UK Panasonic Lumix ambassador and longtime video innovator Nick Driftwood is kindly sharing his custom settings file for shooting NTSC and Pal video with the newly-released Panasonic Lumix DC-S1 35mm sensor format hybrid stills and video camera.
Creating settings like these can be a painstaking enough business with Panasonic’s Micro Four Thirds cameras and even more so with the Lumix S1 given it offers a total of thirteen, yes thirteen, custom settings slots as opposed to the five of its smaller-sensor siblings.
As I discovered last week, the Lumix S1 and S1R are great cameras for stills photography though I have yet to try them out for video.
Mr Driftwood confirms my observation about the S1’s photography capabilities, and he has more to say about it as a video camera:
This is a great camera for photographers with its 24MP FF sensor offering really good low light performance – its very clean even at 10000 ISO!
But it also translates over to decent looking video with its 4K 24p, 25p, 30p, 50p, 60p performance. Then there’s also the brilliant 4K/6KPhoto mode that can shoot 60fps in 4K/ 30fps in near 6K (for example 4:3 aspect mode is 4992×3744 pixels).
Switching around manually all these settings can be tiresome, so, I wanted to invite users to take a look at the custom mode features where you can set and store all your favourite settings and recall them in an instance. It saves so much time being able to load settings all in one go!
Having been to digiDirect’s public launch of the Panasonic Lumix DC-S1 and DC-S1R cameras and the initial three lenses on April 1st, with hands on the S1 and Lumix S 24-105mm f/4.0 zoom lens, I wanted to get to know the higher megapixel S1R and the Lumix S Pro 50mm f/1.4 prime lens.
With both cameras I immediately learned there is so much more to them than two brief events like these can reveal, such as their video and high resolution mode capabilities, but getting a decent feel for how they work and what they are capable of is crucial.
Getting a good feel is exactly what I did to the point where I was impressed enough to consider purchasing the S1R for portrait photography sometime in the future, with an eye on mating it up with some coming wide aperture lenses from members of the L-Mount Alliance.
Hands on with the LUMIX S1 & S1R, Ted’s World of Imaging, Sydney, April 4 2019
Portraits, Panasonic Lumix DC-S1R with Panasonic Lumix S Pro 50mm f/1.4
Portraits in the gallery above were made by Karin Gottschalk with the Panasonic Lumix DC-S1R equipped with Panasonic Lumix S Pro 50mm f/1.4 as raw files, converted from .RW2 raw to .TIFF files using the L. Monochrome D profile in Adobe Camera Raw 11.2.1 then processed in Alien Skin Exposure X4 using the Platinum Print Warm analog simulation profile.
All JPEGs here have been reduced in size, so they can only hint at the detail and visual richness of the S1R’s raw files that would be better revealed as large format prints.
I often saw photo gallery shows in London where all the images were printed rich and dark in platinum to draw viewers in and impart a sense of mystery, and drama, and the photographs were shot in medium format roll film or 4″x5″ and 8″x 10″ sheet film, so my aim in making these portraits was to pay homage to that look.
Although I did not have the means to print my own work as platinum prints aka platinotypes when I was working as a magazine editorial portrait photographer, I printed my portfolio work in silver-rich baryta photographic papers that I toned or split-toned to simulate non-silver printing processes as well as silver-based processes like Lith printing.
I showed these images to magazine art directors who were so excited by their expressive possibilities that they fought to have all pages printed in four colour instead of some in colour and the rest in black ink only.
My favourite camera in those years was my Zone VI Studios 4″x5″ field camera based on the Tachihara Wista camera made of cherrywood, and my favourite monochrome film was the now tragically deceased Polaroid Type 55 positive/negative film that I shot at 20 ISO for proof prints and 12 ISO for negatives.
My method was to shoot with medium wide or medium telephoto large format lenses with the aperture wide open or stopped down by one-third or half a stop, light minimally with a three-light Broncolor monobloc flash light kit, dunk the instant-processed Polaroid Type 55 in a Polaroid bucket on location then complete the negative processing, washing and drying back in the studio.
My aim was to produce deeply emotive close-up and full-face portraits, and environmental portraits, that would leap out of the printed page, stopping dead then drawing readers in as they flicked through the magazine.
The combination of Panasonic Lumix DC-S1R with Panasonic Lumix S Pro 50mm f/1.4 helped me simulate aspects of that approach to analog portrait photography and I look forward to spending more time with the S1R and its lenses present and future sometime soon.
