The Blackmagic RAW codec has just been announced, with immediate public beta update for the URSA Mini Pro 4.6K and Davinci Resolve. The update should soon be available for other Blackmagic cameras, too. Complete RAW video capture is now coming to Blackmagic Design cameras and Davinci Resolve, with a non-linear 12-bit colour space, designed to capture the maximum amount of colour data and dynamic range available, all within an efficient, part-camera driven de-mosaic process. Blackmagic RAW uses the Blackmagic Design Generation 4 Colour Science, which ensures that skin tones and colour are reproduced accurately for superior imaging results. The resulting file is considerably smaller than traditional RAW files. Flexible Blackmagic RAW compression Two types of file compression are available in the camera recording options; Constant Quality or Constant Bitrate. Constant Quality can be achieved with RAW Q0, which encodes at a variable bitrate, ensuring high detail shots are recorded at the highest bitrate. Whereas RAW Q5 uses efficient encoding, which results in a smaller file size. Four levels of compression are available when recording in Constant Bitrate. All compression settings retain the 12-bit colour space. In terms of data rates, when recording in Constant Bitrate, 3:1 compression the average data rate is around 127MB/s, but in 12:1 the average data rate is around 32MB/s. Unlike the cinemaDNG RAW codec available in Blackmagic Design cameras, Blackmagic RAW captures the footage as one file, rather than a sequence of still images, further adding to the flexibility of handling, data transfer and processing of the files. The choice of RAW codec compression gives shooters the flexibility to choose whether a production requires image quality over file size – a non-restrictive and flexible approach – especially when production demands change. Blackmagic RAW promises efficient encoding and high performance, even with smaller file sizes. As part of the de-mosaic process takes place in camera, it means that Davinci Resolve uses less processing power to decode the files, and is even faster with GPU and CPU acceleration. The codec has been developed to understand the camera through sensor metadata, which means that image data and sensor characteristics are recorded into the file. This results in all of the traditional RAW controls over ISO, white balance, contrast, saturation and exposure, as well as camera data and colour science, enabling the editor to get the best out of the footage, even if it is captured in a compressed RAW codec. Additionally, the adjustment of the RAW settings in the files are carried across from app to app through the Sidecar file, which contains any adjustments to the settings such as exposure, white balance, contrast for example. This ensures that the  settings and images look the same across applications and operating systems, while the RAW file remains unchanged. The Blackmagic RAW SKD is also freely available for developers that wish to integrate the new RAW codec into software, for example editing platforms. Blackmagic Design is also interested in talking to other camera manufacturers that would like to implement Blackmagic RAW into their cameras. Completely free RAW update The Blackmagic RAW public beta update is free and available now for the URSA Mini Pro 4.6K camera and Davinci Resolve via the Blackmagic Camera 6.0 Beta update and Davinci Resolve 15.1 update respectively. There are four Blackmagic RAW files available to download on the Blackmagic Design website here. This new advancement in RAW recording for Blackmagic Design cameras really opens up a high-end avenue for anyone using Blackmagic cameras, and those editing or grading using the Davinci Resolve workflow, giving unprecedented control over the image in post production. At present, this update is only available for the URSA Mini Pro 4.6K, however Blackmagic have said that this update will be available for other cameras, such as the Blackmagic Pocket Cinema Camera 4K, soon. Will you be downloading the Blackmagic RAW update for your URSA Mini Pro 4.6K? Does the Blackmagic RAW update allow you to achieve even greater production quality? Let us know in the comments.

