Press Release: Two Weeks until My RØDE Reel Entries Close, $1 Million in Cash to be Won!

– FOR IMMEDIATE RELEASE – 

TWO WEEKS UNTIL
MY RØDE REEL ENTRIES CLOSE

$1 MILLION IN CASH TO BE WON!

SYDNEY, AUSTRALIA: Wednesday, 23 September 2020

There are just two weeks left until entries for My RØDE Reel close, and with it, the chance for filmmakers to win a share of $1 million in cash. The competition closes at 12PM Wednesday, October 7.

My RØDE Reel is the World’s Largest Short Film Competition. Over the last six years, more than 16,000 films have been submitted to the competition from 94 different countries, with RØDE awarding over $3.5 million in prizes to both emerging and established filmmakers. My RØDE Reel has launched hundreds of careers through providing a global platform for filmmakers to gain exposure, offering grants and scholarships, and giving away tonnes of RØDE microphones and filmmaking gear.

My RØDE Reel marked a new milestone when it launched its 2020 edition in July, announcing that the top films would win a share of US $1 million in cash – the biggest cash prize ever offered in a short film competition.

This includes a life-changing $200,000 major prize, which will be awarded to the best film as chosen by the three judges: actor Meyne Wyatt, director Selina Miles, and filmmaker Ryan Connolly.

In addition to the Judges’ Choice, there are nine categories: five genre categories – Drama, Comedy, Action, Documentary, Animation and Behind-The-Scenes – and four special categories – People’s Choice, Sound Design, Young Filmmaker, and Best Chinese Film. The top three films for each category will receive a cash prize – all-in-all, 28 filmmakers will win a share in the money.

As well as the incredible cash prize pool, RØDE is giving away a prize pack to the winners of the 10 categories. These are loaded with gear from the world’s leading filmmaking brands, including Lumix, Nanlite, Zhiyun, MZed, Musicbed, Rhino, Adobe, Brevite, Pelican, Arri and, of course, RØDE microphones and accessories.

Combined with the cash, this brings the total prize pool to over $1.5 million, by far the biggest offering from any short film competition.

Visit the My RØDE Reel website for more information on the prizes and categories.

HOW TO ENTER

Entering My RØDE Reel is easy:

  • Head to myrodereel.com and log in or sign up for an account to access the starter pack. This contains the My RØDE Reel title card, which must feature at the start of your film.
  • Make a 3-minute short film. The brief is completely open – use the different categories to inspire the direction of your film.
  • Make a 3-minute behind-the-scenes (BTS) film, which must feature a RØDE product.
  • Upload your short film and BTS film to YouTube, then submit this link to myrodereel.com.
  • Share your film for a chance to win a People’s Choice Prize.

For the full details on how to enter, head to myrodereel.com and log in or sign up for an account. This contains the starter pack, information on the competition, freebies, tips, inspiration and more.

Entries are open now and close at 12PM (AEDT/GMT+10) Wednesday, October 7, 2020. Head to myrodereel.com for more info.

–ENDS–

About My RØDE Reel:
My RØDE Reel was launched by RØDE Microphones in 2014 as a celebration of excellence in filmmaking and to provide a platform for filmmakers to reach a global audience and win incredible prizes to further their career. Since its inaugural edition, the competition has seen over 16,000 entries submitted from more than 90 countries, collectively being watched over 17 million times. More than $3.5 million in prizes have been awarded to both emerging and established filmmakers including gear, scholarships and grants, and many past entrants have gone on to establish impressive careers in the industry. Today, My RØDE Reel is the World’s Largest Short Film Competition and a highly anticipated calendar event for the global filmmaking community.

About RØDE Microphones and The Freedman Group:
RØDE Microphones (www.rode.com) designs and manufactures high-quality microphones and related accessories for studio, live and location use. Its products are designed and primarily manufactured in Sydney, Australia and exported to 118 countries globally. RØDE is part of The Freedman Group, with APHEX, Event and SoundField. Freedman Electronics celebrated its 50th anniversary in 2017.

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Prizes, My RØDE Reel 2020. Image courtesy of RØDE Microphones.

