They will change strategy here. MFT will focus on the V-Logging segment. They don’t see a huge market for a GH6 anymore as most people are moving to Full Frame. So the upcoming GH6 may be more a “Pro Grade” G100. It’s more of an upgraded GH5 in a new body with enhanced mobile integration. Or to make it short – a GH6 may not come with the desired specs and the story of the Pro Video MFT will end with the GH5….”
“MFT will focus on the V-Logging segment.”
I SERIOUSLY hope not!
The Micro Four Thirds format has plenty of potential for serious video work, especially amongst self-funded independent documentary moviemakers, so long as Panasonic radically improves its DFD autofocusing to the point where it matches that of Sony and Canon’s PDAF autofocus.
Micro Four Thirds remains a great stills photography format, especially for documentary photography.
I certainly rely mostly on manual focus and back-button focus with my Lumix MFT cameras, but I would certainly use autofocus far more if it equalled that of Canon and Sony.
No question about that.
Despite the frequently-expressed desires of myself and many others, it looks like Panasonic will never release a pro-quality successor to the GX8 rangefinder-style hybrid camera.
GX8-style cameras are an excellent expression of the Micro Four Thirds ethos being small, nimble, discrete and versatile in comparison to the larger, heavier and less discrete DSLR-style GH line.
The GX9 was a slap in the face of professional GX8 users.
Turning MFT into a format for vlogging only is a slap in the face of professional users.
If the GH5 and GH5S are the end of the line, there go our investments in pro-quality lenses such as Olympus’s excellent manual clutch focus-equipped M.Zuiko Pro collection and Panasonic’s unique, wildly innovative and also manual clutch focus-equipped Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric superwide to standard lens.
Granted, the Lumix DC-S5 looks very promising and so does the possibility of smaller 35mm sensor-equipped cameras, perhaps even a 35mm GX8 successor.
But completely moving over to the larger sensor format means a heavy investment in mostly larger and even heavier lenses, essentially flushing our current MFT gear down the toilet when our MFT cameras wear out or cannot deliver the results we need.
Panasonic, please say it is not so.
Panasonic, please do not abandon your professional Micro Four Thirds user base.
Or do are you willing to see Olympus, under new owner JIP, snap them up with their apparent new emphasis on video?
Leeming LUT Pro – Australian cinematographer/director Paul Leeming’s “Leeming LUT Pro™ is the world’s first unified, corrective Look Up Table ( LUT ) system for supported cameras, designed to maximise dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec709 starting point for further creative colour grading.”
1. Ergonomic Control Handle for Selected Panasonic Cameras.
2. Start/Stop Remote Trigger Button.
3. 1/4″-20 & 3/8″-16 & Cold Shoe Accessory Mounts.
4. Features Slots for Cable Tethering.
5. Adjusts up & down with Sliding Connector.
6. Integrated Allen Wrench Stores Inside the Grip.”
This long-awaited remote cable side handle for a range of Panasonic Lumix Micro Four Thirds and 35mm sensor aka “full frame” or “full format” hybrid stills/video cameras is in pre-order at time of writing with a 15% discount so get there soon to secure one.
This device looks well-designed and well-executed, and it is now on my production accessories wishlist.
Panasonic 10-25mm F1.7 is the fastest Wide-Angle Zoom for MFT bodies…. Panasonic 10-25mm f1.7 lens was introduced in Photokina 2018. It was not until May 2019 when it was officially launched. It [is] the fastest wide-angle zoom for MFT.
Correction: This unique lens is better described as the fastest wide-to-standard zoom lens.
Time, I thought, to look deeper into this intriguing lens to determine if I should place it on my documentary stills and video hardware wishlist, or forgo it in favour of that other uniquely fast zoom lens, the Sigma 18-35mm f/1.8 DC HSM Art lens.