In a refreshingly swift move, Apple has addressed the thermal throttling issues that have plagued their brand new flagship i9 MacBook Pro for the past week. Apple today released an update to OSX High Sierra that patches a “missing digital key” and largely seems to solve the thermal throttling and improve the performance of their 2018 MacBook Pro lineup. For the uninitiated, thermal throttling is a common safety feature that limits the performance of a CPU to keep it from damaging itself under heavy use. Done properly, this can be a subtle way to protect your system without severely affecting performance. If there was no throttling or proper cooling in place, the internal temperature could rise high enough to literally melt your CPU. Not good. Throttling in the real world I’m sure every editor is familiar with that moment where you add one too many effects to your timeline. As the fans spin up to maximum speed, your heart and your playback FPS sink. This is thermal throttling in action. Forced to choose between playing back your clips smoothly and generating an unsafe amount of heat, the computer chose the former. That’s unfortunate, but necessary for your MacBook to live a long and healthy life. But what if it did that all the time, regardless of how many effects you actually added? What seems to have happened with Apple’s new i9 MacBook Pro is thermal throttling taken to the extreme. First reported by Dave Lee, the i9 MacBook Pro displayed extremely slow and uneven performance. As best we can tell, the processor was throttled very hard, then released, then throttled again. This manifested as much slower performance than expected, even when compared to older models with lower specs on paper. The ‘spiky’ performance of the i9 Macbook Pro before (left) and after (right) – image via CNET While it’s still too early to know for sure, with todays update seems to have solved the throttling, but its effect on performance is still unclear. Apple tells us that the performance should now be “70 percent faster” than the 2017 models with this update,  but keep an eye on the real-world testing as it comes in. AppleInsider’s tests show a performance increase, but not a major one. This is just one data point, though, and I personally would wait a week or two for the dust to settle before making a final verdict. On the whole though, it seems safe to say that the thermal throttling has been brought under control, and that the new i9 MacBook Pro is finally beginning to live up to its potential. Even the other members of the 2018 MacBook Pro lineup have seen a boost with the free software update! What does this mean for editing? For all of the laptop editors out there, whether you use Final Cut, Premiere, or DaVinci Resolve, this update could be the difference between editing your clips at real time or not, between half and quarter resolution playback. But maybe most of all, it makes the flagship i9 model, with its increased RAM capacity and six-core processer, a viable purchase again instead of a punchline. For a more detailed analysis, check out WIRED’s excellent coverage. To download the update, check the app store on your MacBook Pro. Would you buy a 2018 MacBook Pro after these updates, or still stick to last year’s model? Or are you a Windows editor? Let us know in the comments!

Atomos has just recently released their new firmware update, AtomOS 9.11, for the Shogun Inferno external recorder. It is now capable of 5.7K ProRes RAW recording in combination with the Panasonic EVA1. The 5.7K Prores RAW Recording Ability with the EVA1 Only two months ago on the day of the announcement, we shared an interview with Atomos CEO Jeromy Young about the Apple ProRes RAW format and  the new recording capability for that format in Atomos recorders with you. For more in-depth information, check out the interview and the accompanying article. Very simplified explanation: this new compression format fills the gap between regular ProRes and RAW and offers a good ratio between file size and grade-ability. 5.7K ProRes RAW out of Panasonic EVA1 Atomos now unveiled another new firmware upgrade, enabling more ProRes RAW functionality – AtomOS 9.11. (To be precise, Atomos first released AtomOS 9.1 but there were numerous issues with that update. Metadata from some lenses sent to the recorder caused the firmware to be unstable. The company quickly y pushed the fix, version 9.11). The firmware update was first released for the Atomos Sumo19 recorder, and after that, also for the popular 7.1″ Atomos Shogun Inferno recorder. When combined with the Panasonic EVA-1 camera, those updated recorders can now record the full sensor readout of 5.7K into Apple ProRes RAW and Prores RAW HQ video with up to 30fps over 6G SDI connection. They therefore make use of the full resolution and dynamic range of the EVA1 Super35 image sensor. Unfortunately, it appears that the 5.7K out of the EVA1 cannot be recorded into any other format other than ProRes RAW. The exact frame rates supported at 5.7K ProRes RAW are: 23.98 24 25 29.97 30 HDR Configuration during Playback Another new feature that comes with the update of the Shogun Inferno: the automatic HDR configuration in playback. When playing a movie recorded with AtomHDR monitoring enabled, all HDR settings will be automatically restored to match the settings in which the recording was started. The “Auto HDR” button needs to be selected to enable this feature. The Panasonic EVA1 and the Atomos Shogun Inferno make a good Pair The AtomOS 9.11 firmware update is available for free and can be downloaded here. This new firmware update makes the combo of EVA1 with the Shogun Inferno a very powerful yet lightweight cinematic tool, at quite an interesting price point in my opinion. The lightweight EVA1 body rigged – for instance – on the new DJI Ronin-S, plus being able to record 5.7K Prores RAW on the Shogun Inferno sounds very appealing to me. What do you think of this cinematic EVA1-Shogun Inferno combo? Did you already have the chance to record and/or grade the Prores RAW footage? How did you like it? Let us know in the comments below.

