Pro Moviemaker Autumn 2019

GEAR PANASONIC S1 TEST

Right from launch, Panasonic said the S1 camera would soon benefit from a new firmware that would unlock features, such as a 4K 60p 4:2:2 10-bit via HDMI recording option. This upgrade, called the SFU2, will have launched by the time this magazine hits the shelves and is a free upgrade for anyone who bought an S1 before 30 September. After that, it’s £179/$199. The big changes are V-Log recording, promising more than 14 stops of dynamic range. V-Log and V-Gamut are compatible with Cinema VariCam, so the S1 can be used alongside Panasonic’s cinema cameras. There will also be 4:2:2 10- bit 4K MOV recording at up to 30fps, recorded internally, and in-camera LUT application, enabling playback of V-Log while or after recording. There will also be aWaveform Monitor to highlight brightness levels, removing one of the biggest gripes we have with the S1 at launch. For audio, high-res 48-kHz/24- bit or 96-kHz/24-bit sound can be recorded in MOV using the XLR Microphone Adaptor DMW-XLR1. FIRMWARE TO TRANSFORM THE SPEC OF THE S1

you haven’t changed the mode on the camera. It’s like not being able to change AF custom settings if you happen to have the lens set to manual focus. Of course, the camera lets you do this, so why no-go for fast frame-rate settings? Despite that small quirk, the menus are actually very easy to use and for selecting what you want. Certainly they are more user friendly than Sony menus and have more info for video shooters than cameras fromCanon or Nikon. Any minor gripes are forgiven when you check out the footage. The 4K is simply stunning thanks to the 10-bit 4:2:2 footage, but even 8-bit 4:2:0 retains lots of detail without being too ‘digital’ looking, and all the colours are very natural and bright. Certainly there seems to be no issues with recording some colours, as is the case on some rival manufacturers’ mirrorless offerings. The footage has a lot of dynamic range and despite the camera not offering flat V-Log at launch, the standard gamma settings provide plenty of detail that can be played around with in post to get the look you want. Flat picture mode is great for squeezing the last bit of dynamic range out of the sensor. Cinelike-D prioritises dynamic range, while Cinelike-V gives priority to contrast. These are designed to give a more filmic look when graded in post but, as with the S1R, we liked the Flat setting then tweaked that. The standard and Like709 settings are very good for natural looks without

“Certainly there seems to be no issues with recording some colours, as is the case with some rival manufacturers’ offerings”

IMAGES The menus display lots of useful info when selecting different formats. The S1 is rugged and one of the biggest mirorrless cameras on the market

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PRO MOVIEMAKER AUTUMN 2019

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