Videos by Panasonic About The Lumix DC-S5 “Full Frame” 35mm Hybrid Stills & Video Camera

Introducing LUMIX Business Strategy and New Brand Message in September, 2020. Also, introducing new full-frame mirrorless camera S5 and S series lenses which are introducing near future.

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Panasonic Lumix DC-S5 with Panasonic Lumix S 20-60mm f/3.5-5.6 zoom lens, built-in fully articulated LCD monitor and Panasonic DMW-SHGR1 Tripod Grip. Image courtesy of Panasonic Australia.

PanasonicLumixVideo: LUMIX New Product Launch Event | LUMIX S5

PanasonicLumixVideo: LUMIX S5 Teaser|First impression of New Product LUMIX S5 by LUMIX Ambassador, Todd White

PanasonicLumixVideo: Behind the Scenes of LUMIX Ambassador, Todd White x LUMIX S5

PanasonicLumixVideo: LUMIX S5 Teaser | First Impression of New Product LUMIX S5 by Sports Photographer, Adam Pretty

PanasonicLumixVideo: Behind the Scenes of Sports Photographer, Adam Pretty x LUMIX S5

PanasonicLumixVideo: LUMIX S5 – “The Art of Glassblowing with Gail Allard” by LUMIX Ambassador, Todd White

PanasonicLumixVideo: Introducing LUMIX S5 | Full-frame Mirrorless Camera for all contents creators

PanasonicLumixVideo: LUMIX S5 – “Fall 2020 Fashion Looks for Estilo” by LUMIX Ambassador, Todd White

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Press Release: Lumix S5 – Feature-Packed Hybrid Full-Frame Mirrorless Camera Delivers Exceptional Video Quality Plus Stunning Mobility and Durability

With the appearance of media releases from the various national Panasonic branch offices including this one from Panasonic Australia, it has become clearer that the Lumix S5 35mm sensor-equipped DSLR-style camera may be the hybrid stills/video powerhouse we were hoping for when the Lumix DC-S1 launched Panasonic’s contribution to the L-Mount Alliance. 

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Panasonic Lumix DC-S5 with Panasonic Lumix S 20-60mm f/3.5-5.6 zoom lens. Image courtesy of Panasonic Australia.

I will enjoy studying the complete Lumix S5 specifications list and watching the videos that have been released so far, and am looking forward to the coming release of the announced four wide aperture prime lenses that will perfectly complement the Panasonic Lumix S 20-60mm f/3.5-5.6 zoom lens, not to mention any new L-mount lenses from Sigma.

On terminology

I refuse to comply with the inane and inaccurate marketing department terminology applied cameras with 35mm sensors, “full frame” and “full format”, and will continue that rejection of fuzzy thinking in writing about such cameras.

“Full frame” may have had some usefulness back in the 1960s during the days of half-frame analog cameras using 35mm film, such as the Olympus Pen F half-frame SLR, but the intended meaning of “full format” remains indecipherable.

LUMIX S5 – Feature-packed hybrid full-frame mirrorless camera delivers exceptional video quality plus stunning mobility and durability

Panasonic is delighted to announce the new LUMIX S5, a hybrid full-frame mirrorless camera in a highly mobile body that delivers powerful video performance, amazing photography and solid reliability for content creators.

James Choi, Product Marketing Manager, Imaging, Panasonic, explained: “The hybrid S5 packs the essential capabilities of our ground-breaking flagship S Series cameras into a small, mobile and robust body. Enthusiasts who want to take their creativity to the next level can harness the incredible image quality of a powerful full-frame sensor. The S5’s compact size belies the impressive performance under the hood – this camera is class-leading in the sheer breadth of video and stills capabilities it puts in the hands of content creators.”

The S5 is packed with impressive video capabilities, including 4K 60p 10-bit internal recording and external output via HDMI, full Varicam V-log profile pre-installed in the camera, 4:3 Anamorphic Super 35 mode and up to 180 frames per second (fps) Slow Motion shooting. The camera is also compatible with Panasonic’s DMW-XLR1 microphone adaptor, allowing professional audio equipment to be used in video creation. Additionally, RAW video output via HDMI up to 5.9K will be available via a future firmware update.

For hybrid shooters who want to take a step up, the S5 delivers stunning image quality and greater creative scope. It contains the 24.2-megapixel 35mm full-frame CMOS sensor first introduced in the LUMIX S1, providing impressive low-light performance and incredibly high dynamic range. This is backed by the 5-axis Dual I.S. 2 image stabilisation system with up to 6.5-stops[i] of camera shake correction for handheld shooting. The camera also incorporates an improved Deep Learning autofocus algorithm that detects specific subjects – humans and fast-moving animals – with great accuracy.

