Parker

Supposedly the 6K raw output from the S1H has a high probability of being 12-bit, or perhaps even higher, so those are going to be some pretty thicc, tastey files ??

I always shoot all my b-roll at 60p, especially for corporate projects, just makes everything easier and feel a bit more glossy. I think most clips running at 40% speed are actually very subtle most of the time, it looks and feels better in the edit but most ordinary viewers would be hard pressed to call it out as actual "slow motion," especially when it's just office-style b-roll of workers typing, using the phone, their computers, etc. That being said I rarely use 120p or higher, unless the shot really calls for it, and I want it to be noticeable, like obviously stylized speed ramping on movement, fountains, sparks, etc.

At least HLG is available in pretty much all modes and framerates on the S1H. On the S1 it is limited to just 24/25/30p. Really wish it was there for 60p! Then I wouldn't even need V-log, which B&H is still taking its sweet time to ship ?

I had a hands-on with the S1H at a camera store today and I have to say, it is a beast. I was really impressed with the OLED display on top -- has some cool features like displaying audio waveforms, stuff like that, and I also love how easy it is to pick framerates, compression and codec of choice, etc. I thought it would seem substantially bigger than the S1 with the addition of the fan and extra screen hinge, but it felt very good in the hand. The new 24-70 2.8 is smaller and lighter than I thought it would be as well. The Panasonic employees were very friendly and knowledgeable and had a couple interesting tidbits to say -- non officially -- about the S1 possibly getting that pesky high framerate auto-exposure issue fixed in a future firmware update. I hope so! I tried to get some tidbits about raw outpout with Atomos, supposedly they're going to display fully-functioning raw out of the S1H at IBC, so that should be interesting. All in all, it got me even more excited about this monster of a camera, if the long life of the GH5 is any indication, it's going to be a very worthwhile investment for the next 3 to 4 years at least.

In a shoot a couple weeks ago, of a bunch of hot air balloons, filming in HLG on the S1, the red channel was completely blown, filming inside of bright red hot air balloons. I was pretty worried at first, but I was able to bring it down to a normal level of saturation without any trouble in post, still a bit strange though, and not something I had really seen from other cameras before.

I wonder how much softer having the OLPF will really be; because the S1 is stellar for photography, I've really been enjoying it, very detailed imagery, especially at higher ISOs which is always awesome. I'm so used to smudgy, soft, noise-reduction nastiness in low light, I love how sharp and crisp the photos from the S1 have been.

The 2014 Canadian film 'Mommy,' directed by Xavier Dolan, has some of the most interesting use of mixed aspect ratios I have ever seen; most of the film is in a very unorthodox 1:1 square aspect ratio, like Instagram. It is cramped, small, and very claustrophobic for framing, and it is only when the main character — a teenaged boy with severe behavioral issues — finally feels some freedom and happiness in his life, that he very memorably and literally pushes the aspect ratio of the film into glorious, huge, cinematic wide-screen. It could have been very gimmicky, but in the context of the story it is a pretty marvelous, eye-opening moment. Another moment, later on the movie, does the same thing, to very heartbreaking effect. It's a very interesting film.

This will be even more true if that atomos statement somebody linked to from instagram about the S1H being able to achieve 4k60p in full frame mode when externally recorded turns out to be accurate.

@DBounce Mystery solved! "The S1H also has a small screw on its mount in preparation for future mount adapter designs. This will help prevent focus shift which can happen with a mismatch in adapter and mount tolerances." Pity it doesn't have something to do with some super-duper secret ND mount thingamajig of some kind.

Thank goodness! I've been waging a one-man war against that nauseating soap opera "smooth motion" fake image interpolation-look on various family, friends', hotel's and even the occasional restaurant's TV sets for years. The saddest thing is when people claim they can't tell the difference. I can't stand it.

Using 256 GB dual cards set to fill up one card and then the other would give you 500+ GBs of storage which would be ample for a whole day's worth, especially if you used the HEVC codecs, although I do agree, external USB-c recording would have been sweet

I tuned in a little bit late and didn't hear the raw over HDMI announcement, that's great news!

