0:00:00.000,0:00:02.540
[Music]
0:00:14.510,0:00:19.500
the Lumix s1h launch event in Hollywood
0:00:17.310,0:00:21.119
was the first opportunity to get my
0:00:19.500,0:00:23.100
hands on the new camera along with a
0:00:21.119,0:00:24.630
bunch of other media be sure to play
0:00:23.100,0:00:27.360
spot the youtuber throughout this video
0:00:24.630,0:00:29.040
we started in the Dolby screening room
0:00:27.360,0:00:31.020
at the Hollywood vine theater housing
0:00:29.040,0:00:33.180
the single best theatre projection in
0:00:31.020,0:00:34.710
Hollywood which as one guest pointed out
0:00:33.180,0:00:36.900
really tells you just how much
0:00:34.710,0:00:39.170
confidence Panasonic has on the s18
0:00:36.900,0:00:39.170
splitter
0:00:39.949,0:00:44.550
we watched the launch and a technical
0:00:42.360,0:00:46.920
presentation on the s1h which was live
0:00:44.550,0:00:48.989
streamed by the way link below then went
0:00:46.920,0:00:50.690
to the Goya Studios soundstage to get
0:00:48.989,0:00:53.280
hands-on time with the cameras
0:00:50.690,0:00:55.710
Panasonic had built a series of sets to
0:00:53.280,0:00:57.720
shoot with fully kitted out s1h cameras
0:00:55.710,0:00:59.820
with atlas orion anamorphic lenses and
0:00:57.720,0:01:02.820
adam most reporters which by the way
0:00:59.820,0:01:04.309
will record raw video from the s1h in
0:01:02.820,0:01:06.420
the near future
0:01:04.309,0:01:08.159
the rigs were pretty impressive and
0:01:06.420,0:01:09.960
since I know a lot of us are interested
0:01:08.159,0:01:11.430
in the new tilting free angle monitor
0:01:09.960,0:01:21.029
here's how that works
0:01:11.430,0:01:21.029
[Music]
0:01:22.750,0:01:27.280
we watched a series of short films shot
0:01:25.180,0:01:29.140
on the s1h and had a Q&A session with
0:01:27.280,0:01:30.670
each of the filmmakers these shorts are
0:01:29.140,0:01:32.620
all available on YouTube now you're
0:01:30.670,0:01:34.390
watching a piece of the sizzle reel here
0:01:32.620,0:01:35.890
but in the description below i've linked
0:01:34.390,0:01:37.520
to a playlist of all these shorts
0:01:35.890,0:01:44.480
they're all worth watching
0:01:37.520,0:01:44.480
[Music]
0:01:45.710,0:01:50.510
as you can see we have some sets here
0:01:48.170,0:01:51.830
and we're ready to hand out cameras the
0:01:50.510,0:01:53.870
first thing I did with the camera was go
0:01:51.830,0:01:56.180
through the menus some highlights audio
0:01:53.870,0:01:58.520
gain has a new low setting and levels
0:01:56.180,0:02:00.770
now go down to minus 18 and quite
0:01:58.520,0:02:03.380
possibly my favorite new feature there's
0:02:00.770,0:02:05.869
finally a red frame one recording option
0:02:03.380,0:02:07.369
so you know when you've hit record
0:02:05.869,0:02:10.130
there's also tell you lights on the back
0:02:07.369,0:02:11.390
in front of the camera pretty cool I ran
0:02:10.130,0:02:13.430
through the recording options and
0:02:11.390,0:02:14.690
captured all seven pages of settings
0:02:13.430,0:02:16.730
because I know some of you will be
0:02:14.690,0:02:18.350
really interested in this just pause on
0:02:16.730,0:02:20.480
any screen you want to get a closer look
0:02:18.350,0:02:23.680
at or scrub forward about 30 more
0:02:20.480,0:02:23.680
seconds to skip all of these
0:02:35.030,0:02:38.120
[Music]
0:02:40.130,0:02:46.779
[Music]
0:02:50.740,0:03:00.210
[Music]
0:02:57.860,0:03:01.800
the first shots are recorded we're using
0:03:00.210,0:03:03.990
the cameras that Panasonic had set up