Inspired by the flagship S Series professional camera lineup, the S5 provides enthusiasts with a compact, durable camera designed for field use. The camera’s full magnesium alloy weather-sealed body is splash and dust resistant, essential for working in a range of environmental conditions. Dual SD card slots offer further flexibility with relay recording and backup support. A large, high-resolution OLED viewfinder delivers quick response with minimum distortion for easy and accurate framing of the scene.

Creative aids for expressive photography include “Live View Composite”, newly-introduced to the S Series with the S5, which combines multiple exposures into a single image that emphasises bright points while suppressing overexposure of the total image and maintaining the shadows, thus reducing the learning curve for light painting and long exposure photography. The S5 also features sensor-shift 96-megapixel (MP) high resolution mode, which can capture detailed landscapes with increased dynamic range and colour reproduction, with files created in-camera without the need for external software.

Panasonic is currently developing a number of S Series prime and zoom lenses at popular focal lengths, designed to further expand the creative possibilities for LUMIX S Series users. These new portable and lightweight lenses include a 24mm F1.8, 35mm F1.8, 50mm F1.8, 85mm F1.8 and a 70-300mm F4.5-5.6, all of which will complement the S5 very well.

Key LUMIX S5 Capabilities

Exceptional recording performance for video creation

As a pioneer of photo/video hybrid mirrorless cameras, LUMIX has the largest lineup of cameras that record 4K 10-bit video[ii]. The S5 is no exception, and is capable of unlimited 4K 60p/50p 4:2:2 10-bit HDMI output and also delivers unlimited 4K 30p/25p 4:2:0 8-bit internal recording. In addition, 4K 60p/50p 4:2:0 10-bit and 4K 30p/25p 4:2:2 10-bit can be recorded internally for up to 30 minutes.

The camera features V-Log/V-Gamut with a wide dynamic range of 14+ stops, in line with the dynamic range of the Panasonic VariCam, to precisely capture everything from dark to bright areas. Subtle gradations such as skin tones are faithfully reproduced. Designed with consistent colour management in mind, the recorded footage is easily matched with V-Log footage recorded by the LUMIX S1/S1H or LUMIX GH5/GH5S, for an easier post production workflow. Practical tools like a Waveform Monitor and V-Log View Assist are included.

Slow & Quick mode enables impressive slow and quick motion video with autofocus[iii], and can be accessed directly using the mode dial. In 4K the S5 achieves up to 30x quick or 2.5x slow motion at 1-60fps, and in FHD it achieves 60x quick or 7.5x slow motion[iv] at 1-180fps.

Stunning image quality

The S5 has a 24.2-megapixel full-frame CMOS sensor (35.6 mm x 23.8mm) with Dual Native ISO technology. The sensor can leverage a dual-base ISO setting, resulting in minimised noise and outstanding image quality from low to high sensitivity. Dual Native ISO provides a greater variety of artistic choices, with the ability to use less light if desired. The S5’s Dual Native ISOs are 640 and 4000[v] in V-Log. This feature teams up with the Venus Engine processor to deliver a maximum ISO of up to 51200.

With the new Live View Composite function, the camera releases the shutter at designated exposure intervals and produces a single picture combining all the areas of high luminosity such as lights, stars or fireworks. The photographer can monitor this in Live View.

Panasonic’s 5-Axis Dual I.S. 2 offers excellent stability in a range of situations. A high-precision gyrosensor joins the Dual I.S. system of 5-axis in-body stabilisation and 2-axis optical stabilisation in selected lenses for highly accurate shake detection and compensation. This makes it possible to use up to 6.5 stops[vi] slower shutter speed in both photo and video. Incredibly stable performance can be achieved when shooting handheld at much slower shutter speeds and lower ISO values, reducing the need to carry a tripod or gimbal.

The 96MP High Resolution mode creates highly detailed images that can be turned into enormous prints or used in commercial imagery. Using sensor shift technology, it captures and combines eight consecutive images in-camera for outstanding results achieved when shooting handheld colours of natural landscapes to intricate fine arts, and can also be used when moving subjects are in the scene, by switching to the sub mode. It produces a 96MP equivalent (12,000 x 8,000-pixel) RAW and/or JPEG image.

High-speed, high-precision AF supported by real-time detection technology

Panasonic has achieved high-speed AF with its advanced control technology incorporating the major devices – lens, sensor and imaging engine. The lens and sensor communicate at a maximum 480 fps. Contrast AF with DFD technology allows the S5 to achieve an ultra high-speed, high-precision AF of approximately 0.08[vii] sec. It also excels in low-light shooting, with -6EV[viii] luminance detection performance in Low Light AF, thanks to the higher sensitivity and optimised tuning of the sensor.