Links

Canon’s Chickens Come Home To Roost With Crippled Canon EOS R5 Flagship 8K 35mm Sensor-Equipped Mirrorless Stills & Video Hybrid Camera

Given the trials and tribulations of living in lockdown for the past few months I have not been following the release of Canon’s EOS R5 and EOS R6 mirrorless hybrid cameras as closely as I should have. Apologies, so here is a catch-up.

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Canon EOS R5 flagship mirrorless hybrid stills and video digital camera with Canon RF 24-105mm f/4.0 L IS USM zoom lens. Image courtesy of Canon via B&H.

My lockdown-born distance from recent digital developments suddenly changed when I came across a rather shocking Instagram post by camera accessories company Tilta featuring its Tiltaing Cooling Camera Cage for Canon R5, featuring its Canon EOS R5 Cooling Kit, a fan-driven and heavily-finned device designed, apparently, to rapidly reduce the camera’s temperature to one that makes it a little more usable.

Camera accessories maker SmallRig also appears to be working on a solution for the Canon EOS R5 and R6 cameras’ overheating problems, a Cool Cage for R5, and the company may take a different approach to that of Tilta.

Time will tell just as it will as to the actual usability of the R5 and R6 for their designed purposes, but for now enough camera reviewers with a professional background have shed whatever Canon fanboy tendencies they might still harbour in order to share some of the many problems they have been having with both cameras.

Canon EOS R5

Images courtesy of Canon via B&H.

Canon describes the R6 as having “… four times the detail of 4K” making it “the world’s first interchangeable lens digital camera with 8K movies” and the specs for the R5 and R6 certainly look impressive.

But, given the comments I have been reading from credible reviewers like Philip Bloom, Gerald Undone, Andrew Reid and Matthew Allard, the R5 and possibly the R6 appear to be major fails that may lead to class action lawsuits against Canon given the R5 at least does not live up to its marketing claims.

Canon EOS R6

Images courtesy of Canon via B&H.

Might Canon fanboys be better off with the R6 just as a stills photography camera given it is slightly cheaper than the R5?

Tilta Tiltaing Cooling Kit for Canon EOS R5

Images courtesy of Tilta.

View this post on Instagram

You know what the most annoying thing about the Canon R5 is? It’s that if it didn’t have these ridiculous issues it would be such an amazing camera. This is the first camera I have used in memory that punishes you for using it. Shoot stills then down goes your ability to shoot video in all but the basic line skipped normal speed mode. It is capable of utterly stunning images but there is absolutely no way this could ever be used as a hybrid camera, which it is marketed as, unless you are willing to live with the basic video mode. After shooting about 15 minutes of 8k (just basic IPB mode not raw) today spread out over an hour and then leaving camera off for 90 minutes I was never able to get the 8K option back, nor the 4K 120p, not the 4K HQ and not even line skipped 4K 50p! Basically if you want to use the good video modes use them first, don’t think shooting line skipped means you can use them later. Everything you do reduces the amount of time you can use those modes I mentioned above. The only time you can get the max amount is when you first turn on the camera. Please don’t tell me to use an external recorder. They should be used to bring new features to your camera not because your camera won’t let you record internally anymore as you’ve “shot too much”! I love the form factor of the small body especially for handheld. An external recorder would kill this. I love the stills, I love the video quality in the 8K and HQ mode. I love the animal video autofocus BUT I loathe being unable to use my camera as I want to most of the time. Please don’t accuse me of bias. I have none. I love Canon and have a lot of history with them. I spent £4200 on a camera I cannot use most of the time and that’s ludicrous! I truly hope they find a way to fix this debacle.

A post shared by Philip Bloom (@philipbloom) on

In his Facebook post on the EOS R5, Philip Bloom adds:

Please don’t accuse me of bias. I have none. I love Canon and have a lot of history with them. I spent £4200 on a camera I cannot use most of the time and that’s ludicrous! I truly hope they find a way to fix this debacle.

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You either love it or hate it. Canon EF 24-105mm f/4.0 L IS USM zoom lens, prone to the all-too-common aperture control ribbon cable failure.

Unlike Mr Bloom, I do not love Canon and nor do I have a lot of history with the brand’s products.

