom power support 4 in RAW, 2 otherwise Yes
Canon C300 Mark II 1 2 x XLR (mic and line level). Phantom power support 2 Yes
Panasonic EVA1 1 2 x XLR (mic and line level). Phantom power support 2 Probably
Red Raven No No 2 No

There’s no clear winner here, though 4 channels on the FS7 Mark II give it an edge. However, the Red Raven definitely comes last, because you need an external recorder or Base Expander for audio, even it if it’s just for monitoring.

If you really want world-class audio, you’ll need to hire a production sound mixer (sound recordist) who will also carry separate audio mixers/recorders and microphones.

 

The little things

The little things make all the difference. In addition to the little things, there are the ‘littler’ things – the stuff you only learn about after having used a camera for a while. At this stage the littler things will have to wait, and we’ll focus on the little things, which are:

  • Ergonomics, toughness and usability
  • Video ports
  • Viewfinder
  • Size and Weight
  • Timecode and Genlock
  • Scopes
  • Quality and size of the Monitor

Here’s how these cameras compare on ergonomics:

Camera Shoulder-mounted Camcorder mode Volume cubic inches Weight (body only)
URSA Mini Pro No, need additional purchase Yes 378 2.31 kg
PXW-FS7 Mark II Yes Yes 588 2 kg
Canon C200 No Yes 240 1.5 kg
Canon C300 Mark II No Yes 306 1.2 kg
Panasonic EVA1 No Yes 185 1.2 kg
Red Raven No Yes 115 1.6 kg

Fully rigged up, all of these cameras should weigh above 5 kg.

On the usability front, the FS7 Mark II comes out on top. For feature-length shoots, having a shoulder-mount/camcorder configuration is not always an advantage. You need a system that is modular and can fit into any rig you design for it. No clear winner here. Guess everyone’s accepted the modularity-era as given.

Let’s move on to more little things:

Camera SDI HDMI Viewfinder Monitor Exposure and focus aids*
URSA Mini Pro 2 0 No, extra purchase 4″ touchscreen H, FP, Z
PXW-FS7 Mark II 2 1 (2.0) Yes 3.5″ H, S, FP, Z
Canon C200 1 1 (1.4) Yes 4″ touchscreen H, S, FP, Z
Canon C300 Mark II 2 1 (1.4) Yes 4″ touchscreen H, S, FP, Z
Panasonic EVA1 1 1 (2.0) No 3.5″ touchscreen H, S, FP, Z, FS
Red Raven None^ None No Additional purchase^ H
  • *Key: H – histogram, FP – focus peaking, Z – Zebras, S – Waveform and Vectorscopes, FS – Focus Squares
  • ^You should be able to connect a Red LCD directly via the LCD cable. You need an additional Base Expander I/O module to get monitoring ports.

Scopes are extremely important when exposing video for Rec. 709, so it’s inexcusable that some cameras don’t have them. You could connect an external monitor via HDMI, but that solution never beats a built-in scope. Zebra is important too.

You might want the Base Expander module to go with the Raven, and you need an external monitor just to get it to be on par with the rest (or to see what you’re doing!). The costs of a basic and cheap system are:

  • LCD Cable ($220) or DSMC2 Base Expander ($1,750), or maybe the Jet Expander can be used for HDMI ($950)
  • Red Touch 4.7″ LCD – $1,450
  • You could get a cheaper LCD via HDMI for about $250
  • Mounting plate – $100

This last set of little things are not mandatory:

Camera Timecode Genlock Remote Control* Wireless Video^
URSA Mini Pro Yes No 2x 2.5mm LANC No
PXW-FS7 Mark II No, only with Extension Unit No, only with Extension Unit 2.5mm No
Canon C200 Yes No 2.5mm No
Canon C300 Mark II Yes Yes 2.5mm WFT Terminal
Panasonic EVA1 Yes No 2.5mm Wireless module
Red Raven No No Yes, Proprietary No
  • *LANC or 2.5mm jack or USB, whatever the protocol used
  • ^All of these cameras can have wireless connectivity via something like a Teradek, etc., but wireless video streaming is a different matter

Timecode features are great, but the implementation is key (it’s one of the littler things). Genlock is useful when working with multiple cameras and/or audio recorders. For those who need it, the FS7 offers both as an additional purchase, with the XDCA-FS7 Extension Unit. However, as far as broadcast and live streaming is concerned, I think I’d be most comfortable with the Canon C300 Mark II.

Regarding the Raven, the PRO I/O Module (which gives Genlock) is not listed as supported with the Raven.