The S5 also incorporates an improved Deep Learning autofocus algorithm that offers greater accuracy in detecting specific subjects – including humans, people’s faces, and fast-moving animals. In addition to the eye, face and body, the head is also separately recognised by real-time detection technology to provide even more precise focusing. The camera keeps tracking subjects when they move quickly, turn away, tilt their head or move far away from the camera. Also, improvements to DFD technology have enhanced AFC, which allows the camera to keep tracking small or fast-moving subjects and capture them in crisp focus.

Reliable performance plus expandability for creative freedom

To withstand heavy field use, the S5 has a magnesium alloy full die-cast body and is splash/dust-resistant[ix]. With an optimum layout of heat dispersion components, heat is effectively transferred externally, which results in stable, continuous video recording for an extended time.

The large OLED LVF (Live View Finder) has a magnification ratio of approx. 0.74x, 2,360K-dot high resolution and a minimum time lag of less than 0.005 sec. A versatile free-angle 3.0-inch LCD rear monitor (3:2 aspect,
approx.1840K-dot) with touch control allows for quick changes to settings, even when the user is in front of the camera.

Other shooting assist functions include Frame Markers for checking composition during recording. A wide range of aspect ratios are supported, including those for popular social media platforms – 16:9, 4:3, 1:1, 4:5, 5:4 and 9:16. In addition, the REC Frame Indicator displays an eye-catching red frame for checking at a glance if the camera is recording or not.

The S5 has dual SD Card slots – one slot complies with the high-speed, high-capacity UHS-II (Video Class 90) and the other with UHS-I. Users can select Relay Recording, Backup Recording or Allocation Recording modes.

The camera uses a new DMW-BLK22 high-capacity battery which meets its power demands in a small form factor. The S5 battery is also backwards compatible with the GH5, GH5S and G9. The camera’s battery can be recharged either via AC or USB, which is convenient if you are travelling and want to use a USB power bank. The S5 is also capable of power supply and delivery via USB-C, making it possible to continuously power the camera with a USB power source.

Content sharing with smartphones is streamlined using Bluetooth 4.2 Low Energy connection, Wi-Fi 5-GHz (IEEE802.11ac) and 2.4-GHz (IEEE 802.11b/g/n). With an always-on Bluetooth connection, a smartphone can act as the camera’s remote control via the LUMIX Sync app. The settings of an S5 camera can also be copied and transmitted to other S5 cameras when shooting using multiple cameras.

The S5 is compatible with the LUMIX Tether applications which enable tethered shooting via USB. Users can control the camera by connecting it to a PC. Images can be viewed on a large PC screen while shooting, which is useful in situations where continuous confirmation is required. For live streaming, LUMIX Tether for Streaming (Beta) with LIVE VIEW mode is available. LUMIX Sync for iOS/Android devices enables image transfer to a smartphone or tablet via easy wireless connection.

Convenient optional accessories

A variety of optional accessories can be used with the S5. They include a Microphone Adaptor (DMW-XLR1) for professional XLR microphones to record high-quality stereo sound, as well as switchable Mic, Line and Condenser Microphones. The Battery Grip (DMW-BGS5) extends battery life and provides controls for portrait oriented shooting. Other accessories include a Remote Shutter (DMW-RS2), DC coupler (DMW-DCC17), and Tripod Grip (DMW-SHGR1).

LUMIX S5 Pricing and Availability

LUMIX S5: Body only – RRP $AU 3199
LUMIX S5 kit (DC-S5KGN-K): Kit with LUMIX S 20-60mm F3.5-5.6 lens (S-R2060) – RRP $AU 3699
The S5 will be available in late September 2020 from leading photographic specialists.
Planned firmware updates for the LUMIX S1R, S1H and S1

Panasonic will release firmware updates for the LUMIX S1R, S1H and S1 by the end of 2020. New firmware will enable the S1R to record 5K video, making the most of its high-resolution image sensor. In addition, the AF improvements introduced with the S5 will be available on the S1R, S1H and S1 for both video recording and still shooting. In addition to the eye, face and body, the head is also separately recognised by real-time detection technology to provide even more precise focusing. The camera keeps tracking subjects when they move quickly, turn away, tilt their head or move far away from the camera. Also, improvements to DFD technology have enhanced AFC, which allows the camera to keep tracking small or fast-moving subjects and capture them in crisp focus.