My first Canon camera was the once revolutionary but even-then crippled EOS 5D Mark II which was initially only available in a kit with the Canon EF 24-105mm f/4.0 L IS USM zoom lens.

From the start there was a problem with the 5D Mark II, its erase button remaining pushed in after first attempt at using the camera so it went straight back to Canon Australia and eventually returned with the button repaired under warranty.

A straight-out replacement would have been a better option.

Then, just after the warranty for camera and lens expired, the 24-105mm kit zoom lens failed spectacularly and I have still not been able to have it restored to working order.

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Canon EOS 5D Mark II with Canon EF 24-105mm f/4.0 L IS USM kit zoom lens.

Despite urgings by my BFF to get rid of my 5D Mark II, I have kept it despite not having a working Canon EF lens for it, instead occasionally using it with a couple of adapted M42 manual focus lenses via a Gobe M42 to EF adapter.

My beloved late uncle Brian Bell aka Sir Brian Ernest Bell CSM, KBE, CStJ, of the Sir Brian Bell Foundation and the Brian Bell Group of Companies, paid for my Canon EOS 5D Mark II and its Canon EF 24-105mm f/4.0 L IS USM zoom lens, and I simply cannot let them go given I barely knew him and yet he proved to be so kind to me and understanding of my situation in his final years alive.

Uncle Brian gave me the 5D Mark II and lens as a gift in order to help me start a new life in photography and video after too many years away from them due to often insurmountable health issues.

At the time I knew nothing about the mirrorless hybrid revolution that was going on at Panasonic and to a lesser degree at Olympus so did not, to my regret, immediately buy into those two company’s Micro Four Thirds system that offered so much more than Canon in terms of affordability and video production capabilities.

Despite my misgivings about Canon’s clear lack of adequate quality control, thus quickly coming to rely instead on Fujifilm, Olympus and Panasonic cameras and lenses, I continued to hope that Canon might eventually see the light and provide the necessary alternative to the smaller sensor-based systems.

So, what a disappointment Canon’s attempt at matching if not surpassing Panasonic’s S-Series cameras has turned out to be, but I should not be surprised given what my BFF has told me about Canon’s research and development efforts before and during the time she worked there in an engineering role.

For fifteen years, apparently, Canon’s Australian R&D division was at the cutting edge of global camera, lens, printing and other technologies and creativity and innovation were anything but dirty words.

Canon had bought an independent Sydney-based R&D company then turned it into the major part of its worldwide product and technology development effort, replete with top engineers, mathematicians, physicists and other scientists and technologists.

Then the suits and the marketing types began taking it all for granted, replacing all this talent with the cult of process engineering, resulting in employees voluntarily departing or being fired en masse to the point where Canon’s R&D division no longer existed.

The scientists and technologists with the genius to solve problems like those apparent in the Canon EOS R5 and R6 were no longer there and, with the company now in the hands of marketing men, this mess is the result.

The chickens that became so apparent in the long years my BFF worked at Canon have finally come to roost, with a vengeance.

The “cripple hammer” described so often by my BFF and increasing numbers of professional customers has found its mark on the cameras that were supposed to firmly establish Canon as a pro-quality force in the mirrorless hybrid realm.

There will be nasty outcomes for Canon from all of this.

For a start, in his latest article at time of writing on the R5, Andrew Reid of EOSHD states that:

If it is proven that Canon purposefully hobbled the camera, or artificially restricted recording times in firmware, with heat as an excuse, in all the highest quality video modes on the EOS R5 they advertised as key headline grabbing features, I will never buy another Canon camera again for as long as I live and I think the full force of consumer law should be brought to bear.

Lastly, here is a comment from my BFF:

“Having worked for over ten years in the Canon research arm (CiSRA) I’ve seen first hand the erosion of innovation, given in to a vast implementation of process engineering.

Contrary to the process engineering activity curve rising sharply, our USPTO patent and innovation curve dived to nearly nothing in the space of three years.

It was all about keeping us engineers heads down with endless vacuous new policies thrown at us, while stifling us with excessive process engineering admin activities such as process management, configuration and release management, excessive performance waterfall adherence and the endless justification to Canon head office that we were worth keeping as a world-class Australian research facility, all the while shedding staff; some of the most brilliant sw and hw engineers, math professors, physicists and other ground-breaking innovators.

