Pro Moviemaker Winter 2019

GEAR PANASONIC LUMIX S1H

your footage in real time with audio then slow it down for dramatic effect, for example. One of the key features is that the camera offers a range of anamorphic modes in a variety of squeeze options for a true cinemascope look – something that it seems everyone is going crazy for at the moment. We got to try it with a variety of Atlas anamorphic primes and the results are staggering. Especially when shot in 6K mode, as the quality is there when the footage is desqueezed and stretched to fit a cinemascope format. It’s a far more affordable option than any other full-frame camera for shooting anamorphic, and its small size means it can be used in places larger cameras can’t. Of course, lenses like this are hugely expensive, but there are cheaper options coming onto the market all the time to cater for the boom in interest in anamorphic shooting. Even then, these budget lenses are still pricey, but certainly affordable as a rental option. For a filmmaker looking to add something new and different to their work, going anamorphic could give you a real edge over rivals who don’t offer it. The Panasonic has lots of video-friendly features, like tally lights front and back and waveform monitoring. You can change the size

resolving power and lack of noise. He is using footage from a prototype camera to grade a feature film and said the footage was easily good enough for a theatrical release. Although the camera can also output 4:2:2 10-bit 60p 4K/C4K over HDMI, we didn’t get to try that feature. Panasonic also announced the camera will soon be upgraded to enable Raw output for conversion to Apple ProRes Raw in Atomos monitor/recorders. Where the other S models use one SD card and one XQD, the S1H has dual recording to SD cards – both the same fast speed, which allows 4:2:2 10-bit internal recording. As well as 6K internal recording at 24p, it also records 10-bit 60p in 4K/ C4K and HD in up to 180fps in two distinct fast frame rate modes. The Variable Frame Rate records over- or under-cranked video in C4K/4K at 60fps and in FHD at 180fps, but the AF and audio input is disabled. Playback is in slowmotion, so you can see what it’s going to look like as soon as you review it. High Frame Rate mode allows you to set frames at up to 120fps, but the beauty of this is that autofocus still works and audio is recorded. And full manual control is available in fast frame rates, unlike the S1 and S1R models, which are auto only. The footage is then slowed as required in post. It means, for action sequences, you can start

“Well-knownHollywood film colourist Dado Valentic was blown away by the resolving power and lack of noise”

of detail in shadows and highlights. The footage is incredibly sharp, natural, full of colours and definitely lacking in nasty noise. The V-Log setting is the full V-Log, to match with cameras like the Varicams instead of the similar V-Log L from the GH5 and GH5S. There is View Assist to help you get the exposure right when shooting Log, too. The S1H shoots at 6K/24p and 5.4K/30p in a 3:2 aspect ratio or 5.9K/30p in widescreen 16:9, which is the most obvious choice. 6K is the figure that is getting all the attention, although very few filmmakers will deliver footage in this size. But it does mean you can downsize to 4K and get even better quality, or crop in to 6K to give another angle for your shots. If you are shooting interviews for HD use such as YouTube, you can record in 6K for a wider shot, crop into 4K for a tighter shot or go in even more for an HD crop. All with one camera and lens, without changing position. That’s a big bonus for one-man shooters. The S1H also records 10-bit 60p 4K/C4K HEVC video when using in Super 35 crop mode and 4:2:2 10-bit 4K/30p recording in H.264 captured from the full area of the sensor. There are settings to enable HDR (High Dynamic Range) and HLG (Hybrid Log Gamma), too. If you shoot in HLG, it’s easy to tweak the footage for a standard Rec. 709 monitor, but you’ll have the HLG footage for when HDR footage is called for in future. To help you get the look and exposure just right, there is a View Assist function for HLG footage. We tried the S1H in 6K, 5.9K, C4K, 4K and HD, both outdoors in bright sunshine and twilight, indoors in natural light and with artificial lighting. The results were incredibly clean and very impressive. The footage we looked at was all recorded internally to the camera’s twin SD card slots. Well-known Hollywood film colourist Dado Valentic took a critical look at the footage shot by the camera at ISO up to 1200 and was blown away by the

BELOW We used the new 24-70mm lens to capture action in all its 6K quality. The footage is excellent

66

PRO MOVIEMAKER WINTER 2019

Powered by