Peter Forsgård has yet to produce a more in-depth video about the lens and his results with it, and there is the fact that he is using it on Olympus OM-D cameras rather the more videocentric Lumix GH5, GH5S and G9 hybrid cameras from Panasonic for which the lens was clearly designed.
Its clickless aperture ring only works on Panasonic Lumix cameras but clickless is of more use for moviemaking than stills photography and Olympus seems to have fallen well behind Panasonic in the video half of the hybrid camera equation.
Australian/American Director of Photography and Olympus Visionary John Brawley is one of the few I have encountered who shoots serious video with that brand’s hybrid cameras but I can better understand his love of Olympus lenses, especially the Olympus M.Zuiko Pro professional-quality collection with the lenses’ manual clutch focus via retractable ring and hard stops at each end of the focusing scale.
The Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric is Panasonic’s very first manual clutch focus lens and not before time.
Focus-by-wire only lenses can be problematic for moviemaking with some more unusable than others although they can work acceptably for stills photography especially when relying on back-button focus in manual focus aka MF mode.
I have not done much video using autofocus on any camera and lens combination, partly because I only had manual focus during the analog era and became comfortable with it, and more to the point because autofocus on video and hybrid cameras was unreliable up until recently.
I still set my cameras to manual focus by default when prepping for a project, and the unpredictability of documentary photography and moviemaking means I often need to snap into manual focus in an instant, easily done by rapidly retracting the focusing ring.
Hard stops in manual focusing mean I can train myself in approximating the right focus point fast without looking at the focusing scale, then refine focus through the viewfinder or monitor.
The Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric, on the other hand, allows its focusing ring to travel beyond extreme left or right of the focusing scale, and I remain unsure as to the usefulness of this behaviour.
Mr Undone is currently the first and sometimes only YouTube reviewer I watch these days and his in-depth, fast-talking rundowns amply reward the effort.
The highly adaptable Sigma 18-35mm f/1.8 DC HSM Art EF-mount fast zoom lens is high up on my wishlist for use with several camera systems and sensor sizes, but the lure of one lens with a focal range from 10mm through 14mm, 17mm, 20mm and 25mm is strong.
In 35mm sensor terms that equates to 20mm, 28mm, 35mm, 40mm and 50mm, only lacking my longer favourite focal lengths of 75mm and 105mm.
The lens’ image quality at each of those focal lengths is reportedly almost as good as that of pro-quality premium-priced lenses such as Olympus’ M.Zuiko Pro 17mm, 25mm and 45mm primes, a feat only matched by Fujifilm’s shorter Red Badge zooms.
I will keep looking for reviews and videos about Panasonic’s Leica DG Vario-Summilux 10-25mm f/1.7, but I found Gerald Undone’s comparison with Sigma’s 18-35mm f/1.8 DC HSM Art zoom lens the most useful so far.
There are pros and cons to both lenses and the choice depends on these currently unanswered questions about the 10-25mm:
Exactly how much curvature is there at its wide end of lens? I find too much curvature irritating especially when the frame contains horizontal parallels and I am following a figure walking through it.
How much vignetting is there at all focal lengths but most especially at the wide end?
How well is skin rendered by it given not all lenses are equal in doing this?
Does the lens have that classic warm and three-dimensional Leica lens micro-contrast and resolution?
I love the idea of an emotive wide-angle closeup on a face and upper body using a wide aperture to throw figure and background into stark contrast, but how well does the lens render this look?
Why did we not have a choice between clicked and clickless aperture ring given de-clicked works best for video while clicked is best for stills?
Is Panasonic working on the perfect companion for the 10-25mm, a similarly-designed 25-50+mm f/1.7 zoom lens?
I am accustomed to hard stops at each end of the focusing scale on manual clutch focus lenses, but how useful or not are the 10-25mm’s software stops?
Although I still rely heavily on manual focus for video and back-button focus for stills, great autofocus in both modes certainly has its uses. Will Panasonic’s reliance on DFD aka depth-from-defocus instead of PDAF aka phase-detection autofocus continue to be its Achilles’ Heel?