I have used GHA with the S1's HLG with middling results, to get it to try and match the GH5 in interview settings. It's pretty tricky, but with some tweaking it can look pretty good. Not nearly as easy as with the GH5 though.

B&H is taking forever to ship me my VLOG code, I really hate this stupid system that Panasonic has cooked up with mailing actual, physical software codes. HLG is working fine for me in 24p at the moment, but I'm still using the GH5 for anything 60p, because even with a cinelike d profile dialed in for maximum gradability the dynamic range is just not there. I am curious to see if the full vlog curve has any adverse issues in 8-bit 60p compared to the vlog-L curve on the GH5. @Simon Young Why are you selling? Find something else that seems better?

It does, it's just called "video recording area" or something like that. You can go to an APS-C crop from full frame, as well as an even bigger pixel-to-pixel crop in 1080. Unfortunately, this crop function can't be mapped to a custom button, currently I just have it assigned to the custom menu, so it's a couple extra clicks over a GH5, but not too bad.

Technically, speedboosters actually add sharpness and detail while minimizing lens imperfections, the exact opposite (for the same optical reasons) that teleconverters degrade IQ by softening, enlarging the image, more pronounced CA, etc. Cheaper focal reducers can show soft corners, but Metabones are usually razor sharp edge-to-edge.

Luca is forum member here on the site, he created custom speedboosters for the NX1 a couple years ago (I bought one from him, and still use it all the time) and he has since created very similar focal reducers for the Ursa mini/pro. He can absolutely be trusted, he's a good dude.

Yeah definitely the main downside of the camera. Basically unusable for high framerate stuff, they may as well have not even included it. At least exposure compensation can be used to somewhat control exposure, but it's just ridiculous that a $2500 camera doesn't have full manual controls in every mode. I haven't really even been using the 60p either, until I get the V-Log upgrade, the dynamic range is just too limited in anything other than HLG, which is limited to 24/25/30p. I really like the camera, but it definitely has some limitations. We'll see about the S1H, but it will also be much more expensive.

I have the pixapro LED 100D Mark II+, I have used it extensively for years, which I originally stumbled on for the same reasons, back when I too could not afford aputure but wanted a solid light. Short answer, it's great! High CRI, good looking light. Certainly not as many bells and whistles as aputure, such as no remote, no carrying case, certainly a less engineered product, the yoke isn't the greatest, but bang-for-buck, Pixapro is fantastic. Earlier this week I mixed and matched my LED 100D Mkii on the same shoot alongside an aputure 120dii and they get along just fine. Don't forget about the modifiers from pixapro either! I really love my beautiful 150cm octabox, it's massive and puts out such a beautiful quality of light — and is faster and easier to set up than Aputure's light domes! But yeah, you can't really go wrong, it's metal, build quality has stood the test of time for me, light is great, save yourself some money!

How many megapixels is the bmpcc 4k sensor? That resolution of video would need 21.4 megapixels. Is it a 20mp sensor then? I don't recall. If so, technically it's doable.

@Cliff Tottenwell maybe it's not just blue... or only with LEDs! A few days ago in a Facebook group someone uploaded these v-log samples complaining of "solarization" (a new term for me) in the yellow channel of the sunflowers. Looks like similar color-channel clipping to me:

Really enjoying this lut the more I use it. Some grabs from a shoot today:

@Cliff Totten thanks for letting them know about it! I had a similar experience just yesterday (largely due to my jealousy of lucky dogs such as yourself who have VLog when I do not haha) but I called B&H, got escalated to a different manager, and spent a very long time on hold before — gratefully — being informed that I am indeed on the waiting list. Here's hoping they get them out fast!

Still getting the hang of this lut, I'm liking what I'm getting though! Nice, soft highlights and pleasant colors. Just have to make sure to remember to always custom white balance with my grey card, I tend to get lazy, especially when I'm running and gunning. Here are some shots from a recent shoot: