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
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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

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

PhotoJoseph: LIVE UNBOXING: LUMIX 10-25mm f/1.7!! + Live Q&A

*my precious*…  itshereitshereitshere!! (And the ONLY reason I’m not unboxing it before the show is because I HAVE to finish something else first… and if I open this box… GAME OVER)

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Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric wide to standard zoom lens, equivalent in 35mm sensor terms to 20mm to 50mm, excellent for documentary moviemaking and stills photography.

Commentary

“Five prime lenses in one”, stated a Japanese Panasonic executive when announcing the unique Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric onstage a while back and I am hoping he was right about that.

If Panasonic has managed to achieve top-end prime lens quality and lack of optical distortion right throughout the Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric’s focal length range, especially at its wide end, I will be well-pleased.

Lenses equally useful for stills and video work need to permit attaching screw-in fixed and variable neutral density filters and protective UV filters, which this lens permits via its 77mm filter diameter, easily stepped up to 82mm via a step-up ring such as the excellent knurled brass step-up rings made by Breakthrough Photography.

Ultra-wideangle lenses need to be distortion-free when tracking subjects walking through cityscapes and interiors packed with parallel horizontal lines to avoid the sometimes comical but mostly annoying, visually cloying, effect of those horizontals bending and unbending as the camera follows the figure.

Shudder.

Cameralab’s review of the Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric seems to indicate some degree of barrel distortion but I want to see more analysis and examples of the lens at its wide end, especially when shooting amongst skyscrapers and interiors.

I look forward to PhotoJoseph and other well-qualified reviewers looking into this 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’.

  • Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 ASPH. Lens B&H

Booray Perry: Why I WON’T be switching to the Fuji XT-3. REAL WORLD TEST!

I’ve had a week to shoot with the Fuji XT-3 and I love this camera… but I WON’T be buying it because there is just one think I can’t get past. Maybe it doesn’t affect you but it’s the one thing that is holding me back. This video will walk you through the things I love and explain in detail why I just can’t make the leap to the Fuji XT-3.

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Fujifilm X-T3 with Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens.: bigger and easier-to-grip dials meaning far less diving into the multi-level menu system.

Wedding photographer Booray Perry recently tried out a loaner Fujifilm X-T3 mirrorless camera and decided that, though he likes much about the camera and the image quality from its APS-C sensor, he will not be investing in a higher-end Fujifilm camera just yet, especially given he relies on on and off-camera flash and long lenses for much of his professional work.

I have been trying out a Fujifilm X-H1 camera body lately in combination with my own and a couple of loaner Fujinon XF prime lenses, and I agree with much of what he says including that the X-T3 produces excellent images in general.

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Fujifilm X-T3 with Fujifilm VG-XT3 Vertical Battery Grip and Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens: although the much-improved NPW-126S lithium battery delivers more stills shots than its predecessor, video drains the battery faster so I recommend the vertical battery grip for its two extra batteries.

I have used some of the larger Fujifilm zoom lenses on loaner X-T3 cameras, as well as a number of Fujicron and non-Fujicron prime lenses, and have concluded that the X-T3 benefits from almost permanently attaching a Fujifilm VG-XT3 Vertical Battery Grip to it whether shooting documentary stills, documentary video and especially portrait photographs.

My preferred Fujifilm camera form factor for documentary photography remains that of the X-Pro2 digital rangefinder given my extensive background with analog rangefinders of all film formats, but have found that the X-T3 makes an excellent on-location documentary companion camera when using wider focal lengths than 18mm and longer focal lengths than 56mm.

But not too long.

Ungripped, the X-T3 is about the same size as the X-Pro2 and fits neatly with the latter into a small shoulder bag with four or so lenses, aiding in retaining a large degree of invisibility.

Passers-by rarely if ever take any notice of either camera and I have shot stills and video extremely up-close in a way I would ever have gotten away with if using larger cameras such as my Canon EOS 5D Mark II.

The X-T3 has proven to be an excellent handheld portrait camera, benefitting from its tilting LCD monitor, small size in the hand whether gripped or ungripped, and however large the lenses used on it.

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Fujifilm X-T3 with VG-XT3 Vertical Battery Grip. The 3×4 aspect ratio of Micro Four Thirds is much better than the 2×3 aspect ratio of APS-C and 35mm sensors for vertical portraits and is close to the aspect ratio of magazine pages. We need 4:3/3:4 added to aspect ratio choices in all APS-C and 35mm sensor cameras via firmware, and possibly also the A4 aspect ratio.

For all-day work on location or in the studio, though, I found the X-T3 more fatiguing in whichever grip and lens configuration than my X-Pro2 and I would much prefer a camera of the shape and size of the Fujifilm X-H1 for that type of work.