I attended the first Panasonic S-Series touch-and-try launch event for members of the public in Sydney, hosted by digiDirect at the House of Merivale in the CBD on the 1st April.
The organisers provided a number of Panasonic S1 and S1R mirrorless 35mm sensor cameras mostly equipped with Panasonic Lumix S 24-105mm f/4.0 Macro OIS zoom lenses, though I spotted a couple of Panasonic Lumix S PRO 70-200mm f/4.0 OIS telephoto zoom lenses and a Panasonic Lumix S PRO 50mm f/1.4 prime lens.
My first impressions of the S1 as a stills photography camera are positive though limited due to the circumstances, but it came across as very well-designed and well-manufactured, and it performed better than hoped for in available darkness.
Panasonic Lumix DC-S1 and DC-S1R 35mm sensor mirrorless hybrid cameras with Panasonic S 24-105mm f/4.0 and Panasonic S Pro 50mm f/1.4 lenses.
Panasonic Lumix S 70-200mm f/4.0 OIS telephoto zoom, Panasonic Lumix S Pro 50mm f/1.4 fast prime lens and Panasonic Lumix 24-105mm f/4.0 Macro OIS standard zoom lens. The first two lenses have manual clutch focus.
Panasonic S-Series cameras and lenses at House of Merivale, Sydney, 1st April 2019
After some initial snapshots in colour with the S1’s default settings, I selected monochrome HLG Photo mode to better focus on the people and gear being shown.
Each photograph produced three files, the JPEGs that you see above and that I have resized without any other image editing, an .RW2 raw file and an .HSP HLG Photo file that is apparently currently only viewable on the latest high-end 4K Panasonic television sets.
The .RW2 and .HLG files are not yet supported by the latest version of macOS and none of the raw processing and image editing software that I use.
Panasonic S1 and S1R: When will raw processing software be ready?
DxO PhotoLab in its previous incarnation as DxO Optics Pro Elite was the very first fully-fledged raw processing application I purchased after disappointments with Adobe Camera Raw, and it continues to do a brilliant job of processing raw files from cameras by most makers except for Fujifilm, though it does process raw files from my Fujifilm Finepix X100.
If I come across estimates as to when other raw processing and image editing applications will gain support for Panasonic S1 and S1R raw files then I will add it here.
At the moment I am downloading a version of Silkypix that apparently supports the S1 and S1R and will put it to the test when it eventually arrives (thanks, NBN, for your appalling download and especially upload speeds).
“In this short film – created by LUMIX ambassador Dave Katague – iconic Australian journalist-turned-photographer, Ray Martin trials the new LUMIX S1R full-frame mirrorless camera while exploring the people and culture of Bhutan. Follow Ray on his journey through breathtaking scenery, meeting the locals, and road-testing our new flagship camera’s features as one of the first people in the world to capture images with the LUMIX S1R….”
I will be attending some Panasonic Australia Lumix S1 & S1R public launch events at stores in Sydney early April as an alternative, in effect, to the private launch events to which selected members of the online and offline media are invited.
In the absence of access to the latter and the loss of the big annual Sydney photography trade shows, you have to take whatever you can get nowadays!
The photography and video scene in Australia is smaller than it is in the UK and I do miss the torrent of events and invitations from when I lived in London and routinely hopped over to the continent.
The other alternative is to watch online marketing videos though there is no substitute for in-person hands-on events where you can touch and try the product in question even if only for the shortest time.
Accordingly the list below contains links to product marketing videos and public launch events.
I have just received notification of these three Australian Lumix S1 and S1R events.
Panasonic may have taken its time launching a full-frame mirrorless cameras, but the new Lumix S1 can definitely hold its own. It’s rugged, well designed, easy to use and produces wonderfully sharp images with excellent color rendition. Its Hybrid Log Gamma (HLG) Photo Mode also adds natural-looking high dynamic range to stills, which looks fantastic when viewed on an HDR screen….”
We are now 99% certain that Panasonic will have a major S1-S1R related announcement on the days around January 30. This means we will likely get the full specs information and preorder pricing.
Stay tuned for more info to come!…
Panasonic S1 and S1R
Scenes from photokina 2018 and CES 2019, photographs courtesy of Panasonic.