Battery life and Power

All the features in the world are useless if you have to hire a donkey to carry your batteries:

Camera Battery life^ Cost of one battery Cost per hour battery life Connectors
URSA Mini Pro 4 hours $268 $67/hr XLR
PXW-FS7 Mark II 3 hours $399 $133/hr DC
Canon C200 3.5 hours* $495 $140/hr DC
Canon C300 Mark II 3.5 hours $495 $140/hr DC
Panasonic EVA1 3 hours $350 $117/hr DC
Red Raven 1 hour $265 $265/hr Quickplate ($1,050)#
  • *Similar to C300, so this is just a guess
  • ^All are estimates, and could be totally wrong
  • #This is the backpack quickplate that allows you to mount a brick directly to the brain.

Canon cameras have had great battery life for years now. The Raven though, is power hungry. Not only are the batteries expensive, they also need a module to get them to mount on the brain. You would need the following to mount a brick (pick your poison):

  • Quickplate ($1,050) + 153Wh brick ($450) + Charger ($550), or
  • Redvolt Module ($1,150) + Redvolt XL 89Wh ($350) + Quad Charger ($595)

I chose the “cheaper” and more versatile solution for the Raven.

Which is cheaper to own?

Let’s just add up the basics: Initial price, media cost per hour of footage and battery cost per 8 hours:

Camera Price Media per hour*** Battery for 8 hours SmallHD LCD 5″ + Battery Smallrig top handle RAW Module RAW Recorder + 1 SSD Total (Rounded)
URSA Mini Pro $5,995.00 $1,708.59 $536.00 $- $199.00 $- $- $8,438.59
PXW-FS7 Mark II $8,999.00 $316.41 $1,064.00 $- $- $1,999.00 $1,504.00 $13,882.41
Canon C200B $5,999.00 $1,215.00 $1,120.00 $530.00 $199.00 $- $- $9,063.00
Canon C200EF $7,499.00 $1,215.00 $1,120.00 $- $- $- $- $9,834.00
Canon C300 Mark II $9,999.00 $486.47 $1,120.00 $- $- $- $1,695.00 $13,300.47
Panasonic EVA1 $7,345.00 $87.89 $936.00 $- $- $- $1,504.00 $9,872.89
Red Raven $5,950.00 $3,002.34 $3,170.00^ $1450.00# $74.00 $- $- $13,646.64*
  • *Or $14,999 with Sigma lens from the Apple store. There might be other accessories I haven’t added or removed, so go by the ballpark. 
  • ***You need a Red Station to offload the drives, CFast and XQD Readers for the rest. SD cards are supported on laptops (which you’ll most likely have on set) and Macs. Even so, readers can be had for peanuts.
  • ^You need a quickplate to attach the battery to the brain.
  • #LCD Cable, Mounting plate, sliding top handle (assuming it’s compatible) and Monitor Note: You might not need the Base Expander but if you want audio you might want to include it. Though I’ve only put in the price of the monitor instead.

The costs do add up quickly!

The real question is, do the higher prices of the cameras give you something important the others don’t?

Let’s start with Red. Obviously you might be spending close to $15,000 to get a Red Raven ready for hard production, even if it’s in your own back woods. At that price point you can start thinking about comparing it with Scarlet-W or even renting an Epic-W.

So who’s the winner? Time to declare the results.

Conclusion

First, here’s a recap:

Feature Winner
Sensor and ISO Panasonic EVA1
Video features Panasonic EVA1
Codecs and Color URSA Mini Pro
Lenses URSA Mini Pro, Sony FS7 Mark II
Media Panasonic EVA1
Audio Tie
Ergonomics FS7 Mark II
Ports and Monitoring FS7 Mark II
Broadcast Features C300 Mark II
Power C300 Mark II, C200
Most value for money URSA Mini Pro, Panasonic EVA1

Before we take our final decision, we’ll let the cameras tell us what they offer that the others don’t:

Camera Final Price USP Pros Cons
URSA Mini Pro $8,968.59 Metadata, Resolve, Simple Menu, Integration with BMD hardware Broadcast Features, Live Streaming, Built-in LUTs Global shutter promise, aliasing
PXW-FS7 Mark II $13,673.41 E-mount lock Waveform, genlock, Prores If you buy the extension unit you can’t use Sony batteries, You need a module plus a recorder for RAW
Canon C200B $9,063.00 Dual Pixel AF Internal RAW Poor internal recording codec (8bit 420) and limited output via SDI/HDMI
Canon C200EF $9,834.00
Canon C300 Mark II $12,900.00 Dual Pixel AF Genlock and Timecode No RAW
Panasonic EVA1 $9,663.89 5.7K, Electronic Image Stabilization, Dual ISO App Control, SD Cards, 240 fps RAW and Intra in a firmware upgrade, no v60 cards?
Red Raven $12,596.34 120 fps in 4.5K, dual threads bottom Buy in Apple store, Wireless Apps MFT sensor size, need LCD for exposure, Poor audio, fans

Here’s the thing: Should you pay a premium just for 120p? Let’s say there are a few days when you need that, why not rent? Add to that the Raven does not have audio, does not have a firm delivery time, is hard to buy in some countries, etc., and you come to the conclusion it might not be worth the asking price for cash-starved filmmakers. The low budget indie filmmaker can save money that is critically required elsewhere. And by the way, you don’t need HDRx when you already have 16.5 stops of DR.

