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Panasonic S1H ProRes RAW 6K 12bit - download firmware


Andrew Reid

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It is now available

https://www.panasonic.com/global/consumer/lumix/s/s1h/firmware_atomos.html

Most cameras do 4K ProRes RAW and have to pixel bin to achieve 12bit, as a full pixel readout at the higher colour depth would be too slow.

This is where the S1H is different... It is the only one to do a full pixel readout, in native 6K at 12bit. Amazing sensor technology.

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With the new data rates that this thing uses, I was surprised that my inexpensive 1 TB Western Digital Blue SSD could handle ProRes RAW HQ in 5.9K and 4.1K 60p. I plan on using this new codec specific

I've been messing around with it for the past two days. My findings: (of course do your own tests too if possible) + Sharpest/most detailed image I've ever filmed on any camera before + Easi

It is now available https://www.panasonic.com/global/consumer/lumix/s/s1h/firmware_atomos.html Most cameras do 4K ProRes RAW and have to pixel bin to achieve 12bit, as a full pixel readout a

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I've been messing around with it for the past two days. My findings: (of course do your own tests too if possible)

+ Sharpest/most detailed image I've ever filmed on any camera before

+ Easier for me to get a colour grade as a beginner that I'm satisfied with than when shooting V-Log 

+ Edits easily on my mid tier gaming PC (i7-8700k + GTX1060) with Premiere Pro

+ ISO 12800 with enough light looked better than expected. This needs further testing for sure.

- Higher data rate than initially expecting, this means I will still shoot mostly internal probably

- In 5.9K mode only I experience choppy frame rates on the Ninja V sometimes. A quick swap to 4K and back returns this to normal. I imagine this will be fixed in the final released firmware.

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Incredible addition....I really wish they had a better lens ecosystem, a better photography story, and better AF. In every other way though Panasonic keeps proving they really should be the market leaders in the semi-pro/pro video world. The S1H has every feature I have ever asked for....yet for some reason I am still sitting here waiting for Canon to get their act together.

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Great update! Can anything record 6k ProRes Raw? I'm not really following the Ninja Vs capabilities all that closely.

2 hours ago, herein2020 said:

In every other way though Panasonic keeps proving they really should be the market leaders in the semi-pro/pro video world.

I feel like they hit this point with the DVX100 - that was a killer camera for it's price / market. Definitely over took Sony's VX / PD and Canon's XM cameras.

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5 hours ago, Jonathan422 said:

Seems Canon have done just enough to get Sony and Panasonic to step up their game and for that I applaud the release of their new space heater.

What?! S1H came out way before the EOS R5.

If anything it's the other way around.

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8 hours ago, Matt Hollman said:

I've been messing around with it for the past two days. My findings: (of course do your own tests too if possible)

+ Sharpest/most detailed image I've ever filmed on any camera before

+ Easier for me to get a colour grade as a beginner that I'm satisfied with than when shooting V-Log 

+ Edits easily on my mid tier gaming PC (i7-8700k + GTX1060) with Premiere Pro

+ ISO 12800 with enough light looked better than expected. This needs further testing for sure.

- Higher data rate than initially expecting, this means I will still shoot mostly internal probably

- In 5.9K mode only I experience choppy frame rates on the Ninja V sometimes. A quick swap to 4K and back returns this to normal. I imagine this will be fixed in the final released firmware.

Yeah, it stutters in 5.9K. I still have to install my NVidia Tesla K20 card before I can edit in Premiere Pro.
 

 

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With the new data rates that this thing uses, I was surprised that my inexpensive 1 TB Western Digital Blue SSD could handle ProRes RAW HQ in 5.9K and 4.1K 60p. I plan on using this new codec specifically when doing outdoor weddings. As of now, I have been severely underexposing just to make certain that if the sun peeks from behind the clouds that I don't burn a hole straight through the brides dress, never to be recovered ever again.

Canon and Sony have had some interesting releases the last few weeks. The only realization is that the S1H clearly would best both to an extent if it had Canon/Sony level autofocus.

With that said:

  • I know how to manual focus.
  • Glass f/2.8 or faster and ISO 12,800 looks fantastic. Anything more, I will light it.
  • I've run my camera for over 4 hours straight (Hindu Wedding) in 5.9K, and my camera didn't overheat!
  • When video work dries up, this thing is a competent stills shooter.

I really don't know what job this dynamic duo of S1H and Ninja V can't do.

Angelica Walker-87.jpg

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I have a shooting planned this weekend and maybe tuesday to try it out, really excited to see what I can do with this prores raw footage. 

