Panasonic S1H Full-Frame Mirrorless Camera | Hands-on Review
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Panasonic S1H Full-Frame Mirrorless Camera | Hands-on Review

October 20, 2019

Hey everyone Doug here with B&H and today
is a special day we have the Panasonic S1H this is brand new follow-up to the
S1 in the S1R just a few months ago this one is video centric this is I mean
pretty much it is a still camera but there’s so much going on here with video
and we’re gonna get into it there’s stuff in here I haven’t really seen on a
video camera yet to be honest with you at least at this price point
we’re here at Frames in Midtown and we are here in the bar pool area we’re
gonna shoot a commercial why not right and as you can see behind me we have
some beautiful neon signs there’s little bits of ambient lighting everywhere
we’re gonna try as much as we can to shoot just with the ambient lighting we
do have a little bit of splash color just to accentuate the walls we do have
some light filling in the area but we’re trying to keep it minimal now this
camera does go up to 6K so we’re gonna try to shoot some 6K some 4K some slow
motion and you know just try to make as nice of the commercial as possible we’re
just gonna try to run with it and see what we can make with the Panasonic S1H these things have the most satisfying
snap known to man well we already have the EF to L adapter so I’m just gonna
pop on this 24-70 and let’s see if it works and this is something you got to
see to believe if you go to record quality you’re gonna get tons of options
there are seven pages of options believe there is 42 of them in total but let’s say
you wanted 4K so we’re gonna go 4K we’ll start with something not anamorphic but
we’ll do 16×9 so very common that’s probably what we’re gonna shoot some
of this video in and hit okay and now you have only two pages of options so
yeah much much cleaner easier to read now the 6K on this camera as you can see
5952 viewed by 3968 it only goes up to 24 fps and that’s important to know
because this is pretty much the top spec of the camera here so basically you have
42 options 42 ways that you can shoot a commercial I’m gonna
stick with the highest resolution I possibly can let’s begin boom we got our
6K image you can see this is the full 3:2 read out of the full-frame
sensor you want to see this this is 3200 oh look at that came right up came right
up hello gorgeous so we’re gonna use V-log for this the color profile this is
the full version of V-log which is very important because previously Panasonic
hadn’t really made V-log available to their still cameras the S1 does have it
now with the recent update but this comes right out of the box with the full
V-log this promises the 14 stops that you would get on a Varricam and I
believe there’s already a preview LUT activated on the camera which is why it
doesn’t look too flat here I mean it looks pretty damn good to me alright so we just did a camera move
over to the opposite side get the wide we’re gonna do a little bit of a
switcheroo here let’s talk about the item in question cue chalk unbranded cue
chalk actually it is a brand there is a brand here nobody needs to know it’s not
a real commercial there we go try to maybe dim it a little it’s just it’s
just a little hot I always forget just how wide you can
really go in full frame we’re gonna recompose this for 16×9 ironically
enough you can treat this like super 35 which was famous for cropping in on
those 2.35 action films so we get kind of that same option here the shot is
an ECU he’s gonna walk up to here and basically just grab this and
then pull it out of frame camera should be right here I’m gonna just balance the
light a little bit cuz this is way too hot for that one more time do it and
then when you put it down walk to your left
yes walk off camera to your left alright ready and action perfect all right that’s good let’s do basically from the back to where the
ball would be what we’re gonna basically do is in post we’re going to zoom in on
this and track to the left as the shots made and we can do it with extreme
precision which is probably the best part here because at 6K I mean we have a
lot of resolution to work with so I don’t think it’s gonna lose any image
quality let me try to we’ll try to compromise it just move it as far back
as you can for now and then I’ll move myself as well and
action there we go that’s nice nice and smooth Matt oh you’re already he’s already rolling
look at this so unfortunately we didn’t account for the size of the lens
against the plate here so can’t really attach to follow focus but we do have a
working PL adapter here this is the Sigma 135 t2 so this again offers full
frame coverage which is obviously what we want here and it looks pretty nice
now to be honest I think we could get even tighter for this kind of shot but
we are working in 6K and so we can punch in a lot I’m watching this preview
and it’s you know what I am gonna roll in this because this is gorgeous
sometimes shots just present themselves you know I’ve got everything set here I
want to get a nice little collision you know it’s watching the balls break up
and I kind of want to try that in slow motion but we have a number of options
here so I’m gonna switch out of 6K go to 4K first and try it in 60
6K doesn’t go beyond 24 so we have to at least go down at 4K at 1080 you can go
up to 120 and that’s with sound with full recording at the native framerate
if you want to go into what Panasonic usually calls the VFR modes which are
the variable framerate modes that needs to be one 1080 it has no sound no
autofocus and the rate has slowed down for you so when you play it back it’s
already playing back at the playback rate not the capture rate 4K is 60p now
there is an 8-bit mode as well but we’re gonna do the 10 bit this is the highest
quality 60p mode you can do on the camera to my knowledge
we’re gonna hit OK on that this is still 10 bit it is 4:2:0 but you know we have
and this is a super 35 crop actually that’s that’s probably the biggest
change here this is actually nice because we get a bit of a tighter shot
I’m gonna pull back actually so again we are at t2 and we probably lost a little
bit of light let’s crank it up let’s see how high I can go I’m not gonna touch any of the
lights by the way so the lights are pretty much the same where they’ve been
let’s go take a look here I’m actually gonna roll in this Matt come over here
I’m gonna roll on this so that you can see the change in the light so what you
see now is 6400 right so let’s go up let’s go 8000 10,000
12,800 let’s try that so I give us about a stop and action we got one staying in the middle that’s
nice all right one more lens change for the
day this is the 50mm 1.4 this is the only native lens we’re using
today so this is relatively new for the system came out with the S1 and S1R
just a couple more shots left while we’re here we’re going to do one more chalking yea
shot just to have a second one alright do it again one more time action and
hand it off give him a little nod yep walk over all right we’re rolling we’re all
right so you’re talking you’re talking you’re talking they were talking a
little bit of this and that he grinds the chalk you hear it it’s got to be
sudden come back go back go back talking talking all right he’s grinding it
you’re hearing it all right guys that’s perfect one more this go back give me
something a little more a little more like sudden yeah exactly he’s exactly
that’s it all right drink you talking grinding it come on no I wanted to be
yeah I kind of like it harsh like that all right all right everybody the setup
for this technically is this is the cheering after he makes that last shot
we’re gonna do a couple of positive reactions so just keep going rolling rolling rolling all right
ready and action all right and that is a wrap thank you I deserve that
everybody does everybody does alright I will see you in post