Sony just presented a new version of the Sony VENICE which will give it a removable sensor block which is tethered to the camera. Also, Sony VENICE will get the long-awaited firmware update version 2 at the beginning of July. The firmware update unlocks new framerates, Sony E-mount possibility and few other new features. Sony also announced that two Avatar sequels will be filmed with the Sony VENICE. Cine Gear Expo started today in Los Angeles and our cinema5D team there is reporting with fresh content from the Sony press conference. Avatar Sequels Filmed with Sony VENICE James Cameron made an appearance at the Sony press conference – only on screen – announcing that he will be shooting Avatar 2 and 3 with the Sony VENICE camera system. Avatar producer Jon Landau made an appearance on stage to discuss Lightstorm Entertainment’s collaboration with Sony, and we interviewed him as well. Landau said, “Jim (Cameron) and I were blown away by the potential of what the Sony Venice could do.” James Cameron added, “The VENICE camera delivers the most astonishing image I’ve ever seen. The blacks are rich, deep and velvety, the highlights and source lights are amazingly bright. For the first time, we truly appreciate what the term High Dynamic Range means.” Interesting side fact is that performance capture for Avatar sequels is supported by a variety of additional Sony cameras including multiple Alpha mirrorless interchangeable lens cameras and even the compact RX0. Avatar producer Jon Landau being happy with the new Sony Venice with tethered sensor block Sony VENICE Extension System – Tethered Removable Sensor Block The collaboration between Sony and Lightstorm, Cameron’s production company, began in 1999, resulting in the development of a unique extension system allowing the camera body to detach from the actual image sensor block. A similar approach has now been adopted for VENICE, with each sensor and camera body connected by a cable at distances of up to 20 feet with no degradation in image quality. For the upcoming Avatar sequels, multiple VENICE cameras will be paired in various 3D stereoscopic rigs. Using the new Sony cabling system, the only part of the VENICE carried on the rig will be the image sensor optical blocks, and thereby significantly reducing the carried camera weight to about 3 lbs per sensor block. Like a DSLR – with a big fat cable. The sensor block of the Sony Venice The Avatar sequels will be among the first feature films to use the new VENICE Extension. This system also has significant potential for wider use with Steadicams, (tethered) drones and gimbals, and remote mounting in confined places. No word on pricing or availability yet, but it is supposed to be an optional upgrade for existing VENICE cameras. Showcase of Sony VENICE Work There are two short films shot on the new Sony VENICE which were presented during the press conference to showcase this camera’s capabilities. The first film “The Shoot” by Jeff Berlin (director and DP) showcases the VENICE’s color science and how the camera handled different skin tones of casted models. Second short piece “Ties” directed by Laura Stabilini and shot by DP Paul Cameron, ASC, shows the low light capabilities of the Sony VENICE. Cameron used the newly announced ZEISS Supreme Prime lenses for the shoot. Sony VENICE Version 2 Firmware Update – Key Features Release in the beginning of July 2018 (instead of later in the summer as originally planned) Adds additional Imager modes: 25p in 6K Full-Frame, 25p in 4K 4:3 Anamorphic, 6K 17:9, 1.85:1 and 4K 6:5 Anamorphic. Wired LAN remote control – users can remotely control and change key functions, including camera settings, FPS, shutter, EI, iris (Sony E-mount lens), rec start/stop, and built-in optical ND filters. Dual Base ISO of 2500 added (noise responsive) to take full advantage of 15+ stops of dynamic range (from +6 stops to -9 stops as measured at 18% middle gray). Variable frame rates 1-60fps Users can customize their own 3D LUTs and save them directly into the camera. Supporting Lens mount added – E-mount (lever lock type) New Sony VENICE High Frame Rate Option Sony also announced the details of a planned optional (as in: payable) upgrade to support high frame rates in various resolutions. The upgrade will include speeds up to 60 fps in 6K, up to 90 fps in 4K, and up to 120 fps in 2K. It is planned to be released in the spring of 2019, but that timeframe is still tentative. Is the Sony VENICE camera system maturing with these new updates? Let us know what you think about the system in the comments below.

