Cliff Totten

Have they fixed the severe blue light clipping problem that the S1 has in VLog? Once that blue channel is smashed, it's impossible to repair in post.

OUCH! Well?...Atomos DID say that "they" were ready but that the bottleneck was on Nikon's side. With Nikon not really being an experienced "video" company, I guess they bit off more than they could chew, I have to guess the raw data pipeline just wasn't designed into the motherboard and HDMI data bus. I was told that Atomos' raw over HDMI scheme uses the built-in and RARELY implemented Ethernet spec inside HDMI 1.4 and higher. If Nikon is going to do it the Atomos way, they need to uses an HDMI chipset that is capable of accessing that Ethernet data bus inside HDMI 1.4+. Is it possible that Nikon's HDMI controller doesn't employ that Ethernet data channel? Secondly, Nikon needs to dump the raw sensor readout data to the HDMI bus...pre-image processor. This motherboard needs to be wired to do that in advance. If the raw sensor data goes straight into the Z6 image processor, that's no good for raw over HDMI output. Is it possible that the Z6 HDMI is wired straight into the output of the image processor. I don't know,....but this makes BOTH Nikon and Atomos look really bad. More so on Nikon because they seemingly told Atomos their Z6 motherboard could do it. What a newbie mistake on Nikon's part! CT

I was being sarcastic and irreverent! I DO believe Cannon has executives that are completely BLIND to what is happening in the industry today. They are leaning heavily on their logo's historic reputation right now. I dont think they truly know that their logo's gas is running out! Cannon is turning into a dinosaur right under their own noses! I think that Cannon is doing exactly what BlackBerry did that caused their great fall. Arrogant....absolutely arrogant in every way. They will look back at themselves 5 years from now and clearly see how their own attitude ruined them.

Guys,...stop making fun of Canon. They may not be on Sony, Panasonic, Olympus, Yoshica, Pentax, Polaroid or Kodak's level.....but they are doing they best they can. The problem is not Canon, its YOU people that have ridiculously high expectations. Canon ahouldnt bend over backwards to try and meet your unrealistic ideas Just buy the damn thing and be happy with the 30p you get!

Its not funny. A Canon rep told there is a legitimate reason for no 24p. He said something about the way the sensor is read out. He said that Canon wants it to operate at a perfect temperature. It runs too cold at 24p, but is at an optimum temp at 30p. It was done for the benefit of the camera.

Atomos becomes happy friends with Apple. Apple gets ProResRAW to promote Final Cut. Atomos provides the recorder that gets arround the "internal" raw recording pattent. Everybody is happy. Camera's just need to give non-compressed raw output. No legal worries for any camera company as Atomos handles the rest. Everybody is still happy. Apple suddenly turns arround and attacks RED's "internal" pattent to potentially kill Atomos' only reason for raw over HDMI's existence. If Apple wins, ProResRAW or equivalent can be recorded INTERNALLY by any camera....effectively leaving poor Atomos' raw over HDMI dreams out in the cold. It literly wont be needed anymore if Apple wins. Atomos to Apple - "Thanks for nothing good buddy" Wow!

If there is ANYBODY on Earth that wants the RED pattent to hold up in court.....its Atomos. If that pattent dies, everybody will do ProResRAW without Atomos.in camera. Atomos wants to be the sole ProResRAW ecternal recording vendor....and they NEED this for their future.

Hmmm....my QXD card is blazing fast. I have written to XQD alone and with SD card at the same time too. What XQD do you have? Could it have defective cells in it?

This same thing happened to me one time with the original firmware. The camera was writing to XQD and SD (Sandisk 256 SD and Sony 128 XQD) card at the same time and basically froze. I had pull the battery and restart the camera. Never happened again and the camera has been great on 1.2 with VLog now.

In looking at the scopes, it seems that its not really so much a "blue" problem. Its more acurate to say that it's the absence of red and green! The red and green channels somehow get "notched out"...leaving blue to linger all by itself. This is a real problem on Sony sensors and has been arround for years. Is this more evidence that Panasonic is buying a Sony sensor on the S1? Anyway....somehow, blue light in shadows triggers red and green channels to "die" in those blue light areas, leaving a solid blue cast to fill in the red and green "gaps". Absolutely bizarre!

