PANASONIC
those who use them as a tool to make their living form a very strong attachment to them. So we made the decision that even though the features inside would be evolving we would aim to make both the new cameras traditional in appearance. We also weren’t looking to make them compact or lightweight, because they are models aimed at the professional market and those who operate in these areas will be expecting a certain level of build quality and a substantial piece of equipment.” Both of the new cameras are designed to be hybrids, with a host of features on board that photographers will love while also delivering a headline-grabbing ability to shoot 4K footage at 60/50fps – being the first full-frame mirrorless cameras to come with that facility. The S1 is the model that will be of most interest to filmmakers. The anticipation is that this model will go head-to-head with the likes of the Sony A7 III and Nikon Z 6, and its 24-megapixel output will be plenty high enough to satisfy both stills and motion operators. At the time of launch, both of the new Panasonic models were some distance from being ready for the market, so details were on the hazy side, and there was no indication of what price points the cameras will sit at. When pressed on this, however, Mr Yamane did give a few hints, which once again supported Panasonic’s thinking that the quality of the new products is high
All well and good, but Mr Yamane acknowledges that Panasonic is seen as having a relatively short history in the photographic and filmmaking worlds, so did he think this might count against them? The answer was that if the products were good enough, the belief was that the audience would come, while the company is investing heavily in a support system for professionals that will ensure those on the top tier will have access to repair, servicing and loan facilities wherever they are working in the world. A high-profile sponsorship of the Wildlife Photographer of the Year Awards is now in place, ensuring the company is associated in a positive way with some amazing imagery. Traditional design When I first saw the design for the S1R I was struck by how traditional it looked. Given that mirrorless is very different technology to a DSLR there was no obvious reason why it should, for example, have a pentaprism-shaped design in front of the eyepiece, since the photographer/ filmmaker is getting a direct view from a miniature TV screen. I thought I might get a non-committal answer fromMr Yamane and his team, but instead they were refreshingly honest; it’s all to do with the need for continuity. “The way a camera looks is very important,” Mr Yamane told me, “and
IMAGES The design of the S1R is quite traditional, with a pentaprism-shaped design in front of the eyepiece. .
enough that they won’t need to be sold on the back of being a budget alternative. “Pricing will be set at a point that is appropriate for products that are being designed to be used by the professional market,” I was told. So, no corners have been cut, the S1R and the S1 are premium products with a high build quality and a mouthwatering feature set, and they are being supported across the globe by a professional service arrangement. The stall has been set out and the hope from Panasonic is that the proposition will be strong enough to attract a new generation of users who now have more choice.
More information www.panasonic.com
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WINTER 2018 PRO MOVIEMAKER
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