For further information, please visit http://www.panasonic.com.au or call 132 600.

oOo

RELEASED BY PANASONIC AUSTRALIA

Media Enquiries

Shona Hannon
Panasonic Australia
(02) 9491 7629
Shona.hannon@au.panasonic.com

Tom Scambler
Porter Novelli
+61 400 335 460
TScambler@porternovelli.com.au

[i] Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm] when S-E70200 is used.
[ii] Of mirrorless interchangeable lens cameras, as of 2 September 2020.
[iii] The AF mode switches to MF when the frame rate is set to of 150 fps or more. The angle of view is reduced when the frame rate is set to 180 fps. Recording stops when the continuous recording time exceeds 30 minutes.[iv] The AF mode switches to MF when the frame rate is set to of 150 fps or more. The angle of view is reduced when the frame rate is set to 180 fps. Recording stops when the continuous recording time exceeds 30 minutes.
[v] When recording mode is set to V-Log. The sensitivity varies depending on the recording mode.
[vi] Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm] when S-E70200 is used.
[vii] 11EV, at wide-end with S-R24105 (CIPA) in LVF120 fps setting.
[viii] At ISO100, F1.4, AFS
[ix] Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water. To avoid damage when using the camera under these conditions, it must be used in accordance with associated instructions in the manual.

Panasonic Lumix DC-S5

Links

Lumix Experience: Panasonic Announces the Compact Lumix S5

https://lumixexperience.panasonic.co.uk/whats-on/news/panasonic-announces-the-compact-lumix-s5/

… The LUMIX S5 is the smallest and lightest S Series camera to date, measuring only 132.6 x 97.1 x 81.9 mm (approx) and with a body-only weight of 630g. This makes the S5 incredibly portable and easy to use for extended handheld shooting.

As a pioneer of hybrid mirrorless cameras, Panasonic LUMIX has the largest line-up of cameras that record 4K 10-bit video*2. The latest member of the family, the LUMIX S5, is capable of 4K 60p/50p 4:2:0 10-bit, and 4K 30p/25p 4:2:2 10-bit internal recording. It is also capable of 4K 60p/50p 4:2:2 10-bit HDMI output. For 4K 30p/25p 4:2:0 8-bit internal recording, there is no time limitation as Panasonic’s exceptional heat dispersion technology enables stable and continuous video recording.

The LUMIX S5 provides 14+ stops of dynamic range, which is as wide as cinema cameras, and V-Log / V-Gamut compatibility with popular VariCam colour science. A variety of recording formats and modes including 4:3 Anamorphic mode, Slow & Quick Motion, 4K/60p interval shooting and 4K HDR are also provided….

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Panasonic Lumix DC-S5 with Panasonic Lumix S 20-60mm f/3.5-5.6 zoom lens and Battery Grip DMW-BGS5. Image courtesy of Panasonic Australia.

PanasonicLumixVideo: LUMIX New Product Launch Event | LUMIX S5

Panasonic Lumix DC-S5

Links

Fuji Rumors: VOTE NOW the SIGMA Lens You Want for Fujifilm X – Commentary

https://www.fujirumors.com/vote-now-the-sigma-lens-you-want-for-fujifilm-x/

In a recent interview, Top Fujifilm manager Toshihisa Iida said that Fujifilm is opening X mount to third parties, and that Tokina will be the first company to offer autofocus lenses for the Fujifilm X system….

I have placed my vote for the two current Sigma APS-C lenses  most want the company to redesign and make for Fujifilm X-Mount cameras, and if more than two votes were permitted by Patrick DiVino’s survey then I would vote for several more.

The two Sigma APS-C zoom lenses I most want to see redesigned for Fujifilm X-Series cameras

There is little doubt that these two APS-C/Super 35 zoom lenses have proven popular amongst users of a range of camera systems and sensor formats for stills photography and video, whether adapted or in native mount versions.

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Australian cinematographer/director Paul Leeming with his Blackmagic Design Blackmagic Pocket Cinema Camera 4K, 8Sinn cage and Sigma 18-35mm f/1.8 Art zoom lens attached with Metabones Speed Booster EF-to-MFT adapter.

The Sigma 18-35mm f/1.8 DC HSM Art zoom is the most popular of the two and is often seen in use in its Canon EF-mount version attached to cameras made by Blackmagic Design, Panasonic and Fujifilm via adapter or natively.

The lens is designed for APS-C/Super 35 sensor-equipped cameras, and is currently available in Canon EF, Nikon F, Pentax K, Sigma SA and Sony A mount.

Both Art lenses are also made in three-gear cinematography versions in Arri PL, Canon EF and Sony E mounts, available for purchase at B&H separately or as a pair with customised hard case.

Both lenses are also available at B&H as a kit for Sony E-mount cameras with Sigma MC-11 Mount Convertor /Lens Adapter to convert Canon EF to Sony E.

If a similar kit were already available with Sigma convertor/adapter for Fujifilm X-mount cameras, one might be sorely tempted.

But it is not, and there are good arguments for both lenses being redesigned and made native with typical X-mount features such as aperture rings but that can be used clicked with 1/3-stop detents or completely clickless, your choice set with the flick of a switch.