Questions remain about the viability of the Micro Four Thirds system given Olympus’ recent sale of its camera and lens division to JIP and Panasonic’s big investment in 35mm SLR-style cameras.
Panasonic staffers say that work continues on the company’s M43 cameras and lenses, but where is the much-requested pro-quality successor to the GX8 rangefinder-style hybrid workhorse, and when can we expect the GH6?
With the Lumix DC-S5, Panasonic has demonstrated it can make 35mm sensor cameras smaller than its M43 cameras.
If Panasonic follows the same path with the successors to its other two first generation S-Series cameras, the S1R and the S1H, will there be less incentive to stick with M43?
Right now I love the choice between the GH-series and G-series M43 cameras’ Super 16 and 35mm film handling and aesthetics, and those of the S-Series cameras’ Super 35 and 120 roll-film look and feel.
But DxO’s PhotoLab raw editing software and Topaz Labs’ Gigapixel AI image enlargement application radically reduce the need for larger sensors to produce better image quality.
Likewise, I wonder how much difference is really noticeable onscreen between Super 16 4K and Super 35 4K.
Panasonic’s Leica DG Vario-Summilux 10-25mm f/1.7 may be an amazing M43-only lens with an incredibly useful focal range for documentary stills and video, but Sigma’s 18-35mm f/1.8 DC HSM Art zoom lens is adaptable to a range of Super 35/APS-C and Super 16/M43 cameras, helping future-proof one’s investment in lens and adapters.
Furthermore, the 18-35mm already has a longer companion lens in the form of Sigma’s 50-100mm f/1.8 DC HSM Art zoom, though there is no obvious companion lens on the wide end though there is that gap between 35mm and 50mm.
Breakthrough Photography – Step-Up Ring – I strongly recommend Breakthrough’s excellent knurled brass X4 UV and ND filters although they do not supply every filter diameter in existence. That is where step-up rings come in handy.
johnbrawley – website of “John Brawley has developed a reputation as one of Australia’s most talented and sought after Directors of Photography, who works with vision, speed and an inherently collaborative nature.”
I bought this lens some time after it came out so never thought to reviews [sic] it. Quote a few photographers have taken me to task about that so here, at last, is my take on it. There’s no shortage of standard zooms for Micro Four Thirds but the Olympus 12-40mm f/2.8 Constant Aperture Pro zoom should be towards the top of any buyer’s list.
Former Fleet Street newspaper photographer David Thorpe remains one of the very best digital camera and lens reviewers on YouTube and I thoroughly recommend him for those interested in the Micro Four Thirds format.
He has to buy the gear that he reviews so he makes somewhat infrequent appearances on his YouTube channel and limits his coverage to the Olympus and Panasonic cameras and lenses that he uses for his own freelance work.
Likewise, Panasonic Australia seems to have fallen off in it support for local reviewers while Olympus Australia has never been interested in helping out with review units, so my current coverage of both company’s hardware and firmware is limited to items that I already own, or based on articles by others.
Thank goodness, then, for reviewers like David Thorpe and others too numerous to list here!
Other M43 lenses that David Thorpe uses and recommends
Olympus M.Zuiko Digital 17mm f/1.8 lens with lens shade, also available in black.
Olympus M.Zuiko Digital ED 40-150mm f/2.8 Pro telephoto zoom lens.
Panasonic Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS collapsible standard zoom lens.
Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric wide to standard zoom lens. Image courtesy of Panasonic Australia.
Olympus M.Zuiko Digital 12-50mm f/3.5-6.3 EZ Power Zoom kit lens, now sadly discontinued but apparently one of the best-kept secrets of the Micro Four Thirds format, widely praised by pros and enthusiasts, and now only available secondhand for high prices.