I watched some videos on YouTube to see what others come up with and I do find this video really beautiful (colors, cinematic image, dynamic range) :

 

 

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3 hours ago, salim said:

@Lux Shots and @Matt Hollman -

Thank you both for your quality post. EOSHD lately has been feeling like a ranting place for Andrew to vent out being disregarded by marketing departments of many camera companies. 

Love to see some screen grab examples of ISO 12800. 

Matt,  really curious about your color grading process. 

 

Thanks!

I'm not at home right now so I'll try to remember to upload later. 

 

For shooting, I white balance manually and I shoot ETTR with enough head room for a stop or so in the highlights.  When colour grading in premiere, this makes me have to bring down the exposure tab in the Prores Raw settings to about -2.5 or so to get my highlights under the clipping point. I add/remove some saturation. Then, I use the secondary colour wheels (I think that's what they are called) to adjust the shadows, mid tones, and highlights. If there isn't enough contrast, I adjust the curve or simply use the contrast slider in the primary lumetri tab (I'm very bad with using the curve with more than 2 points).  Then, I adjust the colour wheels to the colours I want (example being purple shadows, yellow highlights). After all of this, with the 12 bit codec I've been pleasantly surprised that the skin tones stay in tact quite well! It feels like as a beginner I'm at more ease to try more creative looks without ruining my image. Although an expert can make 10-bit (or even 8 bit) look better than my 12-bit no problem.

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Hi guys, 

 

Long time lurker but I want to post some qns regarding the use of the Ninja V. Been googling but some aspects of the usage still draws a blank. Perhaps those among us with access and experience can help. Much appreciated coming from someone who already has a S1H and is considering the use of a Ninja V to milk the last few ounces of IQ of an already solid camera. 

 

1. Does the Ninja V output an image downstream when recording Prores Raw? I usually have wireless feeds going out to directors and clients. Kinda hard to do without and I remember the shogun inferno not being able output anything over sdi or hdmi in raw mode. That made it a non starter in anything other than solo projects. 

 

2. When shooting prores raw, are the exposure tools being read off the raw image or with the lut or look applied? I suspect it's the former but haven't t seen or heard any info confirming this. I know raw capture requires a slightly different approach to judging exposure but again, for directors and clients, we seldom do ettr - an image that looks right out of the gate inspires more confidence than "I know this image looks overexposed but I can pull it back in post". Hence I typically default to waveforms and false colour to nail it, but that does mean relying on these tools reading off the 'flat' image. 

 

In my situation, if there are too many speed bumps to adopt a raw workflow, the internal 10 bit All-I will do just fine. Not gonna deny the allure of having thicker files to work with though. Really psyched if it can be adopted without too much hassle. 

 

Thanks. 

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What impresses me the most is how 5.9K ProRes RAW cuts like butter on my 2013 Mac Pro! All the 10bit internal codecs required transcoding, so please excuse the cliche, but this is a game changer. I don't have to upgrade my editing rig as long as this reliable little trashcan keeps sputtering along.

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11 hours ago, thebrothersthre3 said:

I wish they'd allow the S1 to do Prores RAW.

On another note @Andrew Reid

A while back you suggested I buy a Lumix S1 over the URSA 4.6k, turns out you were right. Just got the S1 in the mail today and the image is absolutely incredible. 

It's easy to get FOMO and be distracted by the latest cameras from Canon and Sony (which for me both look fantastic as a run & gun event shooter) but the S1 has a beautiful image which I have yet to fully exploit. Also a far better stills camera than the A7Siii, which is essential for me.

I do hope we're getting to a post-camera landscape where all the cameras are so fantastic that we can just stick with what we've got and concentrate on the work. We've probably been there for a few years already, but with the new cameras around right now I certainly have much less envy of Red and Arri users. In most situations, with the right glass, you'd struggle to tell the difference.

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10 hours ago, salim said:

@Lux Shots and @Matt Hollman -

Love to see some screen grab examples of ISO 12800. 

Here's a very boring test shot of my kitchen at ISO 12800, Sigma 24-70 f/2.8 @ f/2.8 (ungraded). The light is coming in from another room and was quite dark to the eye. If you zoom into the image there is definitely noise, but it's totally usable even without noise reduction added.

ISO12800.png

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My wife doesn't want her face posted, but here is just an example of some skin tones under a terrible fluorescent light (white balanced) before/after a beginner blueish/green horror movie type grade. No keys or masks were used by the way, just white balance and tint changes.

S1H 5.9K ProRes RAW on a 4K Cinemascope timeline @ ISO 4000
 

skintone previous.png

SkinTones.png

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