0:03:01.800,0:03:06.600
with 2x anamorphic lenses shooting in
0:03:03.990,0:03:08.040
v-log these were shot 48 P so I've
0:03:06.600,0:03:14.220
slowed them down to play frame for frame
0:03:08.040,0:03:16.320
on this 30 P timeline in addition to be
0:03:14.220,0:03:19.830
afar the cameras can now record natively
0:03:16.320,0:03:21.720
in 1080p at 120 frames per second in 10
0:03:19.830,0:03:25.920
bit which means you get audio and
0:03:21.720,0:03:27.690
autofocus for slow-motion now watch this
0:03:25.920,0:03:30.690
notice how I blew the highlights in this
0:03:27.690,0:03:33.140
shot but since it's 10 bit that can be
0:03:30.690,0:03:33.140
recovered
0:03:37.540,0:03:43.870
this is shot in six K first plane back
0:03:40.790,0:03:47.120
scaled down to 65% to fill the 4 K frame
0:03:43.870,0:03:49.210
then again at 100% punching into the
0:03:47.120,0:03:52.040
shot but still viewing one-to-one pixels
0:03:49.210,0:03:54.380
this is what I'm most excited about the
0:03:52.040,0:03:56.720
ability to reframe and still deliver 4k
0:03:54.380,0:03:58.430
without scaling up that covers
0:03:56.720,0:03:59.810
everything that I had video for but of
0:03:58.430,0:04:01.370
course there's a lot more bullet points
0:03:59.810,0:04:02.900
that I want to go through so let's just
0:04:01.370,0:04:04.280
start with some of the specs as you
0:04:02.900,0:04:06.830
probably know it is a twenty four point
0:04:04.280,0:04:08.660
two megapixel full-frame sensor but what
0:04:06.830,0:04:10.790
you may not have realized is that this
0:04:08.660,0:04:12.680
sensor actually has a low-pass filter on
0:04:10.790,0:04:15.530
it now why is the low-pass filter back
0:04:12.680,0:04:17.930
the gx8 was the first lumix camera to
0:04:15.530,0:04:21.320
remove the low-pass filter and the gh 5
0:04:17.930,0:04:23.090
g h5 s g9 s 1 and s 1r are all lacking
0:04:21.320,0:04:24.950
the low-pass filter as well by taking
0:04:23.090,0:04:27.020
that off you increase sharpness the
0:04:24.950,0:04:29.120
image becomes a little bit sharper by
0:04:27.020,0:04:31.220
putting it back on the image does get a
0:04:29.120,0:04:33.440
little bit softer but what you gain is
0:04:31.220,0:04:35.570
the elimination of Moray which can
0:04:33.440,0:04:37.400
obviously be a problem in video it also
0:04:35.570,0:04:39.530
has the side benefit of actually making
0:04:37.400,0:04:41.540
the image look a little bit more filmic
0:04:39.530,0:04:43.340
as you can imagine film is not perfectly
0:04:41.540,0:04:45.590
perfectly sharp so having the low-pass
0:04:43.340,0:04:49.550
filter back on there just adds to the s1
0:04:45.590,0:04:51.260
h's film look the full sensor full area
0:04:49.550,0:04:53.900
of the sensor of course requires a 6k
0:04:51.260,0:04:56.120
and 24 P and the great benefit of that
0:04:53.900,0:04:58.340
is something called open gate back in
0:04:56.120,0:05:00.020
the days of film you shot full-frame 35
0:04:58.340,0:05:02.750
millimeter film and then had a lot of
0:05:00.020,0:05:03.800
room to reframe or crop in post and you
0:05:02.750,0:05:06.740
have that again when you're shooting
0:05:03.800,0:05:09.650
open gate and full 3:2 aspect ratio if
0:05:06.740,0:05:12.140
you don't need full 3:2 if you want to
0:05:09.650,0:05:14.240
go to 16 by 9 you get to shoot at 5.9 K
0:05:12.140,0:05:16.550
so just barely a little bit less and you
0:05:14.240,0:05:18.680
can do that all the way up to 30 P if
0:05:16.550,0:05:21.770
you want to shoot in cinema 4k you can