Panasonic Lumix G Vario 14-140mm f/3.5-5.6 II Aspheric Power OIS “all-in-one” wide-to-telephoto zoom lens.
I own two of the six lenses that receive high recommendations from David Thorpe, the Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro standard zoom and the Panasonic Lumix G Vario 12-32mm f/3.5-5.6 Aspheric near-pancake sized collapsible standard zoom.
Both have their joys and their workarounds, but both are firmly established as my default zoom lenses for different reasons and different subjects and applications.
Foremost amongst their differences is that the M.Zuiko Pro 12-40mm f/2.8 can be purchased standalone or bundled with a high-end Olympus camera while the 12-32mm f/3.5-5.6 can only be purchased bundled with a lower-end Panasonic camera.
I managed to find my 12-32mm zoom lens online at eBay Australia, bought it for a good price, and have been very happy with it ever since.
It is not a lens for all seasons though, lacking a manual focusing ring and an aperture ring, and with a 37mm filter diameter so narrow that it necessitates stacking step-up rings to get it to industry-standard 77mm or 82mm or investing in a set of smaller diameter fixed and variable neutral density filters.
For those reasons I have yet to create videos with my 12-32mm lens, relying instead on the Olympus 12-40mm f/2.8 with its 62mm filter diameter, excellent manual clutch focusing, solid build, beautiful optics, and great weather and dust resistance.
Despite the effectiveness of Panasonic Lumix cameras’ back button focus, I have often resorted to retracting my 12-40mm’s manual clutch focus ring to quickly zero in on a key detail, and the usefulness of fast and accurate manual focusing when shooting video cannot be disputed.
The one thing that stops the Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro from being the perfect standard zoom lens for stills and video is its lack of an aperture ring.
Aperture rings are one of the major areas where Micro Four Thirds consortium partners Olympus and Panasonic appear to have begged to differ, with Olympus lenses have them not at all and Panasonic building them into some and not all of their lenses.
One of the most intriguing Panasonic lenses with a form of manual clutch focus is the company’s Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric wide-to-normal zoom lens.
I had the chance to briefly try one out at the last SMPTE in Sydney and while the lens’ range from 20mm to 50mm equivalent is impressive and incredibly useful for documentary photography and video, I was a little nonplussed by the lens’ lack of hard stops at each end of the focusing scale.
Hard stops aid in easier, faster focusing when your eyes are glued to the camera’s EVF or LCD monitor, as I quickly discovered after investing in my 12-40mm f/2.8, but if I was buying into Micro Four Thirds video nowadays then Panasonic’s Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric would be the first and possibly only lens I would buy alongside a Panasonic Lumix DC-GH5, DC-GH5S or the coming DC-GH6.
If I had the funds and the need for more M43 lenses with manual clutch focus and autofocus capabilities, though, then I would certainly invest them in Olympus’ excellent though aperture-ringless M.Zuiko Pro primes and zooms, so impressive is their optics and performance.
Australian feature film cinematographer/director Paul Leeming has released the first camera profile correction look-up table in his Leeming LUT Pro set for Fujifilm X-Trans sensor-equipped cameras, for Fujifilm’s F-Log logarithmic shooting profile, with Eterna Cinema, Pro Neg Std and HLG for Rec709 LUTs to come.
This is a significant and long-awaited event given that Fujifilm has finally delivered on its longtime promise to radically improve its cameras’ video capabilities with the Fujifilm X-T3 and X-H1, with the coming X-H2 hopefully improving on the X-T3 as a moviemaking hybrid mirrorless camera in Super 35 format.
Super 35 has long been the feature film format of choice for narrative and documentary production, and the arrival of improved video capabilities on Fujifilm’s X-T2 cameras was a relief after the disappointment of the X-Pro2’s video support.
Leeming LUT Pro for F-Log on Fujifilm cameras with X-Trans sensors
Even the recently announced X-Pro3 appears to have 4K Super 35 video features that may prove good enough in a pinch when more video-oriented cameras are unavailable.
