Lux Shots

S1H IBIS Performance. Shot in very windy conditions, all hand-held.

It was the Panasonic S1, S1R and S1H for video users.

I just experienced this myself. On a static face at 105mm f/4, face detection will rack all the way from infinity to macro. Damn lucky I was able to cut to the GH5S shot in the edit while I switched over to manual! I tried this once on a pro job, and it damn sure was my last! I need to do some more testing, like changing f/4 to f/8 (to mimic the DOF of my GH5S at f/4) and see how it fares. But really, it just is quite unusable! I bitched on the Facebook forums, and Nick Driftwood said I needed to use +2 Speed and +2 Sensitivity. Well guess what, that was what I was using! ?

I just don't see the issues you are complaining about with my S1H. Maybe I don't have such a sensitivity to these things, or haven't shot anything that such issues would reveal themselves. Mind you, I've shot three weddings and a memorial for a famous artist, and I haven't noticed a thing! I was over ISO-6400 for 3 of the 4 shoots. I think you just have to move up to the menu on page two for the C4K, 60p, 10-bit option.

You don't need the Ninja V to get 4K 60p 10-bit with the S1H. I record internal with that all the time.

Yeah, but some of them have some stupid errors. For instance, one of them states you have to record to an external recorder for 4K 60p recording, but that is not the case for the S1H, as it records 10-bit internal.

Don't put Nikon's shortcomings on Panasonic. Remember, Panasonic does have ProRes RAW support on the EVA-1, so they aren't new to the game. Nikon got over their skis and realized they didn't have enough processing power (or FPGA LUTs) to pull it off and had to save face because they said they would do it by swapping out the processing board. Remember, Atomos was the one that launched ProRes RAW with Apple, so the only suspect on over promising is Nikon.

Also something else unexpected. The buttons on this camera feel like shit! They are mushy as hell, especially the big red record buttons. I expected nice tactile clicks, instead I got buttons that seems to have no bottom. They just mush along until the feel like being registered.

I hate to say it, but my GH5S LCD screen feels more sturdy than my S1H. Maybe it's the plastic it's made of, as it doesn't feel as dense.

I think I'm going to try and boost up the camera noise reduction and see how badly that affects the image. You start to see a little grain in the shadows at ISO-8000, and if you want that clinical noise free image, you'll need to do something with it.

If you use Neat Video to clean up your footage, just forget it! My beastly system that was processing 4K 10-bit at 10 fps through Neat Video, got reduced to a measly 2.9 fps when trying to noise reduce the S1H's 5.9K! ?

Well, I'm using an AMD Vega Frontier Edition graphics card and Ryzen processor, so they must have beefed up their OpenCL implementation!

I guess I have to wait for the ProRes RAW update before I can monitor my 6K recording on an external monitor. ☹️

Kinda unrelated, but related. The latest update to Premiere Pro CC plays 5.9K HEVC/H265 footage at 100% quality like butter! I tested this with V-Log footage graded with a Varicam LUT with minor tweaks to taste. Pleasantly surprised ?!

Damn is this thing big! i wasn't quite prepared just how much larger the S1H is with the 24-105 compared to my GH5S with 12-60 f/2.8-4!

I've been using the Saramonic system reviewed above (UwMic9) for some time and it works great! Has excellent range and pretty good battery life! I mostly use it for weddings and interviews.

I'll take it off your hands. $1500 seems fair. ?

You can't make up your own mind, unless you own your own a billion dollar streaming service. Besides, if I quote a job to an agency, and they ask what camera I'm using, I'll lead with "...it's a 6K camera that's been approved for Netflix original content, but I can run it 4K if you guys can't handle that.", and I don't have to say another word. Netflix is a proxy to the uninformed for quality. The name carries a lot of influence, and everyone knows who they are. If you go and say my camera is approved for original content from Pluto TV, people are going to say "WHO THE FUCK IS THAT?" Oh, yeah, they are a free streaming service, and they're great! You would be bodily thrown out the creative director's office and banned for all future jobs! We don't make the rules, but we have to play by them.

The URSA didn't get on the list with BRAW, they did it with ProRes. I was going to sell all of my m43 kit and get two Panasonic S1 cams. Upon further research, the S1 didn't cut it for me even when the V-Log upgrade. Just too many video modes missing that I've grown to love from the GH series. So I've decided to keep my GH5S with the PanaLeica 12-60 f/2.8-4 and add in the S1H. I just bought the Panasonic 24-105 f/4 and I'll be picking up the S1H next week. The nice thing is, I already have a Ninja V external recorder, so I should be ProRes RAW ready in the near future. I hate shooting from a mixed system, (different batteries, different lens, different colors to match and whatnot) but I'm also not dropping cash for two S1H cams either! ? I also have 2 or 3 pieces of FD glass that I just bought L-mount adapters for, so that should scratch my bokeh itch for the near future. Now I just gotta get some more gigs to pay for all of this shit!

That limitation will probably be lifted once the ProRes Raw update is released.

Take a look at this video I posted about the Ronin-S, and you'll see the mount I'm using to hold my Ninja V. Here is a link to it on Amazon: https://www.amazon.com/dp/B07N7R9NXB/ref=cm_sw_r_taa_Z-vRDbGVEAS8F

I think it is. I'm seriously thinking of adding a Shinobi, when I don't need the ProRes recording of my Ninja V and I want to get rid of the Ninja's horrendous fan noise.

That's an Executive Producer.

If you have the V-Log upgrade, it may be a good idea to skip it. Shoot in Cine-D and it will be less noisy. Use an f/1.7 or faster lens if you have it. There are really cheap Canon FD-Mount 50mm f/1.4 lenses ($50 USD on eBay). Also, I second using the Aputure AL-F7 ($100 USD) as it's bi-color and gives off a ton of light. I also recommend the Aputure Space Light modifier. Although it is a bowens mount modifier, you can just drop the AL-F7 in the opening an secure it with some tape for an amazing lightweight, portable and cheap soft light.

Just like several users on this site posting at the same time get the correct response, you can encode the TOF transmission to the unique serial number of the camera.