PANASONIC LUMIX S1H INTERVIEW
full-time filmmakers and the hybrid stills and video pro.“The S1H is the only camera that has everything a filmmaker needs, as well as a hybrid shooter who wants to improve their skills in cinematography,” he says. “This is what the S1H can offer to professional stills or growing filmmakers. If they get the S1H, they can do everything - photos and filmmaking. For the top-end cinema industry used to huge cameras, they can use new, smaller form factor cameras and get the same results.”
The response came back from professionals that the camera needed to have very high resolution, fit within existing professional workflows and not have any time limit on recording like many rival cameras. “6K was important for resolution, and unlimited recording was absolutely necessary so the camera can be used in many ways. The big problem there is overheating,” says Koyama. “The decision to use a built-in cooling fan was one of the biggest challenges as it’s the only one in the industry. We wanted to step up higher in terms of image quality so we can meet the need of the highest professionals to match to Varicam. We are very proud to have achieved this.” Koyama also reveals that ultimate image quality is why phase-detect autofocus was not implemented in the camera, which retains Panasonic’s contrast detection and Depth fromDefocus Technology.“We may lose some imaging information due to phase detection algorithm. If we use some pixels on the sensor for phase detection, the resolution might be reduced or some information lost. If we compare the reduction in image quality with phase detection, we think it’s not satisfactory for cinema professionals.” Yet Koyama is adamant the camera is not only aimed at high- end cinematographers, but also
He says: “We got feedback from GH users that was positive, but we realised the potential was for the production of films and more creative professionals, not only social users. For the cinema industry, Micro Four Thirds cameras like the GH5 have certain limitations. The next step for Lumix is full-frame cameras for the cinema industry.” But with Panasonic already offering cinema cameras like the Varicam line and EVA1, the discussions of whether to build a full-frame mirrorless line were heated, says Koyama. “But if you look from top to bottom of the range, we had a space in the whole line-up. We wanted one very strong product between cinema cameras and the GH5.” The Lumix team cooperated with the cinema camera engineering team in terms of hardware, software and image quality. “We all worked together. The communication between the two groups was not difficult as what we really needed was the know-how for professional filmmaking production,” he says. “The most important, but most difficult thing is to know what professionals are going to use the camera for. We can develop many features, but knowing what the industry is actually going to do and understanding their needs is the most difficult and important thing.”
BELOW The Panasonic S1H is aimed at high- end cinematographers as well as the hybrid stills and video pro
“Themost important, but most difficult thing is to know what professionals are going to use the camera for”
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WINTER 2019 PRO MOVIEMAKER
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