The Leeming LUT Pro expose and correction methodology is based on exposing to the right aka ETTR followed by correction via camera-specific look-up-table files in one’s nonlinear editing suite or colour grading software of choice.
The ETTR method’s most vocal proponent was the late Michael Reichmann who was in favour for its use in photography and videography, and although he and many other photographers constantly lobbied camera makers for auto-ETTR in their Live View-capable cameras, to no effect so far.
Why camera makers continue to ignore the necessity of optimal exposure is anyone’s guess.
For that reason I am grateful that Paul Leeming has applied himself to solving the problem of correct exposure followed by correcting colour via Leeming LUT Pro, with the added benefit of making footage shot on a variety of affordable cameras usable in the same timeline without excessive shot matching work.
The ideal, maximum possible dynamic range and realistic colours, using Leeming LUT Pro and Expose-To-The-Right (ETTR)
Uncorrected camera maker luma and colorimetry
Luma curve and colorimetry levels corrected with Leeming LUT Pro
In the light of camera makers’ tendency to fudge their camera’s video output as illustrated above, exposing to the right appears to make footage appear darker than one may be accustomed to, but Mr Leeming has made available other, secondary, LUTs to quickly and easily raise footage low values, as explained below.
As usual, the LUT will “darken” the footage, which really just means it will make the curve perfectly LINEAR. Examine the attached image using your waveform scope in your favourite editing software, and you’ll see what that means, with the exposure steps forming a perfect “X” shape in linear fashion. This is of course ETTR, so if you under-expose your image, it will look darker.
The LUT(s) don’t make the image darker. The LUT(s) correct the manufacturer luma curves to be linear. In most (but not all) cases, this results in the image “appearing” to be darker, but it’s not affecting anything, nor clipping anything, nor adding additional noise that wasn’t in the shot to begin with.
Don’t forget, you also have the Apollo Pro Quickies to use after the corrective LUT in case you want to brighten the image without clipping the highlights or adding any more shot noise. But when you can, please ETTR and save yourself the problems (and give yourself the cleanest possible log image to begin with).
If your shot after LUT application has its highlights not reaching 100% IRE, then you underexposed it. Use the zebras as per the guide to see where the clipping point is. Expose just shy of that and you’ll maximise sensor dynamic range and minimise shot noise.
If you HAVE underexposed or simply want a brighter image post-corrective LUT, try following it with one or more of my Apollo Pro Quickies, which are expressly designed to lift the shadows in a natural way without clipping the highlights.
Stills frames from feature film shot by Paul Leeming, ungraded then graded with Leeming LUT Pro
Ungraded, straight out of camera footage. The sort of non grading currently popular in Australian TV commercials.
Graded with Leeming LUT Pro. Cinematic and filmic, and far more emotive.
Settings for shooting video Fujifilm cameras for processing with Leeming LUT Pro
Pro Neg Std, Eterna Cinema, F-log or HLG
H265 recording format
DR100 for all profiles
Highlight tone 0
Shadow tone 0
Noise Reduction -4
Zebra level 100%
Quick and dirty Leeming LUT Pro for Fujifilm F-Log tryout with Fujifilm X-H1 F-Log footage
Ungraded, out of camera footage from Fujifilm X-H1 with F-Log.
Graded footage from Fujifilm X-H1 with Leeming LUT Pro for Fujifilm F-Log, plus a LUT from Leeming LUT Pro Quickies and colour correction.
I shoot documentary stills and video rather than make narrative feature movies, so often work alone under challenging conditions as in this example.
The Fujifilm X-H1 had a vintage Zeiss Jena Pentacon 50mm f/1.8 MC Auto prime lens attached to it via a Gobe M42-to-X-mount adapter with no neutral density filter, and I fudged on setting a custom white balance as I was more concerned with understanding the creative possibilities of this lens for video than in getting technicalities perfect.