I bought into Panasonic’s excellent DSLR-style and rangefinder-style Micro Four Thirds sensor camera and lens system for documentary stills photography and video when Fujifilm dropped the ball with its first try at an interchangeable lens APS-C mirrorless rangefinder-style camera, the X-Pro1.
The problems making that camera sadly unusable for me were remedied with the later X-Pro2 and also the DSLR-style X-T1 and X-T2, with the recently-released X-T3 delivering almost everything one might desire in a DSLR-style stills/video hybrid camera with the exception of raw video recording via external monitors/recorders such as the Atomos Ninja V, in-body image stabilization, and a fully-articulated LCD monitor for maximum viewing usability whether shooting movies or photographs.
I was so impressed by my experience of a loaner Panasonic Lumix DMC-GH4 that I ordered one immediately for documentary work and added a Lumix DMC-GX8 as a second video camera that almost immediately became my number one photography camera.
Both cameras constituted my documentary stills kit with the addition of the Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro standard zoom lens with manual clutch focus, the lens that changed my mind about zoom lenses.
I soon added a second Olympus zoom, then a Panasonic prime followed by a Panasonic zoom lens.
Rumors have it that Olympus’ M.Zuiko Pro lenses are designed in collaboration with Sigma, and whether true or not, Sigma’s membership of the L-Mount group alongside old allies Leica and Panasonic is exciting.
As a longtime though sadly no longer Leica camera and lens user, I would love to be able to afford their current cameras and lenses but Sigma’s Art line prime and zoom lenses’ specifications, image quality results, prices and most of all range of focal lengths impresses as does the company’s cine lens collection.
As I discovered with Fujifilm’s XF APS-C lenses and Panasonic’s M43 Lumix G and Leica DG lens lines, the seldom-spoken downside to new sensor and camera ranges is that it takes years and buckets of manufacturer cash for them to eventually acquire full collections of lenses to suit all their users’ needs.
It is estimated that Canon, for example, took 40 years to achieve that goal with lenses for its 35mm sensor DSLR camera line.
Will Sigma’s presence in the L-Mount consortium and its promised large L-Mount lens collection be persuasive enough to turn 35mm sensor camera users’ heads away from their Canons and Nikons?
The recently announced High Resolution stills and HLG video modes of the Lumix S-Series cameras are impressive but there is more to know about its other features and those of Panasonic’s other cameras in the series.
As a documentary and portrait photographer, I tend to prefer the more portrait and magazine-friendly 4:3 or 3:4 aspect ratios of Micro Four Thirds cameras over the often too-narrow 3:2 or 3:2 of 35mm sensors, and find that fully-articulated LCD monitors are far more useful than any fixed, two-way or three-way tilt screen solutions.
On the other hand, sensor megapixel counts of around 50 or more help produce portraits that possess an uncanny sense of being there especially when printed beautifully and large.
I am looking forward to Panasonic’s January 30 announcements and product shots.
“With Panasonic unveiling their first ever full frame mirrorless cameras, the S1 and S1R, the question needs to be asked, will they knock Sony off the throne and take the crown to become the new king of full-frame mirrorless cameras? Now I’m strictly speaking about video functionality and not their performance as a hybrid camera….
… Panasonic has a real chance to push the envelope with the S1 and S1R and let’s hope they do. Competition is good for everyone, and hopefully, with such fierce competition in the full frame mirrorless space, it will continue to push manufacturers into giving us the features we all want….”
Panasonic’s announcement at photokina 2018 of its Lumix S1 and S1R 35mm sensor cameras, also referred to somewhat inaccurately as “full frame” or “full format”, was an in-development notification meaning that the system and its cameras and lenses are a little way off from release yet.
The term “35mm” is more than sufficient for describing digital cameras based on 24x36mm sensors and possesses an accuracy that the other two rather silly terms do not.
The idea of Panasonic adding a 35mm system to its current Micro Four Thirds system offering is an intriguing one given Fujifilm has already gone two steps further with its APS-C X-Mount system and its more recent Medium Format GF-Mount system.
Will the image quality difference between M43 and 35mm be as great as that between APS-C and MF?
Will photographers who currently rely on Panasonic’s Lumix GX8, GH5 and G9 M43 cameras consider adding Panasonic Lumix S1R cameras for their 47 megapixel sensors and consequent high image quality for large format printing?