No LUT. This is a direct upload straight from the file from the camera! The flicker comes from the LED frequency mismatch and the sensor scan. Remember, in real life, the blue light looks perfectly normal to the human eye. It looks normal in rec709 and HLG camera profiles too. It's only whacked out in VLog! Here is the direct file off the card. All I did was rename it and upload to YouTube. https://www.dropbox.com/s/juxrx1wahh3ny7f/Lumix S1 VLog 640 ISO Blue Hell.MOV?dl=0

Alright guys....[sigh]....it's possible that I have found a chink in the S1's VLog armor: (a gaping hole maybe) I noticed some extremely severe blue light clipping that goes on in VLog at any white balance and at any ISO. Something extremely nasty is going on with LED light tests. I have seen this in Sony SLog as well, but this is incredibly bad. I'm calling it "Blue Hole Sun"! Can anybody identify what in the Hell is going here?...Andrew?...Anybody?

INTERESTING! Did you try in APS-C using 30p? Could there be some pixel binning on the readout in 60p that does not exist in 30p? Binning might be what his "helping" it's ability to do 60 frames in 4k.

Strange, I have not noticed any moire in mine at all. Do you have your sharpness turned all the way up? This a a highly detailed 4k image. If you are watching that on a 4k monitor, you should be fine. If you are watching it downscaled on a non-4k monitor, you could see aliasing....but that problem exists with ANY 4k camera not being watched in 4k. You can always soften your image if you want.

I dont want to tease you,...BUT! When your VLog comes in, forget everything you have seen in your S1 thus far. Just forget that stuff. VLog makes it a completely brand new camera! You will understand what I mean when you get yours!

I ordered mine from B&H not long after Panasonic announced this. I got into a strong but polite debate with a B&H representative. I told him about the Panasonic deal, he disagreed with me and said I was wrong. after 20min it was politely escalated with a B&H manager. They literally were NOT aware that Panny was doing this for free. B&H was adamant that I MUST pay the full price. I was adamant that it was FREE. I linked them to several articles including their own B&H Q&A section of their web site. They told me they must call me back. The next day, they did! The apologized for giving me a hard time. Due to my insistence and escalation, B&H contacted Panasonic and verified that I was telling the truth. They put me on the waiting list and then got my code last week. It seems that I was the customer that informed B&H that they needed to do this. Panasonic had not even informed them yet about the free deal. I have to say that this was NOT B&H's fault, I dont think. They were caught completely off guard by my text chat and phone call to them. It was Panasonic that should have communicated this free deal to their largest dealer in the US in a better way. CT

I was only told specifically about the S1 getting 4k raw over HDMI. I was not told anything about that S1H. You can be certain that it will have everything the S1 has plus even more. I can only assume it will go beyond 4k and do the full sensor width at about 6k. (it will at least do 4k raw in super35) I think we will find out both at IBC next month.

I'll shoot 30 seconds of FF VLog and Super35 VLog and upload the files straight from the card to my Google Drive this weekend. There is, of course "some" difference is noise shape and pattern between FF and Super35. I did some lens cap noise tests between the two modes. The full frame mode has the advantage of 6k oversampling and the Super35 does not, it's of course a 1:1 4k readout. So, the ff scaled down noise is a finer grit. It's texture is very small. Whereas the Super35 is a larger, more common looking pattern but still truly excellent for a super35 camera. Panasonic amazingly gives us some noise reduction control! As you know, noise reduction is a DESTRUCTIVE process. Once it's applied to an image, it can never be removed in post. It's artifacts are burned in. I record entirely with noise reduction pulled back to "0". I would MUCH rather surgically and more carefully remove noise in post than have any camera do it in real time for me. (for serious projects that I care about, not simple dumb stuff) Again,...this S1 sensor is clean, clean clean. Even the tiny noise that it does produce is "pretty" looking. I can't stress enough just how much it's dynamic range is in VLog.....wow! CT