An adapted 50mm lens on an APS-C/Super 35 camera equates to 75mm in the 35mm sensor format, which is one of my favourite focal lengths for documentary photography and video.
I have been throughly enjoying trying out this lens and its companion, a Panagor PMC 28mm f/2.8 wide-angle prime lens that Paul Leeming kindly gave us.
These sorts of vintage prime lenses are rare and overpriced here in Sydney, at least ever since camera stores like Foto Reisel with their secondhand gear cabinets closed down.
Fujifilm Super 35/APS-C hybrid cameras capable of shooting 4K and Cinema 4K F-Log video as well as in other picture profiles: X-T3, X-H1 and X-Pro3
Fujifilm X-Pro 3 with MHG-XPRO3 grip and Fujinon XF 35mm f/2.0 R WR prime lens.
Fujifilm X-H1 with VPB-XH1 battery grip and Fujinon XF 16-55mm f/2.8 R LM WR professional zoom lens. Image courtesy of Fujifilm Australia.
Fujifilm X-T3 with VG-XT3 Vertical Battery Grip and Fujifilm XF 18-55mm f/2.8-4 R LM OIS zoom lens.
The Luminous Landscape – Expose Right – This once-essential website is now paywalled, though a limited number of free page views is permitted before paying for access.
The Luminous Landscape – Optimizing Exposure – “In 2003 I wrote a tutorial titled Expose Right. To my knowledge this was the first generally available essay that discussed the realities of digital exposure, as opposed to that required for film. Since then the technique described has become known as ETTR (Expose To The Right)…. A live-view histogram-based auto-exposure system is all that needed to generate the best possible exposure from a technical perspective.”
Wayback Machine – Optimizing Exposure: Why Do Camera Makers Give Us 19th Century Exposures With Our 21st Century Cameras? – “In digital photography, exposing to the right (ETTR) is the technique of adjusting the exposure of an image as high as possible at base ISO (without causing unwanted saturation) to collect the maximum amount. So – here we are, more than a decade into the DSLR revolution (and the new century) and camera makers are still using 25, 50, even 100+ year old exposure technology in our latest cameras. Why? I really can’t say, but they should be taken to task for not delivering the best image quality that their cameras are capable of and thus get the optimum performance out of the digital image sensor.”
“Panasonic Leica 10-25mm 1.7 is the fastest zoom lens from Panasonic/Leica. How is it’s build quality, image quality (sharpness,vignetting,CA,flare,distortion..etc)? Could this be a great lens for videographers or vloggers? How does it compare to the Leica prime lenses and what are the pros and cons of this lens? We’ll talk about all of these in this review.”
Photo by Richard – Panasonic Leica 10-25mm f/1.7 Review – article – “When Panasonic told me about this lens, they told me this is a lens that can replace multiple prime lenses. I was skeptical because zoom lens rarely can match the quality of prime lens. But after testing this lens, I agree with them. If you are a pro photographer or videographer who is currently rely on multiple prime lenses within this focal length range, I think you should consider switching to this amazing lens. It would make your life a lot easier without sacrificing the image quality.”
“…It’s best to think of the S1H as an S1 on steroids. Make no mistake though, unlike the S1 and S1R, the LUMIX S1H was designed and developed especially for film production.
The S1H is far from ready for consumers. Panasonic is only showing a prototype of the camera here at Cinegear. Just like they did with the S1 and S1R, this is more of a tease than anything else. The camera isn’t expected to be available until Autumn 2019….”
News Shooter is the first video production industry website to which I turn for detailed information about coming and newly released hardware and as usual they have done a fine job digging into the facts about the Panasonic Lumix DC-S1H video camera, currently in development for release later this year.
One of the few disappointments about the S1H’s slightly older siblings, the S1 and S1R, is their lack of the fully-articulated LCD monitor upon which I rely on so much when shooting stills and video on Panasonic’s Lumix GH series cameras as well as my GX8.
