Short Film Shot in ProRes RAW on Panasonic EVA1 + Behind the Scenes

UK industry publication Televisual, recently published a piece on a short film shot on the Panasonic EVA1 in the new ProRes RAW format thanks to an Atomos Shogun Inferno monitor/recorder.

EVA, the appropriately titled short tribute to the Hammer Horror tradition was shot in the Cotswold region on the grounds of a farmhouse with an authentic gothic aesthetic in line with the horror overtones of isolation and vulnerability akin to the gothic horror genre of years past.

Shot at 4K DCI (4096 x 2160) in 24p ProRes Raw for a later UHD delivery, the production team used an Atomos Shogun Inferno as their external recorder and G-Tech Pro SSD drives in post-production.

Check out the short film below:

I’ve worked with previous generations of Panasonic cameras like the VariCam Pure and VariCam LT and some of that technology has filtered down to the EVA 1. I like the camera, it’s got a nice form factor and it’s compact – you can always make it bigger, rather than smaller. The fact that the EVA 1 can record up to 240 fp/s in 2K is great for creative options.” cinematographer Steve Lawes said.

Panasonic EVA1 Atomos Shogun Inferno Raw 5.7K NAB 2018

Panasonic EVA1 Features/Highlights

  • 5.7K Super 35 CMOS sensor
  • Dual Native ISO (800 and 2500)
  • Native EF Mount (non-interchangeable)
  • 4K at up to 60p / 2K up to 240p
  • 10bit 4:2:2 internal codec for 4K and Full HD
  • Up to 400 Mbps data rate for internal
  • V-log & V-gamut
  • SD Card Recording
  • 5.7K ProRes Raw output to:
    • Atomos Shogun Inferno
    • Atomos Sumo19
  • Electronic Image Stabilization (EIS)
  • IR Cut In/Out
  • ND Filter Wheel (2/4/6 stops)
  • XLR Audio
  • Tool-less design for top handle and side grip
  • HDMI & SDI 4K Video Outputs
  • 1.2 kg // 6.69″ x 5.31″ x 5.23″ (L x H x W)
  • Price: $7,345 US (B&HAdorama)

EVA Behind the Scenes:

The lenses of choice were the highly desirable Sigma CINE Zooms and also a full set of Sigma Cine High-Speed Primes, whose fast T1.5 aperture helped with the night shots tremendously.

The short film was edited in FCP X, transcoding the 4K DCI RAW to ProRes 4444 (XQ) and grading on Baselight with a reference grade monitor.

According to the director and editor Simon Smyth:

…working with the Atomos system, it’s not like the old days where you’ve got video assist, you’re actually looking at what you’d refer to as your digital negative on set. The recording aesthetic of the ProRes RAW coming from the EVA 1 looks very much like the aesthetic of what 35mm used to back in the day. It’s the look that filmmakers have often strived towards for documentaries and indie film, short films and content for the web and brand films and I think there’s no doubt that with the right operator it’s a great package.

To read more about the EVA short film and how they shot it, head over to Televisual.

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