VLog is tops our at 95...similar to Slog-3

I saw demo footage shot with the Z6 raw out to the Atomos V in ProResRAW. That was on display at NAB. I also know that the S1 will also have raw over HDMI this year too. This was a high up Panny decision that went against some lower managers in Varicam and EVA1 that did not agree with the idea. Unfortunately, Nikon dragged their feet too long. They had a chance to beat everybody by 6 + months on raw over HDMI. They had a window to be the first any only camera doing it. Its looking like Panasonic will have theirs ready right when Nikon is ready. Sorry Nikon...missed opportunity. The big question is Sony. What will they do to answer Nikon, Panny and Sigma in the raw world? Jeremy Young jokingly said at CES; "If you want Canon to do something, get Nikon to do it first. If you want Sony to do something, get Panasonic to do it first"

U Yes, this is how it works. Atomos goes through the pain of getting pattent liscensing with RED so that "they" become the sole ProRes recorder with with compressed raw. Any camera company only needs to create a standed raw (not compressed) output using Atomos HDMI bus spec. (I was told that Atomos also utilizes the Gigabit Ethernet channel specification built into HDMI pinouts to use as a data buss for raw) Anyway...Atomos did the patent work so I dont see Panny or Sigma or Nikon wanting to ever get involved in their own internal compressed raw...because Atomos took on that task for everybody. BTW....Atomos told me that ProResRAW is NOT 100% owned by Apple. It is joint-owned by Apple and Atomos! That supprised me! So,...Atomos ALSO has a say on how ProResRAW is liscensed in future hardware and software! If Nikon, Sigma and Panny wants INTERNAL ProResRAW, they will need to go to Apple and Atomos together to get approved. (DJI did it)

HA!,...its funny that you say that as I'm holding my S1 with the MC21 adapter and the Sigma 18-35 f1.8 right now as I type this. It REALLY looks great. I can tell you also that ramping iris open and close is pretty smooth too. AF in video is very accurate with "AF-ON" one push AF. Don't worry about Super35 mode. It looks just as beautiful as FF in terms of VLog, dynamic range and signal to noise ratio. This image sensor in VLog is blowing my mind. CT

It is also my understanding that RED and Atomos DID have a patent agreement with ProResRAW. Apparently, this compressed raw is NOT an infringement because it was negotiated through RED. The STICKY one is BlackMagic raw. I have been told that BlackMagic did NOT work with RED on this. However!....it seems that BlackMagic got around RED's compressed patent by DEBAYERING their "raw" in camera before it's saved. This would mean that,..yes,..it is "compressed"...but, no...it's not true "raw" sensor data. I was told at the Atomos booth that BlackMagic is in a dangerous grey area here but they might have altered their compressed "raw" enough so that it's not really a perfect violation. Remember,...as I understand it, the raw from any camera is not compressed until it hits the external Atomos ProResRAW encoder. So,...Nikon and Panasonic don't have to worry about any patent infringement. Atomos has done all the legal work with RED to keep them safe and Panny, Sigma and Nikon are off the hook.

S1 super35 looks gorgeous in VLog. It's a 1:1 4k readout and deBayer so you don't get the 6k oversample but the dynamic range is off the charts and the low light noise is still superb. I feel the S1 Super35 mode STILL matches or beats other Super35 cameras. (EVA-1 and FS7, Canon C series and Ursa) The S1 sensor is a really.....really,...I mean, REALLY damn good sensor. (This wasn't fully known until they gave us VLog last week....now it's true DR is unlocked and on display for all to see)

Wait...I'm jumping into this late and maybe my memory is off here,...but didn't RED "try" to sue Sony over "compressed raw" patents that RED owns? Didn't RED "try" to have the F5 and F55 taken off the market because of Sony's compressed raw CODEC? (Any company can do raw video, it's when you "compress" that raw, that is where you violate RED's patent) I seem to remember that Sony fired back at RED with like 8 Sony patent violations that RED infringed on (I seem to remember that V-Lock battery's were one of them) RED dropped their case against Sony in fear that Sony was going to punch RED back WAY harder than RED could ever punch Sony. No?