Sigma 18-35mm f/1.8 DC HSM Art Lens

Equivalent in 35mm sensor camera terms from 27mm through to 52.5mm, this lens includes some of my most-used stills and video documentary focal lengths such as 28mm, 35mm, 40mm and 50mm.

With a maximum aperture of f/1.8, it is well-suited to the indoors available darkness in which I often find myself.

It would become my most-used lens for documentary work, to be supplemented with Fujifilm’s Fujinon XF 14mm f/2.8 R for scene-setting shots, or, if talking Sigma APS-C lenses then the Sigma 10-20mm f/3.5 EX DC HSM may be suitable provided a Fujifilm X-mount version is made.

In 35mm sensor terms, the Fujinon is equivalent to 21mm and the Sigma zoom is equivalent to a range of 15mm through to 30mm.

Sigma 50-100mm f/1.8 DC HSM Art Lens

I have long been hoping Fujifilm would release one of my favourite portrait focal lengths, 70mm, as a fast prime lens with closeup capability, but my hopes continue to be dashed each time the company updates its lens roadmap.

In 35mm sensor terms, this lens is 105mm and is the focal length with which I became a portrait photographer.

Sigma’s 50-100mm f/1.8 zoom is equivalent in 35mm terms to 75mm through to 150mm, thus including another popular portrait focal length, 90mm, which is equivalent to 137mm.

Fujifilm’s Fujinon XF 90mm f/2.0 R LM WR prime receives high praise as does the Fujinon XF 80mm f/2.8 R LM OIS WR prime lens, but the Sigma 50-100mm f/1.8 zoom would take the place of three useful portrait and documentary focal lengths at a fraction of the cost of three Fujifilm-made lenses.

The ongoing lack of a professional-quality Fujifilm 18mm prime lens

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Fujinon XF 18mm f/2.0 R prime lens.

Fujifilm Australia staff members often confirm that the lens customers want to see radically updated is the Fujinon XF 18mm f/2.0 R, a lens I love and hate, with the emphasis on the latter.

Love is too strong a word for this 28mm-equivalent prime lens, so let’s use “like” instead.

I know some photographers adore it for its many old-fashioned optical and mechanical quirks but for me it is an irritating disappointment.

I have often asked Fujifilm to replace it with a compact Fujicron-style lens for documentary photography or a manual clutch focus Fujilux-style f/1.4 lens for available darkness work and especially for video.

In my Leica M-Series analog rangefinder days I relied on a Leica Elmarit-M 28mm f/2.8 Aspheric lens mounted on my prime camera with a Leica Summilux-M 35mm f/1.4 Aspheric lens in reserve for available darkness documentary photography.

Incidentally, if I could only have two prime lenses for video work, then I would choose a 28mm equivalent and a 40mm equivalent, or in APS-C terms, 18mm and 27mm.

Fujifilm makes neither focal length as manual clutch focusing primes, much to my ongoing moviemaking disappointment, but I often carry the compact Fujinon XF 27mm f/2.8 and 18mm f/2.0 R on a pair of Fujifilm rangefinder cameras when needing to be discrete and in the street or places where I don’t want to be noticed, but I would not use either prime lens for video.

Fujifilm makes three excellent primes equally suitable for video and stills photography, the manual clutch focusing Fujinon XF 14mm f/2.8 R, XF 16mm f/1.4 R WR and XF 23mm f/1.4 R but there are no signs the company is serious about extending its manual clutch focus lens range any time soon, whether with primes or zooms.

Shame, given Fujifilm’s recent emphasis on great quality Super 35 video with the Fujifilm X-T4 and the coming Fujifilm X-H2.

If Sigma can be persuaded to make an aperture ring-equipped 18-35mm f/1.8 X-mount zoom then that can help with available light or darkness video work, leaving Fujifilm to finally pull its collective fingers out with a Fujicron-style XF 18mm lens that does need to be faster than f/2.8.

Given the success of the Fujinon XF 16mm f/2.8 R WR, despite its maximum aperture being darker than the f/2.0 of its Fujinon XF 23mm f/2.0 R WRFujinon XF 35mm f/2 R WR and Fujinon XF 50mm f/2.0 R WR Fujicron-style siblings, a Fujinon XF 18mm f/2.8 R WR should do just fine for documentary stills, leaving the serious 18mm available darkness video work to Sigma along with the other focal lengths in its 18-35mm f/1.8 Art zoom lens.

I also want this for Fujifilm X-mount: Sigma 70mm f/2.8 DG HSM Art macro lens

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Sigma 70mm f/2.8 DG HSM Art macro lens.
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Nikon Micro-Nikkor 105mm f/2.8 manual focus, manual exposure macro lens with 1:2 magnification.