Even though the FS7 is a stellar camera, it now looks way overpriced when compared to the Canon, Panasonic and Blackmagic Design cameras. I hate the fact you need an extra $1,999 module to even get RAW output, Genlock, etc.

Unfortunately the Panasonic EVA1 needs an external recorder for RAW. The C300 Mark II specifically needs a Convergent Design Odyssey 7Q+. You also need to factor in the costs of SSDs and batteries for these.

I promised there will be only one winner in this comparison, and that winner is the Panasonic EVA1 (B&H, Amazon) for these reasons:

  • 5.7K resolution in Super35mm
  • 14 stops of DR
  • Dual native ISO at 800 and 2500
  • RAW recording
  • Electronic Image Stabilization
  • Smartphone apps – The Panasonic GH5 app is stellar!

What do you think? Is the Panasonic EVA1 (B&H, Amazon) the best low budget cinema camera available in 2017? Which one do you plan on getting?

Exclusive Bonus: Download my free guide (with examples) on how to find the best camera angles for dialogue scenes when your mind goes blank.

11 replies on “Best 4K Cinema Camera under $10,000? A Fun Comparison between the Blackmagic Design URSA Mini Pro 4.6K, Canon C200, Panasonic AU-EVA1, Sony FS7 Mark II, Canon C300 Mark II and Red Raven”

  1. FYI. The URSA MINI PRO does lock to Genlock. The SDI input can also receive Genlock when the timing reference is set to REF. In addition the URSA MINI PRO will also lock to a SDI video signal using the PROGRAM timing reference.

  2. Found typo: You said RED Raven shoots 12 bit raw – it actually shoots 16 Bit RAW internally, arguably the best part about the camera.

  3. Canon C300 Mark II has RAW with Odyssey 7Q Plus, so not internally like a Panasonic EVA and Sony FS7 Mark II.

    Canon C200 gets a stronger 10bit codec in 1Q2018.

    Panasonic EVA has 5,7K RAW, but with which recorder? I do not know such a thing and I do not even know it should be announced.

    Only Canon has a usable autofocus, and it can be an important factor for someone, for example, for gimbal.

    Panasonic Eva has the same bad codec in 4K60p as Canon, so 420 8bit 150Mbps.

    4K60p 422 10bit 1000Mbps in RAW on Canon C200 is no problem, because Sony FS7 II has 600Mbps 422 10bit and Ursa Mini Pro has 1760Mbps 422 10bit (Prores HQ).

    It works for me that you keep Panasonic, but I think EVA has so many mistakes that I would not choose it as the winner.

  4. Hi Sareesh. You might find it interesting to look at the costs of support infrastructure. The C200 recommended Canon cine raw light development computer configuration for example. Also the available output configurations if using a Windows system. These ‘fun’ comparisons, although open to inevitable criticism, do provide a useful platform guide to construct my own comparisons on, so thank you. Bob.

  5. When comparing cameras, you should pay attention using the right specs:

    “The C200 only shoots 4K in RAW mode, you can’t shoot 4K in MP4”
    Not true. You can shoot 4K in both Cinema RAW Light and MP4.

    “2 x XLR (mic and line level). Phantom power support, 4 in RAW, 2 otherwise”
    PLUS 3,5mm jack for 2 extra channels. 2 (AAC) or 4 (PCM) audio channels, both in RAW and MP4.

  6. Hmmmm. I appreciate this post but we haven’t even seen any footage from the EVA1 whereas we have seen stuff from every other camera on the list. So I am not sure we can call the EVA1 the winner just yet.

    The EVA1 certainly looks to be very promising but there are some big caveats to that camera. For instance, the 4k 60p is 4:2:0, 150Mbps. That is the same rate as the C200’s terrible, lower end codec. Also the lack of an EVF and no High Bright monitor (it has been confirmed that the touchscreen monitor is not a high brightness LCD) means this camera will require a 3rd party EVF and a bulkier setup when shooting outdoors, which kind of sucks. And although the touch screen is awesome, Panasonic is recommending that you keep it on the camera when shooting with a 3rd party EVF for menu navigation. This will most certainly make the small, light form factor of the EVA1 much more cumbersome and unwieldy for solo shooters.

    In addition, 6 stops of built-in ND is generally not enough for shooting outdoors and wide open. And there has been no word of when the 400Mbps codec will be released which is what truly makes this camera unique. We could be a year away from that even happening and until it does, the EVA1 is not as appealing yet.

  7. You should throw the Terra 6K in there. Specs hold up well against them. I can send you some footage from mine if you would like.

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