GEAR PANASONIC S1 TEST
headphone jack, while their DMW- XLR1 microphone adapter fits in the hotshoe and has XLR inputs. A firmware upgrade will increase audio quality soon (see separate panel). As has been the case with every Panasonic mirrorless camera in recent years, there is a sting in the tail, and that’s the autofocus system. Youmay argue real filmmakers use manual focus only, and if that’s the case then you have no worries. However, a useable AF system for video has been one of the battlegrounds as Canon’s Dual Pixel AF and Sony’s Hybrid AF system have led the charge with advanced systems, helped by a combination of old-school Contrast Detect AF and new-school Phase Detect AF. Panasonic is the last man standing to ignore the trend towards PDAF and still is pushing on with its Contrast Detect-based Depth from Defocus (DFD) technology. Actually, it is great at snapping into focus, not only on people but animals, with face, eye and pupil detection. Clever algorithms mean if someone turns their back briefly, the systemdoesn’t instantly hunt for something else to snap on to. All this makes an AF system that can be customised and isn’t too bad to use. That’s unless you are a sports or wildlife shooter where its failings in tracking are obvious compared to other systems on the market. In single-shot AF the Panasonic is fast and precise, and works in low light. For interviews and subjects that don’t move around toomuch, the AF is good and very useable for video. But if you’re a hybrid shooter who also wants tomake use of the camera’s stills potential, it’s a definite letdown in an otherwise superb camera.
“The S1 really comes into its own once the light drops and the ISO creeps up”
THE VERDICT
The battleground right now is definitely in 24-megapixel full- frame mirrorless cameras, costing around two grand, that have a spec to please both stills shooters and filmmakers. Clearly heading this category are the Sony A7III, Nikon Z 6 and now the Panasonic – the biggest and chunkiest of them all. It’s a beast of a camera that dwarves the diminutive Sony, for example. All three have their good points and quirks. Lens choice, for example, is a key differentiator. Nowadays there is plenty of Sony E-mount glass around and you can use lots of different DSLR glass via adapters. The Nikon only has a handful of native lenses, but an adapter lets you use Nikon F-mount DSLR lenses. The Panasonic also only has a handful of its own L-mount optics, but there are 11 coming soon from Sigma and you can use more than 20 Leica L-mount lenses if you can afford them. But it’s still victory for the Sony, which also wins hands down in AF performance and also as a stills camera, where its 10fps frame rate and impressive autofocus wins out. The Nikon is impressive for stills but at a more pedestrian rate, like the Panasonic. Both are great stills machines for sure, and the S1 has its 6K photomode where it shoots 30fps to record 18-megapixel files. High-res mode is also ideal for subjects that don’t move, and combines shots tomake a roughly 100-megapixel image. For video, the Nikon is unique in being able to offer 12-bit Raw video output that can be converted to Apple ProResRAW in Atomos recorders. No other manufacturer has mirrorless cams that do anything like that, unless you count the Raw-shooting Blackmagic Pocket Cinema Camera 4K – quite a different machine. Raw apart, the S1 is a stunner for shootingmovies. The smooth, rich and detailed 4K files are incredible, and the 10-bit 4:2:2
gives the files somuch colour information that grading is a delight. You can use Flat options for an easy-to-grade, cinematic look; HLG for maximumdynamic range; and soon there will be Log options – all recorded to cheap internal memory cards. The S1 really comes into its own once the light drops and the ISO creeps up – it really is an incredible performer, with a ridiculously low amount of noise. Then there’s the 180fps slowmotion, which is better than anything else on the market, despite it beingmanual focus only and recording no audio. If you would like the ultimate slow-motionmachine with amazing image quality, stunning low-light performance and can get by with limited choice of lenses, and its AF issues, the Panasonic S1 is a great-value camera you should seriously consider. Features: 9 The video spec is stunning, with 10-bit 4:2:2 internal recording and everything a filmmaker needs Performance: 9 Old-school autofocus lets it down but 180fps, high-ISO performance and 4K footage dazzle Handling: 9 Panasonic could give lessons on how to build amodernmirrorless camera to all its rivals Value formoney: 9 At two grand, it’s a fantastic performer with incredible spec that performs well and is built to last OVERALL RATING: 9/10 Once the newfirmware comes, the S1 will only get better. Shame about the AF performance, though Pros: High ISO performance, 180fps, value Cons: Lack of lens choice, and that AF! HOW IT RATES More information panasonic.co.uk
BELOW Add on a mic like a Rode VideoMic Pro and the S1 is ready to shoot professional-quality movies
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PRO MOVIEMAKER AUTUMN 2019
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