Atomos Gives S1H a Major Superpower... ProRes RAW in All Its Formats

The Ninja V can now record ProRes RAW from the Panasonic LUMIX DC-S1H. 

What a journey. Atomos has finally released software for the Ninja V that allows the Panasonic S1H to record ProRes RAW in all of its glorious formats, including 5.9K in 12-bit RAW up to 30p.

The software was initially promised back in May, but a technical issue pushed it back. Atomos then rolled out a beta version of the software the same day Sony announced its a7S III, but that was handcuffed.  But today, it's here, and AtomOS version 10.52 should put a smile on Panasonic S1H shooters' faces as it unlocks all the supported external recording formats on the camera. 

Supported RAW formats: 

  • 5.9K (5888 x 3312) full-frame 16:9 at 23.98, 25, 29.97fps 12-bit
  • 4K (4128 x 2176) Super 35mm 17:9 at 23.98, 25, 29.97, 50, 59.94fps 12-bit
  • 3.5K (3536 x 2656) Super 35mm anamorphic 4:3 at 23.98, 25, 29.97, 50fps 12-bit

5.9K, 4K Super 35, and 3.5K Super 35 anamorphic can all be recorded and played back over HMDI. The one thing to point out is that when recording 5.9K 30p, the HMDI loop out will be in HD, while the other formats provide an option for 4K UHD or HD. 

As previously mentioned, while shooting ProRes RAW V-Log or Rec. 709 can be selected during Live View, but when monitoring with the 3D LUT, shooters should use the LUT provided by Panasonic. Familiar assist functions including waveform monitor, vectorscope, zebra, and others can be accessed while shooting RAW as well. 

The software also adds 4K ProRes or DNX in 10-bit up to 60p for the S1H. You can download AtomOS 10.5 for free here.      

Your Comment

8 Comments

Cool!

August 7, 2020 at 12:17PM

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Michael Winters
Writer / Director / Cinematographer
95

Someone cal tell me why so this entusiasm on a raw format which is so limited in develop? is like z-raw and other raw where you had NO RAW support.
ProresRaw in FinalcutProX, Premiere, Nuke, Avid had only reading and wb/exposure settings, mean no difference between it and a direct video file 12bit. why is so cool? why is so fantastic agaisnt for example a simple prores 12bit?
im tired to see running to record raw, but without ability to develop raw. The good point of raw is ability of developing from (theorically) sensors'data, if i had a simple wb and exposure data, i can do the same with every 10bit prores with a linear node application on gain, no need more.
Prores Raw is out from over 2 years, and no one had ability to develop correctly.

August 8, 2020 at 4:10AM

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Carlo Macchiavello
Director (with strong tech knowledge)
1060

It's the exposure highlight recovery. I can practically overexpose until most of my subject is white, and pull it all back with the exposure tool. Can't do that with non RAW formats.

The limitations of ProRes RAW are not with the format, it's just because the tools have not caught up to it yet.

August 8, 2020 at 4:45PM

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I wish Panasonic would give the GH5 RAW video capability, it can shoot stills in RAW.

August 9, 2020 at 3:03AM

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Jerry Roe
Indie filmmaker
1611

And with that, the crown has been bestowed. (Also, the only mirrorless with a legit cooling solution.) This is a clear winner over the R5.

August 9, 2020 at 4:17AM

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Zarf
200

Agreed, plus skin tones seem more pleasing. I was excited for the a7s3 but don’t find skin tones that great. S1H file sizes are great too

August 9, 2020 at 9:43PM

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Aaron Harper
Rental House Manager
462

I have been waiting for PRR support in Premiere Pro for quite a while. It's potentially great, but so frustrating that the only control feature is exposure (in Premiere). Assimilate Scratch offers ISO-Gain, WB and Tint, so why is Premiere lagging in this area?

August 10, 2020 at 6:41AM, Edited August 10, 6:41AM

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David Patterson
videographer/editor
503

Agreed. It's good that these setting can be adjusted somewhere but frustrating that Premiere is behind.

August 10, 2020 at 10:14PM

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Stu Mannion
writer/dir/dp
1017