The latest Panasonic AU-EVA1 free firmware update brings a new SMOOTH mode noise reduction feature,  greater lens compatibility and menu improvements.   The EVA 2.5 firmware update is free and available now Only two months after the last firmware update, Panasonic has released the latest EVA 2.5 firmware for the AU-EVA1. This update includes a new feature called SMOOTH mode noise reduction, which can be used to reduce noise in-camera when shooting at higher ISO settings, without the need for post processing. This new feature is available at all ISO settings and resolutions, with Panasonic claiming that with the SMOOTH mode applied, the image shows less noise but the quality of the image is retained, even when shooting at high ISOs. For productions that require a streamlined post-production workflow, adding the SMOOTH mode in camera for scenes with a higher ISO takes the extra noise reduction step out of the equation. Additionally, the EVA 2.5 firmware update allows greater EF lens compatibility that has been expanded to include the following: Canon 24-105mm F/4 IS II USM Canon EF-S 17-55mm F/2.8 ID USM Tamron SP 35mm F/1.8 DI VC USD Tamron SP 90mm F/2.8 DI Macro 1:1 VC USD Now compatible EF lenses with the Panasonic AU-EVA1 The Canon 24-105mm F/4 IS II USM lens is a very popular choice for users due to its versatility and price point, so this expanded compatibility will be very beneficial to those who have switched from a Canon camera to the Panasonic EVA1. “One Push AutoFocus support” is now supported with both Canon CN Compact Cine Servo Zoom lenses, in which the function button can be relocated from the servo handgrip to any of the 27 user-defined buttons on the camera. Two more updates to the firmware are in the menu: The FOCUS EXPAND mode default duration set to 10 seconds before returning to normal view, which is still user definable in the menu. The visibility of Scene File names in the Colour Settings menu page, and the Colour Settings shortcut. It’s only been a few months since the previous EVA1 2.0 firmware release, so it is very positive to see Panasonic reacting to the needs of users with this latest update, which is absolutely free. Follow the link to download the EVA2.5 firmware upgrade here. What do you think of the latest firmware updatee for the Panasonic AU-EVA1? Do you have any suggestions for what to include in future upgrades? Let us know in the comments.

The new firmware update for Panasonic  LUMIX cameras has just been released. It addresses the Panasonic GH5, GH5S and G9, and improves autofocus, sound quality and adds more features. This firmware update – which is available now and is free (download links below) – deals with autofocus performance, adds new monochrome photo styles and upgrades sound quality for video recording. As a GH5 owner I welcome this new firmware greatly as that camera’s autofocus (AF) performance is considered – by many users – to be quite poor. Although I mostly do not use the AF with the GH5, in some situations (like gimbal filming or vlogging) a good AF can help a lot. I am very curious about how significant the improvement is. Panasonic LUMIX DC-GH5 Firmware 2.3 New firmware version 2.3 (download link and full details can be found here) adds or improves following features: Improved AF performance – increased tracking AF performance. Allowing users to follow their subject while recording movies. Improvement of Body I.S.(Image Stabilizer) performance • There were cases where peripheral distortion occurred in video recording while walking when used with Panasonic wide zoom lenses (H-F007014, H-E08018). This bug has been fixed. L. Monochrome D & Grain effect – The new L. Monochrome D photo style captures darker tones and greater contrast. Grain effects are available in different strengths for all monochrome settings. Live View Boost – viewfinder screen and LCD monitor can be displayed brighter than the image recorded. This allows users to check the composition in low-light environments and helps to frame the shot. MF Assist – more accurate manual focusing for photos and videos. Magnification goes up to 20x in MF Assist mode. Night Mode – camera screen displays all information in red to not be disturbing for night use. Like 709 & V-LogL improvements – Like 709, V-LogL and V-LogL View Assist in Photo Style can now be used for still photo shooting and time lapse video. [LUT Monitor Display] and [LUT HDMI Display] can be used in playback mode to check the appearance. Note that you still need to have the V-Log update purchased. Enhanced sound quality – sound quality has been improved by optimising the performance of the internal noise cancelling microphone. Additional information can be found here. Night Mode on the Panasonic GH5 Panasonic LUMIX DC-GH5s Firmware 1.1 New firmware version 1.1 (download link and full details can found here) adds or improves following features: Improved AF performance – the autofocus for lowlight and low-contrast photo shooting has been improved. L. Monochrome D & Grain effect – The new L. Monochrome D photo style captures darker tones and greater contrast, with grain effects available in different strengths for all monochrome settings. Enhanced sound quality – sound quality has been improved by optimising the performance of the internal noise cancelling microphone. Better Control of Video Settings – Vector Scope can be displayed on the screen while adjusting white balance. Panasonic LUMIX DC-G9 Firmware 1.1 New firmware version 1.1 (download link and full details can be found here) adds or improves following features: Improved AF performance – increased tracking AF performance. Allowing users to follow their subject while recording movies. L. Monochrome D & Grain effect – The new L. Monochrome D photo style captures darker tones and greater contrast. Grain effects are available in different strengths for all monochrome settings. Live View Boost – viewfinder screen and LCD monitor can be displayed brighter than the image recorded. This allows users to check the composition in low-light environments and helps to frame the shot. MF Assist – more accurate manual focusing for photos and videos. Magnification goes up to 20x in MF Assist mode. Improved High Resolution Mode – The aperture range of the G9’s high resolution photo mode has been expanded – from F8 to F11 – and the motion correction has been improved. Enhanced sound quality – sound quality has been improved by optimising the performance of the internal noise cancelling microphone. I am glad to see that manufacturers like Panasonic listen to their customers and bring firmware updates to fix any issues or weak spots of their products. The GH5, for instance, really went a long way from when it was first launched to the market. Can you see improvements in your camera performance after installing the new firmware? (Especially AF performance). Share your experience with us in the comment section below.