0:05:18.680,0:05:24.770
go up to 60 P in 10 bit the camera also
0:05:21.770,0:05:26.120
features dual native ISO and that's 100
0:05:24.770,0:05:27.950
and 640
0:05:26.120,0:05:32.690
when you're shooting in a non log mode
0:05:27.950,0:05:35.000
and it's 640 and 4,000 native in log the
0:05:32.690,0:05:36.860
camera also features dual SD card slots
0:05:35.000,0:05:41.060
so we're back to what we had on the GH 5
0:05:36.860,0:05:44.300
and the g9 not the SD and the q XD slot
0:05:41.060,0:05:46.250
2x execute x QD it doesn't have x QD
0:05:44.300,0:05:47.810
like the s 1 and s 1 are due it just
0:05:46.250,0:05:49.370
doesn't need that much bandwidth to
0:05:47.810,0:05:51.860
deliver the video that the s1
0:05:49.370,0:05:54.080
does the camera has 14 plus stops of a
0:05:51.860,0:05:56.780
dynamic range including V log and V
0:05:54.080,0:05:59.180
gamut and the V gamma gives you access
0:05:56.780,0:06:01.370
to the Vera Camelot library of 35
0:05:59.180,0:06:04.280
different looks that are very popular
0:06:01.370,0:06:05.750
among the Vera Cam world the camera also
0:06:04.280,0:06:07.850
supports and I'm probably going to
0:06:05.750,0:06:10.160
explain this somewhat incorrectly but it
0:06:07.850,0:06:12.110
supports IDT or input device transform
0:06:10.160,0:06:14.060
which as I understand it allows you to
0:06:12.110,0:06:16.490
make the look of the camera conform to
0:06:14.060,0:06:18.500
the aces as the academy color system
0:06:16.490,0:06:20.930
which means that it can perfectly match
0:06:18.500,0:06:23.000
cameras from any other manufacturer
0:06:20.930,0:06:26.060
basically any cinema camera can be made
0:06:23.000,0:06:28.100
to match using this format or this
0:06:26.060,0:06:30.050
system again I'm explaining it
0:06:28.100,0:06:31.520
incorrectly I'm sure but but the point
0:06:30.050,0:06:34.400
is you can make this color match any
0:06:31.520,0:06:35.900
other cinema camera the camera offers
0:06:34.400,0:06:38.330
support for a variety of anamorphic Dee
0:06:35.900,0:06:40.490
squeezes and matches the four perf size
0:06:38.330,0:06:43.039
to make the most of classic anamorphic
0:06:40.490,0:06:44.600
lenses it of course has five axis and
0:06:43.039,0:06:46.370
body stabilization which I think came as
0:06:44.600,0:06:49.070
a surprise to a lot of people we
0:06:46.370,0:06:51.680
expected to see possibly the removal of
0:06:49.070,0:06:53.660
embody stabilization like we lost in the
0:06:51.680,0:06:56.510
gh 5s when going with the dual native
0:06:53.660,0:06:58.250
ISO but here in the s1h we have the best
0:06:56.510,0:07:00.260
of both and that is giving us
0:06:58.250,0:07:02.330
six-and-a-half stops of image
0:07:00.260,0:07:04.280
stabilization now Panasonic said that is
0:07:02.330,0:07:06.169
near gimbal like stability for handheld
0:07:04.280,0:07:07.310
work I don't know if I'd go that far
0:07:06.169,0:07:09.080
you're not gonna walk down the street
0:07:07.310,0:07:10.700
and expect to get gimbal smoothness but
0:07:09.080,0:07:12.280
if you're standing and holding it you're
0:07:10.700,0:07:14.780
gonna get some pretty solid shots
0:07:12.280,0:07:16.700
you also get unlimited recording time
0:07:14.780,0:07:19.699
like you get with the gh 5 in gh 5s
0:07:16.700,0:07:21.470
there are hospital SD card slots so as
0:07:19.699,0:07:23.510
one fills up and it switches over to the
0:07:21.470,0:07:25.550
other you can simply swap out the full
0:07:23.510,0:07:27.620
card but you also get simultaneous