It is so good to see, from the evidence of a photograph in this article shot by the News Shooter team at Cinegear 2019, that the S1H has such a monitor.
Panasonic LUMIX introduces the LEICA VARIO-SUMMILUX 10-25mm F1.7 ASPH, the world’s first* standard zoom lens achieving full-range F1.7
Panasonic LUMIX is proud to introduce a new standard zoom digital interchangeable lens, the LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. (H-X1025), which boasts a large F1.7 aperture throughout the entire 20-50mm (35mm camera equivalent) zoom range with exceptionally high optical performance clearing the stringent LEICA standards. The LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. is suitable not only for shooting stills but also for video to satisfy both professional photographers and videographers.
The full-range F1.7 high-speed aperture provides beautiful bokeh and outstanding image quality. Covering a focusing distance from wide angle to standard zoom range, the LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. functions as a multiple fixed focal length lens providing the same or an even higher level of image quality than prime lenses can offer. It is suitable for a variety of daily shooting situations, from dynamic landscapes to low-light , dispelling the need to change lenses depending on the situation.
Comprising 17 elements in 12 groups, the lens system features three aspherical lenses and four ED (Extra-low Dispersion) lenses that will effectively suppress axial chromatic aberration and chromatic aberration of magnification. Spherical aberration and distortion are also corrected by the aspherical lenses for stunningly high resolution. The use of aspherical lenses and the optimum design of the lens system results in a compact size and light weight despite its outstanding optical performance.
Compatibility with a maximum 240-fps high-speed sensor drive realizes high-speed, high-precision auto focusing. Notably, the new lens excels in video recording performance. In addition to the silent operation achieved by the inner focus drive system, the step-less aperture ring and micro-step drive system in the aperture control section help the camera to smoothly catch up to brightness changes when zooming or panning. The optical design achieves exceptional barycentric stability to minimize image shifts during zooming. Adoption of a focus clutch mechanism enables instant AF/MF switching and accurate manual focusing. The LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. also excels in performance with a mechanism that suppresses focus breathing, which was a problem of interchangeable lenses designed for still image photography.
The rugged dust/splash-resistant*1 design withstands use under harsh conditions even in 10 degrees below zero for high mobility. Nine blades give the aperture a rounded shape that produces an attractively smooth defocus effect in out-of-focus areas when shooting at larger aperture settings. Filter diameter is 77mm. Highly reliable metal mount ensures long term use.
The LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH has a recommended retail price of £1,799.99 (Ireland €2,079.99) and will be available from 15th July 2019.
Panasonic is committed to expanding the line of Micro Four Thirds line up through its LUMIX G series of cameras and lenses.
* As a digital interchangeable lens for a mirrorless camera, as of 31st May 2019
*1 Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.
Design and specifications are subject to change without notice.
Panasonic Develops a New LUMIX S1H Full-Frame Mirrorless Camera With Cinema-Quality Video and the World’s First 6K/24p*1 Recording Capability
Osaka, Japan – Panasonic Corporation announced today the development of the LUMIX S1H, a new Digital Single Lens Mirrorless camera equipped with a full-frame image sensor. It is the world’s first camera capable of video recording at 6K/24p *1 (3:2 aspect ratio), 5.9K/30p (16:9 aspect ratio), and 10-bit 60p 4K/C4K.*2 *3 Combining the professional-level video quality and high mobility of the mirrorless camera, Panasonic will release the LUMIX S1H to world markets in fall 2019.