Kinefinity has just realeased a major update for their Terra cinema cameras. The KineOS 6 update brings a completely overhauled user interface (UI) and a lot of new features, although surprisingly many of those are only available for the Terra 4K, not the 6K. You can download KineOS 6 for Kinefinity Terra 4K and Terra 6K right now as a free update. Both cameras will benefit from an upgraded UI but only the Terra 4K will get the whole package of new and improved (technical) features. Read all about these cameras here. Kinefinity KineOS 6 Update The layout of key parameters has been revamped in order to achieve a cleaner look and feel without having to search for the most frequent settings all the time. Here’s a list of all the new and improved UI fetaures: Interface redesigned: New layout of key parameters such as clip name, timecode and codec format. Key Parameters Tuning: Define shortcut buttons in order to change key parameters such as ISO, iris, color temperature, ND stops etc. A waveform exposure assistant is now available. New Setup Menu which is easy to read and operate. The Kinefinity Terra 4K is now able to record compressed RAW in cinemaDNG format. This feature is still in beta (‘test version’) but you can already try it for yourself. Choose between 3:1, 5:1 or 7:1 compression ratios and record compressed RAW cDNG directly in-camera. The Terra 4K inherits this feature from the MAVO. Note: Even though you can download KineOS for the Terra 6K, this compressed RAW feature is only available for the Terra 4K. Kinefinity offers some notes on this feature: 1) KineLog will be burned in when you record comressed RAW in cinemaDNG (which will be handled by DaVinci Resolve natively). 2) You will have to grade from scratch after importing the footage in DaVinci Resolve because cinemaDNG and ProRes footage require very different workflows. 3) Playback of cinema DNG footage will be very slow, the speed will increase in future firmware versions, though. KineOS 6 offers some new oversampling options. The camera uses all the pixels of the CMOS sensor and outputs 2K/Full HD footages which usually improves the overall image quality and reduces the noise level. Again, only the Terra 4K will support this feature. Another big improvement of KineOS is the ability to shoot anamorphic with the Terra 4K camera. You can choose between an anamorphic mode (3700 × 2700 pixels) and an open gate mode (full sensor -> 4096 × 2700 pixels). If used with a 2x anamorphic lens, the de-squeezed image will sport a whooping 7400 x 2700 resolution. When using either of these new anamorpfic modes the framerate is limited to 50 fps. You guessed it, only the Terra 4K will benefit from these new shooting modes. Other Improvements Apart from the major updates of KineOS 6, the company has squished a few bugs and polished some features. here is list of some minor improvements: Optimized In-camera LUT: more balanced color for fast workflow. Added project frame rate: 48, 50, 59.94, 60fps. Fixed the abnormal image when start up. Fixed freeze issue at some operations. Optimized black shading of TERRA 4K. Fixed system crash when adjusting ISO under certain color temperature. Fixed the mismatch of exposure compensation in menu setting. Optimized the highlight performance for TERRA 6K in some special case. Change the minimum frame rate of TERRA 4K to 6fps. The KineOS 6 update can be downloaded now for free over at Kinefinity.com. The Terra 4K is $3,999 and the Terra 6K is $5,999. If you can wait just a little bit longer, the $7,999 MAVO (read our initial coverage here) might be an option, too. Do you own a Terra 4K or 6K camera? What are your thoughts about this update? Let us know in the comments below!