Only registered users can comment.

  1. Do you know if Panasonic was able to fix the severe blue light clipping problem that the S1 has in VLog? This is only a VLog issue as HLG does not clip its blues. Im hoping to bring more attention to this issue as once the blue channel is crushed, its impossible to repair in post.

  2. and how is the deep of field? i have a GH5 and im tired of the cheap video tv look of the image. I really want something so much cinematic, like the feel you get with Sony cameras.

  3. I watched DPReviews review of the S1H and it is a shame that this camera cost $6000 aud and still has a poor AF. But, if you can live with that low performance AF this camera is a total beast because it packed so many features.

  4. Not sure if a dark room with neon lights really was the best way to sell this camera. Those colors were rough. I'm looking forward to seeing more natural scenes.

  5. First look for me, I'm impressed with this video teaser. Exciting times are about to get even better 🙂 Thx for putting this together gang 🙂

  6. This B&H video is how you introduce a new Cinema Camera. Without question, this is the best Panasonic S1H video I've seen so far.

  7. I almost like the way the 3:2 looks without zooming. Especially for the vibe of that location, the almost square ratio feels "vintage".

  8. Same ugly blue clipping as I see when shooting the Gh5s in saturated LED light conditions. Perhaps a problem with Panasonic color science.

  9. What an utterly meaningless pointless vid, no useful information at all. Who the F..k thinks watching a pool game in a near empty bar is of any interest !!!

  10. Great video… but the YouTube compression is so harsh it's tough to really tell the image quality of this camera

  11. In regards to this VLog smashed blue channel problem….if Panasonic cant fix it with a firmware update, then we need to at least warn S1/S1H users that blue light WILL destroy your shot. If you see blue light as in a stage show or wedding reception or anything like that, you must switch to HLG to protect that blue channel. VLog is awesome but it does have this one severe vulnerability that cant be fixed in post. Once the blue channel is smashed like that its gone forever. Let's save people's tail and get this info out there!

  12. These are the first critiques of the s1h I've read yet and it's in the comments, none of the other "reviewers" (read: shills) mention any of the problems. Not those DP guys, or those guys that review gear in a basement they seemingly never leave: DSLR, Gerry Underdone. None. Interesting. At least B&H lets a discussion facilitate. Which is respectable because they are in the camera selling biz. So props to you B&H.

  13. Camera sales seems to be about three items: The brand name, Megapixel count, newest model. I guess price is a distant fourth. That stated. Do ya really need all that MP, in the sensor? Unless you're a photographer that makes billboards and posters. 24MP, is plenty. Very satisfied with the Fuji X-T3 and my workhorse camera, the Nikon D5300. For some professionals, it's about affordability. You don't need a glutenous MP camera, to be considered a self-titled professional. Today, photography is stringently about software editing/altering of the original image. Nothing more.
    So buy a camera (even a bridge camera), and purchase & learn photo editing software(DxO). We promise. Your images will appear to outshine most of the professionals with their high-end MP mirrorless cameras.

  14. Quick question, is the noise I'm seeing in some of the blown out lighting present in the RAW footage. Whenever there's a that blue or purple light in the frame there's a substantial amount of noise in the color light 7:04 (you can really see it as he bumps up the ISO at 7:08). Is this a compression thing or is their just noise in the LUT, what's going on here?

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