The company eventually closed its doors in 2016 after having spent millions moving office space.

In the end, the pointy-headed managers and their cohorts raked in the money while everyone else suffered.

Canon management only have themselves to blame.

Being a Japanese company, the way that female engineers get paid less than male engineers is bad enough, but the way management has destroyed innovation in this company is a crime.”

Links

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?”

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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…

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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.”

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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….”

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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

PanasonicLumixVideo: LUMIX S | LUMIX S1H Sizzle Reel – videos

“This is the sizzle reel of a variety of films shot by four film creators with the new LUMIX S1H full-frame mirrorless camera.”

Panasonic Lumix DC-S1J rigged with Zacuto moviemaking accessories.

[NEW] LUMIX S | S1H Short Film “Kepler 138” shot by Jacob Schwarz

This film is shot by Jacob Schwarz (MYSTERY BOX) with LUMIX S1H. “ ‘Kepler 138’ is the emotional story of Charles, a blind father who connects with his daughter Claire, and how a space mission to explore new worlds guides them both to see. A short film that crafts a dramatic and emotionally stirring short film reminding viewers that love transcends time and space.”

[NEW] LUMIX S | S1H Short Film “In Hope of Nothing” shot by Peter Hamblin

This film is shot by Peter Hamblin with LUMIX S1H. “ ‘In Hope Of Nothing’ aimed to speak to film-makers about the trials and tribulations of film-making.”

[NEW] LUMIX S | S1H Short Film “Alive” shot by Carissa Dorson

This film is shot by Carissa Dorson with LUMIX S1H. “In ‘Alive’, a laundromat worker wishes there was more to her life, so she imagines herself dancing without inhibition throughout her day.”

[NEW] LUMIX S | Behind-the-scenes of filming with LUMIX S1H

This is behind-the-scenes of filming with the LUMIX S1H full-frame mirrorless camera.

[NEW] LUMIX S | LUMIX S PRO 24-70mm F2.8 (S-E2470) Lens Based on L-Mount System

This film is shot through LUMIX S PRO 24-70mm F2.8 (S-E2470) on LUMIX S1H. Panasonic is proud to introduce a new interchangeable standard zoom lens, the LUMIX S PRO 24-70mm F2.8 (S-E2470) based on the L-Mount system for the LUMIX S Series Full-frame Digital Single Lens Mirrorless Camera. Specially focusing on professional use, the LUMIX S Series pursues uncompromising photographic expression with its high-quality cameras and lenses. The LUMIX S PRO 24-70mm F2.8 (S-E2470) is a large-aperture standard zoom lens that boasts high descriptive performance across the entire zoom range. The optical performance of this LUMIX S PRO lens is remarkably high to clear stringent LEICA standards. Ensuring versatile use for landscapes, snaps and portraits with its 24-70mm focal length, the LUMIX S PRO 24-70mm F2.8 features stunningly high resolution and high contrast at each focal length point. The full-range F2.8 high-speed aperture provides smooth defocus gradation from the focus peak to the neighboring area of the image to achieve a beautiful bokeh effect as well as a rich perspective.

Commentary

Congratulations are due to Panasonic for going some way towards evening up the gender balance with one of these videos being made by a woman and two by men, with a possible second female-made movie coming by Alicia Robbins.

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

Mystery Box: Kepler 138 | Shot on LUMIX S1H

“At its core Kepler 138 is the emotional story of Claire and her blind father Ted, and how a space mission to explore new worlds helped her give her father the ultimate gift — a glimpse into her new world. Staring: Carter Scott – Claire Nelson Shawn Stevens – Ted Nelson Directed by: Jacob Schwarz Ex. Produced by: Katie Schwarz & Mathew Frazer Producer: Andrew Peterson DP: Peter Mosiman”

panasonic_lumix_dc-s1h_rigged_02_1024px
Panasonic Lumix DC-S1J rigged with Tilta moviemaking accessories.

Commentary

I look forward to a behind the scenes video for this production appearing soon!

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