Fuji Rumor’s Sigma X-mount lens poll limited respondents to choosing two lenses but I would have chosen three if permitted.

Having learned to be a portrait photographer by using the art school’s Nikon Micro-Nikkor 105mm and 55mm lenses close-up and at normal portrait distances, I have long been looking for an X-mount equivalent to my favourite of the two, the 105mm.

Until this rumor and poll surfaced at Fuji Rumors about the possibility of Sigma opening up to making Fujifilm X-mount versions of its lenses, I had resigned myself to looking for a suitable manual focus 75mm manual lens to adapt to X-mount.

voigtlaender_nokton_75mm_f1.5_aspheric_01_1024px
Voigtlander Nokton 75mm f/1.5 Aspherical lens.

B&H currently lists two affordable 75mm Leica M-mount lenses, the 7artisans Photoelectric 75mm f/1.25 and the Voigtlander Nokton 75mm f/1.5 Aspherical lens, and a range of M-to-X-mount adapters are available, some with close focus capability.

I have no problem with the idea of using manual-only lenses for close-up and portrait work, but autofocus with good manual focusing extends the usefulness of any lens.

So, Sigma, will you be making good on the desires of many Fujifilm camera users for Fujifilm X-mount Sigma lenses?

If so, Sigma, please add the 18-35mm f/1.8 DC HSM Art Lens, the 50-100mm f/1.8 DC HSM Art lens and the 70mm f/2.8 DG HSM Art macro lens to the top of your list.

extrashot: Panasonic S1H – Amazing cinema camera or DSLM?

“Paul takes a first look at the Panasonic S1H. Is this simply a full frame GH5S or is there more to this DSLM? Perfect camera for vloggers or a real cinema competitor?”

shape_panasonic_lumix_s-series_sih_02_1024px
Shape camera cage and rigging for Panasonic Lumix DC-S1, DC-S1R and DC-S1H 35mm sensor mirrorless hybrid cameras.

Commentary

Things have been quiet over at Panasonic Australia it seems since the release of the Lumix DC-GH5 and I have not heard a sound from the company’s PR people, so have not had any extended hands-on time with the Lumix DC-GH5S, Lumix DC-G9, Lumix DC-GX9, Lumix DC-S1, Lumix DC-SiR or the recently released Lumix DC-S1H.

So I am grateful for Paul of extrashot for this first look at the S1H, especially in the light of Netflix certifying the camera for use in Netflix 4K Originals productions.

I look forward to more in-depth reviews of the camera for use in movie productions appearing soon.

Panasonic’s longtime weak point has been its depth-from-defocus (DFD) Contrast Detection Auto Focus (CDAF) system that many users would prefer was actually Phase Detection Auto Focus (PDAF), but is this a big problem given potential users of the Lumix DC-S1H are more likely to use manual focus with it, as illustrated in the product shot above?

Links

Help support ‘Untitled’

Clicking on the links and purchasing through them for our affiliate accounts at Adorama, Alien Skin, B&H Photo Video, SkylumSmallRig or Think Tank Photo helps us continue our work for ‘Unititled’.

  • Atomos StoreB&H
  • L-Mount LensesB&H – native mount lenses for Leica, Panasonic and Sigma mirrorless cameras.
  • Panasonic DMW-BGS1 Battery GripB&H
  • Panasonic DMW-BLJ31 Rechargeable Lithium-Ion Battery (7.2V, 3100mAh)B&H
  • Panasonic DMW-RS2 Remote ShutterB&H
  • Panasonic Lumix DC-S1H Mirrorless Digital Camera (Body Only) B&H
  • Panasonic Lumix DC-S1H Mirrorless Digital Camera Filmmaker’s KitB&H
  • Panasonic Lumix DC-S1H Mirrorless Digital Camera with Camera Cage KitB&H
  • Panasonic Lumix S 24-105mm f/4 Macro O.I.S. LensB&H
  • Panasonic Lumix S PRO 24-70mm f/2.8 LensB&H
  • Panasonic Lumix S PRO 50mm f/1.4 LensB&H
  • SHAPE Camera Cage with Top Handle for Panasonic Lumix S1/S1R/S1HB&H
  • Zacuto Camera Cage for Panasonic S1B&H
  • Zacuto StoreB&H

Imaging Resource: Why did Panasonic wait before demolishing the video competition with the S1H? Find out in our interview

https://www.imaging-resource.com/news/2019/09/03/why-did-panasonic-wait-before-demolishing-video-competition-with-s1h

“Last week, Panasonic figuratively blew the doors off its competition in the pro video space with the introduction of the Lumix S1H. It offers truly high-end video capability for pro videographers and cinematographers at an unprecedented price point….