Or, having got bitten by the big sensor bug, might they wish to go beyond 47MP in the 35mm sensor format and consider the Fujifilm GFX 50R, GFX 50S or GFX 100S?
Interesting times and, of course, the proof of the pudding will only be available when the new Fujifilm and Panasonic cameras make their appearance and the inevitable side-by-side comparisons begin turning up.
Then there is the question of Panasonic’s commitment to the Japanese Government’s decision to broadcast the 2020 Olympics in 8K and whether the Lumix L-Mount S-System is how Panasonic will bring 8K video capability to its hybrid cameras.
I am looking afraid to learning more about Panasonic’s Lumix S1 and S1R as well as what happens with the L-Mount initiative formed between Leica, Panasonic and Sigma.
Panasonic Lumix S1 and S1R at Panasonic Lumix press conference, photokina 2018
Panasonic Lumix S1 and S1R mirrorless 35mm sensor format cameras with the first three lenses to be released for the system, 24-105mm f/4.0 standard zoom lens, 70-200mm telephoto zoom lens and 50mm f/1.4 prime lens.
“Nearly 200 years after the birth of photography, the art form is experiencing a technological revolution….
… on the eve of Photokina – the industry’s giant trade fair in Cologne – Panasonic has just unveiled a body that could prove the most disruptive of all….
… Panasonic, however, is teasing a model that promises to combine several cutting-edge features….
“Panasonic’s move into the full-frame mirrorless segment is particularly interesting because of its collaboration with Leica and Sigma – both companies with a strong photographic heritage,” Futursource analyst Arun Gill told the BBC.
“By adopting Leica’s L-Mount, Panasonic’s cameras will have an immediate advantage of being compatible with several existing high-quality lenses.”…”
“… When it was unveiled that Panasonic was making two Full-Frame cameras and that they are partnering with Leica and Sigma, I was ecstatic, and still am. Everything about these new cameras looks and sound promising.
However, we have found out that the upcoming S1 and S1R will not have flip-out fully articulating touch LCD like the G9 GH5 and GH5S, it is unsure what the reasoning of this was. But many of us in the video world was surprised and confused by this, all we wanted was for the screen to be the same as the one offered in the GH5 and GH5S….”
Fully-articulated LCD monitors on other Panasonic Lumix cameras and other brand cameras too
The Panasonic Lumix DC-GH5’s fully articulated LCD monitor can tilt up and down plus plenty more besides.
Flipping the Panasonic Lumix DC-GH5S’ fully-articulated LCD monitor and rotating it is crucial when shooting in tight spaces.
Fully-articulated LCD monitor of Panasonic’s Lumix DC-GH5S can be folded to protect the glass, an excellent feature when shooting in the field in difficult and dirty conditions.
The excellent Vary-i Cage Combination for GH5 is only possible because of the camera’s fully-articulated LCD monitor.
Panasonic Lumix DC-G9 with fully-articulated LCD monitor.
The Panasonic Lumix DC-GH5S’ touch screen enables operating and focusing when unable to have the EVF to your eye. It can be positioned off to the left and tilted two ways when you can be directly behind the camera.
Australian photojournalist Daniel Berehulak using his Panasonic Lumix DMC-GX8 with fully-articulated LCD monitor.
The Panasonic Lumix DMC-GX8’s fully articulated monitor beats any tilting or fixed LCD monitor screen especially in combination with its tilting EVF.
Samsung NX30 with Samsung 18-55mm III f/3.5-5.6 OIS zoom lens.This amazing camera has a fully-articulated LCD monitor as well as a tilting electronic viewfinder.
Samsung NX30 with Samsung 18-55mm III f/3.5-5.6 OIS zoom lens.
Olympus OM-D E-M1 Mark II DSLR-style camera with fully-articulated LCD monitor.
Olympus Pen F rangefinder-style camera with fully-articulated LCD monitor.
I fully support Australian artist Idin Aazami’s petition to Panasonic asking that Panasonic’s currently -in-development Lumix S1 and S1R 35mm mirrorless cameras be released with fully-articulated LCD monitors instead of the 3-way tilting LCD screens shown off on the pro-production dummies shown at photokina 2018.
I was convinced to invest in Panasonic Lumix cameras for video production and stills photography by the experience of using cameras with 3-way tilting screens and using cameras with fully-articulating monitors and the advantages of the latter over the former became very clear very fast.
Please sign Idin Aazami’s petition and help get the numbers well beyond 1000.