Since starting the development of video recording technologies for digital cinema in the 1990s, Panasonic has produced a host of innovative technologies for impressive cinematic imagery, such as 24p video recording, slow motion video using a variable frame rate, and the wide dynamic range and color space of V-Log/V-Gamut. Panasonic has been working with film creators for over a quarter of a century to design and develop a number of cinema cameras, which has resulted in stunningly high video performance. The LUMIX GH1 made its debut in 2009 as the world’s first Digital Single Lens Mirrorless camera capable of full-HD AVCHD video recording.*4 The LUMIX GH4 was launched in 2014 as the world’s first Digital Single Lens Mirrorless camera*5 capable of 4K video recording. And in 2017, the LUMIX GH5 was released with the world’s first 4K/60p, 4:2:2 10-bit 4K/30p recording capability.*6 The LUMIX GH5 is highly acclaimed by film creators for its high performance, excellent mobility, and superb versatility in film production.
The new LUMIX S1H has been designed and developed by applying the vast expertise and technologies accumulated in the cinema cameras of the LUMIX S Series of full-frame mirrorless cameras. It packs all of these technologies, especially in the field of digital signal processing and heat dispersion, into a compact, lightweight body to achieve both high performance and nimble mobility. It opens the door to creative film production in ways that conventional, bulky camera systems simply could not do.
The main features of the new LUMIX S1H are as follows:
1. High resolution up to 6K for multiple formats
Maximizing the use of the pixels in the full-frame image sensor, the LUMIX S1H, as a digital camera, has achieved 6K/24p (3:2 aspect ratio) or 5.9K/30p (16:9 aspect ratio) video recording for the first time in the world.*1 It is also the world’s first full-frame digital interchangeable lens system camera*1 to enable 10-bit 60p 4K/C4K *2*3 video recording. It accommodates a variety of recording formats, including 4:3 Anamorphic mode, to meet professional needs. Its high-resolution data can also be used for creating 4K videos with higher image quality or for cropping images in 4K.
2. Rich gradation and a wide color space virtually equal to those of cinema cameras.
The LUMIX S1H features V-Log/V-Gamut with a wide dynamic range of 14+ stops, which are virtually the same as those of the Panasonic Cinema VariCam, to precisely capture everything from dark to bright areas. The color and even the texture of human skin are faithfully reproduced. Designed under consistent color management, the S1H’s recorded footage is compatible with V-Log footage recorded by VariCam or V-Log L footage recorded by LUMIX GH5/GH5S.
3. High product reliability that allows unlimited video recording.*7
In every S1H recording mode, video can be recorded non-stop under the certified operating temperature so the user can concentrate on shooting.
Panasonic now offers three innovative models in the LUMIX S Series of full-frame Digital Single Lens Mirrorless cameras – the S1R, the S1, and the new S1H. The LUMIX S1R is ideal for taking high-resolution pictures, the LUMIX S1 is an advanced hybrid camera for high-quality photos and videos, and the LUMIX S1H is designed and developed especially for film production. With this lineup, Panasonic is committed to meet the demands of every imaging professional by challenging the constant evolution of the photo/video culture in today’s new digital era.
The LUMIX S1H prototype will be exhibited at the “Cine Gear Expo 2019.”*8
*1. As a digital interchangeable lens system camera, as of May 31, 2019 (U.S.). Panasonic research.
*2. As a full-frame digital interchangeable lens system camera, as of May 31 May, 2019 (U.S.). Panasonic research. In Super 35mm-equivalent size.
*3. Corresponding to 4K (4096×2160) as defined by Digital Cinema Initiatives (DCI).
*4. As of March 25, 2009, as a digital interchangeable lens system camera. Panasonic research.
*5. As of March 25, 2014, as a Digital Single Lens Mirrorless camera. Panasonic research.
*6. As of January 25, 2017, as a digital interchangeable lens system camera. Panasonic research.
*7. Recording time varies depending on the battery capacity and memory card capacity. When the camera’s temperature rises above the specified operation temperature, the camera may automatically stop video recording to protect it from heat damage.
*8. Cine Gear Expo 2019 is the premier annual event for professionals engaged in the technology, entertainment and media industry to be held at Paramount Studios in Los Angles, U.S., through May 30 to June 2.
– Design and specifications are subject to change without notice.