… I had a chance to sit down briefly with Yosuke Yamane, Director of Panasonic Corp.’s Imaging Business Unit, Smart Life Network Business Division, Appliances Company, to ask a few questions related to its development and release….”

zacuto_panasonic_dc-s1h_camera-caged_02_1024px
Panasonic Lumix DC-S1H rigged with Zacuto moviemaking accessories.

Links

Help support ‘Untitled’

Clicking on the links and purchasing through them for our affiliate accounts at Adorama, Alien Skin, B&H Photo Video, SkylumSmallRig or Think Tank Photo helps us continue our work for ‘Unititled’.

  • Atomos StoreB&H
  • L-Mount LensesB&H – native mount lenses for Leica, Panasonic and Sigma mirrorless cameras.
  • Panasonic DMW-BGS1 Battery GripB&H
  • Panasonic DMW-BLJ31 Rechargeable Lithium-Ion Battery (7.2V, 3100mAh)B&H
  • Panasonic DMW-RS2 Remote ShutterB&H
  • Panasonic Lumix DC-S1H Mirrorless Digital Camera (Body Only) B&H
  • Panasonic Lumix DC-S1H Mirrorless Digital Camera Filmmaker’s KitB&H
  • Panasonic Lumix DC-S1H Mirrorless Digital Camera with Camera Cage KitB&H
  • Panasonic Lumix S 24-105mm f/4 Macro O.I.S. LensB&H
  • Panasonic Lumix S PRO 24-70mm f/2.8 LensB&H
  • Panasonic Lumix S PRO 50mm f/1.4 LensB&H
  • Zacuto Camera Cage for Panasonic S1B&H
  • Zacuto StoreB&H

Zacuto: Panasonic S1H EXCLUSIVE FIRST LOOK & Interview with Matt Frazer from Panasonic!!! – Part 1 of 6

“Zacuto owners and Director & Cinematographer team Steve Weiss and Jens Bogehegn sat down with Matt Frazer from Panasonic for an EXCLUSIVE First Look at the Panasonic S1H. In episode 1, we discuss the ergonomics of the camera from dials and LCDs to card slots and more. We also cover what specific differences S1 and S1R users will see in the new S1H….

Stay tuned for new episodes in this First Look series…

zacuto_panasonic_dc-s1h_camera-caged_01_1024px
Panasonic Lumix DC-S1H rigged with Zacuto moviemaking accessories.

All Episodes

Commentary

Zacuto’s new camera review videos are always great introductions to new gear and the company is outdoing itself with this six-part series on the amazing Panasonic Lumix DC-S1H.

I will be adding links to each new instalment as they appear so please keep coming back.

Links

Help support ‘Untitled’

Clicking on the links and purchasing through them for our affiliate accounts at Adorama, Alien Skin, B&H Photo Video, SkylumSmallRig or Think Tank Photo helps us continue our work for ‘Unititled’.

  • Atomos StoreB&H
  • L-Mount LensesB&H – native mount lenses for Leica, Panasonic and Sigma mirrorless cameras.
  • Panasonic DMW-BGS1 Battery GripB&H
  • Panasonic DMW-BLJ31 Rechargeable Lithium-Ion Battery (7.2V, 3100mAh)B&H
  • Panasonic DMW-RS2 Remote ShutterB&H
  • Panasonic Lumix DC-S1H Mirrorless Digital Camera (Body Only) B&H
  • Panasonic Lumix DC-S1H Mirrorless Digital Camera Filmmaker’s KitB&H
  • Panasonic Lumix DC-S1H Mirrorless Digital Camera with Camera Cage KitB&H
  • Panasonic Lumix S 24-105mm f/4 Macro O.I.S. LensB&H
  • Panasonic Lumix S PRO 24-70mm f/2.8 LensB&H
  • Panasonic Lumix S PRO 50mm f/1.4 LensB&H
  • Zacuto Camera Cage for Panasonic S1B&H
  • Zacuto StoreB&H

Wex Photo Video: Panasonic LUMIX S1H Full Overview | 6K Test Footage and System Review | First Look

“Flashback to 2014 and the headlines in the mirrorless filmmaking world was that of the LUMIX GH4 being the very first hybrid mirrorless camera capable of recording in UHD 4K, without the need for an external recorder – how times have quickly changed. With the recent release of the Blackmagic Pocket Cinema Camera 6K, and now the official release of the LUMIX S1H, it looks like 6K video within these compact camera bodies is now a thing. Panasonic LUMIX did of course share some of the top headline specs of this new camera a few months ago, teasing us filmmakers with what was promising to be the most powerful hybrid camera for filmmaking to date – and it seems like they’ve delivered. In this video, Kriss runs you through the main features of the S1H and shares his thoughts on how he found shooting with a pre-production model in the HD, 4K and 6K recording modes.”

panasonic_lumix_dc-s1h_b&h_14_1024px
Panasonic Lumix DC-S1H with Panasonic Lumix S Pro 24-70mm f/2.8 standard zoom lens.