0:07:25.550,0:07:29.750
recording an internal and out over the
0:07:27.620,0:07:31.400
HDMI which offers some interesting
0:07:29.750,0:07:33.740
workflow possibilities where you could
0:07:31.400,0:07:35.810
record one format internally and another
0:07:33.740,0:07:38.150
externally for a proxy workflow for
0:07:35.810,0:07:40.610
example now because of that HDMI out and
0:07:38.150,0:07:42.260
cooperation with atomos we do know that
0:07:40.610,0:07:45.080
we are going to be getting raw recording
0:07:42.260,0:07:46.760
over HDMI out in the near future the
0:07:45.080,0:07:48.650
cameras freeze resistant down to minus
0:07:46.760,0:07:50.539
10 degrees Celsius and dust and splash
0:07:48.650,0:07:52.160
proof even with the vent and I think
0:07:50.539,0:07:54.410
this is an interesting thing to think
0:07:52.160,0:07:56.660
about there is an air vent on this
0:07:54.410,0:07:58.610
camera it is actually air cooled and you
0:07:56.660,0:08:00.320
might think we'll hold on how can air go
0:07:58.610,0:08:02.270
through the camera but not water and
0:08:00.320,0:08:02.810
dust well you have to remember and this
0:08:02.270,0:08:04.820
is a
0:08:02.810,0:08:07.040
that Matt told at the presentation that
0:08:04.820,0:08:09.440
Panasonic is used to building air-cooled
0:08:07.040,0:08:11.660
water resistant hardware they've been
0:08:09.440,0:08:14.210
building Panasonic Toughbook switch our
0:08:11.660,0:08:16.580
notebooks that are military-grade for a
0:08:14.210,0:08:19.460
very long time and those machines are
0:08:16.580,0:08:21.830
really strong and really tough and water
0:08:19.460,0:08:23.360
resistant Matt actually told a story of
0:08:21.830,0:08:24.800
spilling I think apple juice onto the
0:08:23.360,0:08:26.210
keyboard of a Toughbook and cleaning it
0:08:24.800,0:08:29.270
out by holding it under the kitchen
0:08:26.210,0:08:31.250
faucet the way that it works is the air
0:08:29.270,0:08:33.500
vent actually doesn't pass air through
0:08:31.250,0:08:35.930
the camera itself it's passing it over
0:08:33.500,0:08:38.930
basically a heat sink so the camera
0:08:35.930,0:08:40.580
itself is weather sealed the entire LCD
0:08:38.930,0:08:42.380
display enclosure is weather sealed and
0:08:40.580,0:08:44.390
then the air is passed between those two
0:08:42.380,0:08:46.490
enclosures last little note you get
0:08:44.390,0:08:48.620
timecode in and out via the PC port
0:08:46.490,0:08:50.330
which means you can not only sync it up
0:08:48.620,0:08:53.060
with other cameras but you can Jam sync
0:08:50.330,0:08:55.520
the s1h as well and the price as you
0:08:53.060,0:08:57.230
probably have heard 39.99 available for
0:08:55.520,0:08:59.030
pre-order now use the link below please
0:08:57.230,0:09:01.490
and it'll be shipping at the end of
0:08:59.030,0:09:02.810
September so that's it that is the s1h
0:09:01.490,0:09:05.120
what do you guys think it's a heck of a
0:09:02.810,0:09:08.060
camera it's big it's awesome
0:09:05.120,0:09:09.890
it does 6 K it's full frame it's kind of
0:09:08.060,0:09:10.880
everything that you want in a camera I'd
0:09:09.890,0:09:12.589
love to hear your thoughts about it tell
0:09:10.880,0:09:13.700
me what you think below and of course if
0:09:12.589,0:09:14.660
you haven't subscribe to the channel yet
0:09:13.700,0:09:17.180
make sure you do that we'll be talking
0:09:14.660,0:09:18.070
about the s1h a whole bunch more as time
0:09:17.180,0:09:24.659
goes on
0:09:18.070,0:09:24.659
[Music]
Comments from YouTube