The release of version 2.0 of The EVA1 firmware is imminent out now (download link). With it, indie shooters will have a camera on steroids in their hands: All-I codecs, RAW output, support for more Sigma Art lenses and improved broadcast codecs. Let’s dive right in! UPDATE: Atomos Shogun Inferno and Sumo 19 receive a firmware update to record the 5.7 RAW output from the EVA1! Read all about it in the attached section at the end of the article! LongGOP codecs are not bad per se but I wouldn’t consider them as my first choice either. With this updated EVA1 firmware we can finally wave goodbye to these and welcome the brand new All-Intra flavours! In case you need a little refresher on this camera, head over to our initial coverage here. All-I Codecs and RAW Output this update has actually been announced for a long time. Now, that it’s here check out the full list of updated codecs: ALL-Intra codecs 4:2:2 10bits 4K/UHD up to [email protected] Mbps 2K/HD up to [email protected] Mbps 2K/HD up to [email protected] Mbps ALL-Intra codecs for High Frame rate 4K/UHD [email protected] Mbps 2K/HD [email protected] Mbps Another cool new feature is the RAW output via 6G SDI: 5.7K RAW at up to 30p, CROP 4K RAW at up to 60p and CROP 2K RAW at up to 240p. These two features, All-I recording and RAW output are transforming the already good EVA1 camera into a very capable (and not too pricey) indie cinema camera. But there’s more. Broadcast Codecs & Sigma Art Lenses If you’re working for fast turnaround broadcast stations, a ready-to-go interlaced codec might be needed to avoid time-consuming transcoding. For these applications, The new EVA1 firmware sports the following options: FullHD (1920×1080) – ALL-Intra 100Mbps 10-bit 4:2:2 @59.94i/50i FullHD (1920×1080) – LongGOP 50Mbps 10-bit 4:2:2 @59.94i/50i Last but not least, the new 2.0 firmware enables full support for a number of highly popular Sigma Art Lenses, including: 12-24 F4 DG HSM 24-70 F2.8 DG OS HSM 14mm F1.8 DG HSM 30mm F1.4 DC HSM 85mm F1.4 DG HSM 135mm F1.8 DG HSM A few other additions like LCD signal cloning to HDMI, as well as additional home screen indicators improve monitoring in the camera. To improve the workflow, Panasonic has also added the capability to output ancillary data for RAW such as time code, REC flag and also VANC metadata on SDI. Conclusion The updated version 2.0 of the EVA1 firmware will be available as a free download by the end of March is out now and you can download it here. The already impressive dual-ISO EVA1 camera gets even more awesome with the updated features. And making it available free of charge is a nice gesture from Panasonic. UPDATE: Atomos Shogun Inferno & Sumo 19 We’ve just received word from Atomos, that they will release a free firmware update to their Shogun Inferno and Sumo 19 recorders/monitors which enables you to record the 5.7K RAW straight from the EVA1’s sensor to the Inferno or Sumo 19 over 6G SDI at up to 30fps. In 4K you can either record to Apple ProRes / Avid DNxHR in up to 60fps or straight to CDNG RAW at up to 2Kp120 or 4Kp30. Slow motion, anyone? The Shogun Inferno can record the RAW output of the EVA1 at up to 240fps in 2k/HD, direct to Apple ProRes or Avid DNxHR. Watch s short behind the scenes video from a music video shot with a Panasonic EVA1 in conjunction with an Atomos Shogun Inferno: You can also watch episode 2 and the full BTS, if you want to take a deeper dive. According to Atomos CEO Jeromy Young, Panasonic and Atomos have combined to deliver an astonishing set of features for end-to-end RAW production – 5.7K, 4kDCIp24-60, 2KDCIp240 in 10-bit V-Log recorded on our Shogun Inferno or Sumo 19. This is the best RAW solution for the price point on the market today. The update will be released at this year’s NAB, so it won’t be long now. Links: Panasonic | full changelog of firmware 2.0 | update instructions (pdf) Do you own a EVA1? What do you think about these updates? Share your thoughts in the comments below!