USER REVI EW | PANASON I C LUMI X S1H
IMAGES The S1H uses a Dual Native ISO analogue circuit on the sensor
“THE FIVE-AXIS IN-BODY STABILISATION WORKS WITH PANASONIC OIS LENSES”
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 de-squeezed 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. STABILISED LENSES The camera has tally lights front and back and waveform monitoring. You can change the size and position of the waveform on the rear screen by just dragging and dropping. There is five-axis in-body image stabilisation and if used with Panasonic’s own S series lenses, which have a two-axis optical image stabiliser, there is a claimed 6.5-stop improvement. This worked very well, certainly a real bonus to allow handheld shooting without too much shaking. With a range of adapters, the camera can take PL mount, Canon EF mount and pretty much anything else. Aftermarket manufacturers are already busy
making the adapters to fit, and rigs are currently in production, too. Like the S1 and S1R, the camera uses the Leica L-Mount system and Pansonic also revealed a new standard zoom lens, the S Pro 24- 70mm f/2.8, which costs £2249 and is on sale from 26 September. We tried this and it’s sharp and contrasty. It’s a heavy and complex lens, with 18 elements in 16 groups, and has a mechanism to suppress focus breathing. It will be very popular with hybrid stills and video shooters. An improvement over the S1 is the 3.2-inch, 2,330k dot, 3:2 aspect rear touchscreen monitor. It has 150% higher luminance compared to the S1R/S1, GH5 and GH5S and both tilts and rotates. For focusing, the camera sticks to contrast detect AF, with face/eye detection technology. It’s very precise when there’s enough contrast. But compared to rivals who use contrast and on-sensor phase detect, it’s not as fast or reliable. That won’t be an issue for most cinematographers, who will love the camera’s performance as a real filmmaking tool.
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 slow-motion so you can see what it’s going to look like. High Frame Rate mode allows you to set frames at up to 120fps and AF as well as audio is recorded. 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. 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. We got to try it
IMAGES An improvement over the S1 is the 3.2-inch rear touchscreen monitor
60 DEF I N I T ION | OCTOBER 20 1 9
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