The X-H1 has a surety of grip and a smooth shutter release button that I would love to see on the X-T3, and there is nothing so reassuring as always having the option of the X-H1’s in-body image stabilization given that none of my current Fujinon lenses come with optical image stabilization.

The X-T3 outstrips the X-H1 in every processor and sensor-based firmware feature, hardly surprising given the X-H1 contains previous generation internals as well as firmware features moviemakers and photographers have been requesting for ages now.

The lack of IBIS on the X-Pro2 and X-T3 will soon be met with up to six stops OIS on the coming Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens, easing my trepidation when needing to shoot in available darkness but I am keen to see what the X-H2 offers when it hopefully appears sometime early in 2020.

And then there is the X-Pro3 reportedly coming later this year and whatever new features may appear thereon.

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Fujifilm Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens with up to six stops of stabilization, equivalent in 35mm sensor format terms to 24mm through to 120mm focal lengths.

If the X-H2 matches and preferably outstrips the X-T3 in its internals, then it will be a shoo-in for professional video production, studio stills and large lens work on location as well as documentary work in available darkness.

If the X-Pro3 gains the features I have long been wanting to see in Fujifilm’s digital rangefinder cameras, especially in a radically improved electronic viewfinder, then I will be glad to add one to my documentary stills kit.

Meanwhile the X-T3 is a fine candidate for top-quality non-raw Super 35 video in HLG or F-Log, and an excellent stills camera for portraiture and as a second available-light documentary camera whose APS-C X-Trans sensor matches as near as damn it to the image quality from my 5D Mark II and subsequently released DSLR cameras.

Fujifilm X-Pro2, X-T3 and X-H1 APS-C/Super 35 mirrorless hybrid cameras and lenses at Compact Camera Meter

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Footnote

The term “Fujicron” refers to the Leica Summicron-like compact prime lenses made by Fujifilm including the Fujicron XF 16mm f/2.8 R WR, XF 23mm f/2.0 R WR, XF 35mm f/2.0 R WR and XF 50mm f/2.0 R WR. Fujifilm needs to release a Fujicron version of its XF 18mm f/2.0 R prime lens in response to the longterm barrage of requests from the army of documentary photographers who rely on its 28mm equivalent focal length in the 35mm sensor format, but who find the operational speed and other quirks of the current, ageing 18mm lens irksome to say the least.

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’.

Gerald Undone: Exposure Tips for the BMPCC4K & Why I Don’t Use ProRes

Discussing Blackmagic Pocket 4K exposure complications, ETTR vs middle grey, what Highlight Recovery does, and why ProRes isn’t good for low ISOs.

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Blackmagic Design’s Blackmagic Pocket Cinema Camera 4K aka BMPCC 4K.

Commentary

With Blackmagic Design’s Blackmagic Pocket Cinema Camera 4K being a reasonably recent release in short supply in many parts of the world, high-value information on how to get the best out of it also remains in short supply so Gerald Undone’s data on the two best ISOs is particularly welcome.

Instead of the more commonly used base dual native ISOs of 400 and 3200, Mr Undone recommends ISOs of 400 and 4000 and supports those numbers with a thorough set of tests.

Using these preferred ISOs on your BMPCC 4K in conjunction with the expose-to-the-right aka ETTR principles espoused by Australian cinematographer/director Paul Leeming of Leeming LUT Pro will provide optimum exposure and the most suitable footage for grading.

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’.

  • Blackmagic Design Pocket Cinema Camera 4K B&H

Richard Wong: Panasonic Leica 10-25 mm f/ 1.7 In-Depth Review

“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.”

panasonic_leica_dg_vario-summilux_10-25mm_f1.7_aspheric_01_1024px
Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric wide to standard zoom lens.

Links

  • 4/3 RumorsPanasonic Leica 10-25mm f/1.7 In-Depth Review by Richard Wong
  • Photo by RichardPanasonic 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.”
  • Richard WongPanasonic Leica 10-25 mm f/ 1.7 In-Depth Review – video

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’.

  • Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 ASPH. LensB&H

NITV: Always Will Be, Barbara McGrady

“…In partnership with NITV, the Australian Centre for Photography presents the work of photojournalist Barbara McGrady as a free educational resource for schools across the country. Through her pioneering work, students and teachers are invited to experience the important social, political and historical events witnessed by McGrady.

Spanning 30-years, McGrady’s works are important visual and historical records that inform our understanding of Aboriginal and Torres Strait Islander peoples in urban areas, and offer a powerful alternative visual representation of what it means to be Kooris today….”

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’.