Commentary

This is one of the best Panasonic Lumix DC-S1H review videos so far with excellent sample footage and plenty of insights from a working cinematographer, hopefully with in-depth follow up videos to come.

Links

Help support ‘Untitled’

Clicking on the links and purchasing through them for our affiliate accounts at Adorama, Alien Skin, B&H Photo Video, SkylumSmallRig or Think Tank Photo helps us continue our work for ‘Unititled’.

  • Atomos StoreB&H
  • L-Mount LensesB&H – native mount lenses for Leica, Panasonic and Sigma mirrorless cameras.
  • Panasonic DMW-BGS1 Battery GripB&H
  • Panasonic DMW-BLJ31 Rechargeable Lithium-Ion Battery (7.2V, 3100mAh)B&H
  • Panasonic DMW-RS2 Remote ShutterB&H
  • Panasonic Lumix DC-S1H Mirrorless Digital Camera (Body Only) B&H
  • Panasonic Lumix DC-S1H Mirrorless Digital Camera Filmmaker’s KitB&H
  • Panasonic Lumix DC-S1H Mirrorless Digital Camera with Camera Cage KitB&H
  • Panasonic Lumix S 24-105mm f/4 Macro O.I.S. LensB&H
  • Panasonic Lumix S PRO 24-70mm f/2.8 LensB&H
  • Panasonic Lumix S PRO 50mm f/1.4 LensB&H

The AU Review: Lumix Launch Cinematic Flagship S1H Camera & Two New Lenses

http://launch.theaureview.com/technology/lumix-s1h-camera/

“Imagine a VariCam and a GH5 fell in love and had a brilliant baby – a small, powerful full-frame camera baby capable of shooting 6K V-Log video and 96 megapixel raw images and with image stabilisation so impressive it all but eliminates the need for gimbals. That’s the new flagship S series cinema camera from Panasonic, the Lumix S1H – and from what we know so far, it’s a filmmaker’s dream….”

panasonic_lumix_dc-s1h_press_05_1024px
Panasonic Lumix DC-S1H with Panasonic Lumix S PRO 24-70mm f/2.8 zoom lens.

Commentary

It goes without saying that I would be the very last person who would ever be invited to launch events like this though I was always on the invitation list for similar events overseas and for the Australian branch of one particular camera company whose then PR person was a family friend.

Hence, having to cobble together information about new hardware and software releases of interest to my not inconsiderable daily readership from press releases, articles and videos created by others.

If I am lucky I get to hear about public launch events held at or by Sydney retailers and can obtain a brief hands-on there in less than ideal conditions, and if I am even luckier I may be loaned the item in question some months or years after its local release.

Small mercies!

Mustn’t grumble.

I am incredibly grateful for any kind assistance that is rendered by hardware and software makers and their public relations officers and consultants and am glad to be able to share with you anything that I can.

Meanwhile I am pleased to share this report on the Sydney launch of the Panasonic Lumix DC-S1H and am glad that at least one female was invited to the event though it would have been terrific if she was a cinematographer as well as a stills photographer and thus better able to assess the video-oriented S1H’s potential.

Event photographs shared by Panasonic Australia on its Facebook page

Links

Help support ‘Untitled’

Clicking on the links and purchasing through them for our affiliate accounts at Adorama, Alien Skin, B&H Photo Video, SkylumSmallRig or Think Tank Photo helps us continue our work for ‘Unititled’.

  • Atomos StoreB&H
  • L-Mount LensesB&H – native mount lenses for Leica, Panasonic and Sigma mirrorless cameras.
  • Panasonic DMW-BGS1 Battery GripB&H
  • Panasonic DMW-BLJ31 Rechargeable Lithium-Ion Battery (7.2V, 3100mAh)B&H
  • Panasonic DMW-RS2 Remote ShutterB&H
  • Panasonic Lumix DC-S1H Mirrorless Digital Camera (Body Only) B&H
  • Panasonic Lumix DC-S1H Mirrorless Digital Camera Filmmaker’s KitB&H
  • Panasonic Lumix DC-S1H Mirrorless Digital Camera with Camera Cage KitB&H
  • Panasonic Lumix S 24-105mm f/4 Macro O.I.S. LensB&H
  • Panasonic Lumix S PRO 24-70mm f/2.8 LensB&H
  • Panasonic Lumix S PRO 50mm f/1.4 Lens – B&H