June 1, 2019
CINEGEAR 2019

Watch: First Footage from Panasonic’s 6K Full Frame Heavyweight, the S1H

The Panasonic S1H has landed and now you can see the footage in all its 6K glory.

Panasonic is taking a stab at the high-end prosumer/professional owner/operator with the S1H. We've talked about all of its impressive specs (6K 3:2 up to 24p, internal 4K 10bit recording, 14+ stops of dynamic range) and got you up close and personal to it on the CineGear showroom floor. Now that we've had a day to bask in its beautiful glow, we can finally get a load of what the S1H can do. 

Check out some test footage below:

It seems to have been quite intentionally designed to work hand-in-hand with some of the S1H's bigger siblings like the EVA-1 and all the different flavors of VariCam. Seeing as how all of these cameras have compatible colors, LUT's, frame rates, and bit rate and bit depth options, I can't seem to find a way to argue otherwise. To me, the most impressive stat about the S1H is the 6K 3:2 24p image capture.

But what is 6K good for?

Just like 4K for HD productions, it allows for downsampling and video resizing in a smaller resolution timeline. Now, with 6K, filmmakers can get similar results in 4K that they previously were only able to get in HD.  

The camera will sell for $4000 but if that's too rich for your blood, the Panasonic S1 is getting a hefty software upgrade for $199 (free for current or expecting owners up to October) that gives you the same look as the S1H, without the 6K/5.9K options.

The S1H is shaping up to be an excellent B-Cam or Crash Cam for existing Panasonic-based productions, or even an A Cam for smaller indie-style productions. 


No Film School's complete coverage of CineGear 2019 is brought to you by:

Blackmagic Design, and Fyrfly.

https://www.youtube.com/playlist?list=PL9cTD-waVSEFY9DRzmOVCyYoMg9tVTAMy

Check out more of No Film School's coverage from CineGear here    

Your Comment

14 Comments

This footage was not good at all.
I really expected something more sharp at 4K streaming resolution.
Footage is too soft. Even the GH5 produces better quality sharp-wise.

June 2, 2019 at 2:48AM

0
Reply
avatar
JeffreyWalther
Steadicam Operator/Owner
1910

This footage is from a professional cinematographer. They don't want sharp footage, they don't shoot soap operas, weddings, or macro photos of insects. Cinema is not about extreme sharpness. The scenes were selected to showcase the dynamic range first and foremost.

June 2, 2019 at 11:27AM

0
Reply

The footage is total crap.
Even my old DVDs are sharper on my crap 1080p screen.

They either used a crap lens or they were not able to pull focus.
Both sucks on a product presentation.

BTW: I am a well payed Steadicam operator. I am allowed to criticize the footage.

June 2, 2019 at 1:43PM

14
Reply
avatar
JeffreyWalther
Steadicam Operator/Owner
1910

Oh wow, we have a PAID steadicam operator. Someone should let the academy know they're missing one of their judges.

June 3, 2019 at 2:46PM

2
Reply
Alex Alva
1484

In this case, this camera is NOT good.

June 2, 2019 at 2:48PM

1
Reply
avatar
Javier Diez
Director/Writer
233

Looks good... unfortunately, Panasonic has put out another great cinema camera that will not be taken seriously by the film industry because it's wrapped in a DSLR configuration.

June 2, 2019 at 5:16AM

3
Reply
avatar
Jerry Roe
Indie filmmaker
1443

I expected more from the night shots but overall I agree. I don't know why they haven't made and EVA Mark II because they have all the resources to really make it a stellar mid range cine camera.

June 3, 2019 at 2:50PM

3
Reply
Alex Alva
1484

Bad footage! Better upload another test! Right now, looks soft, no blacks and horrible.

June 2, 2019 at 6:40AM

2
Reply
avatar
Javier Diez
Director/Writer
233

It behooves Panasonic to get a few of these in our (collective) hands, pronto. First footage shooting is a tough job because there's going to be unsatisfied viewers no matter what. We saw this on NFS with RED, Sony, Blackmagic, etc. I think the only way to really show a camera off is to get a lot of different DPs/Directors to use it in a lot of situations. The bummer for camera companies is this means they can't control the situation. Alicia Robbins did a great job considering the limitations that first footage projects require.

June 2, 2019 at 10:36AM

3
Reply
avatar
Patrick Ortman
I tell stories. Sometimes for money. Sometimes, not.

It looks like they uploaded a low res version. The version on the PanasonicLumixVideo channel looks way sharper (can't provide the link cause I don't post enough).

June 2, 2019 at 10:39AM

3
Reply
Brian Crouch
Post Production Coordinator/Editor
13

Though they offer 4K, the footage is not good.

Example?
Look at the wood in front... it is clearly out of focus or shot with a crap lens.
https://youtu.be/QX22z4IWs6s?t=12

June 2, 2019 at 1:46PM

0
Reply
avatar
JeffreyWalther
Steadicam Operator/Owner
1910

The footage aint bad. The only real issue I have with it is the motion rendition in the slow-mo. Maybe just the wrong shutter angle used (360deg), maybe not.

Other than that I don't see any issues that can't be fixed in the grade.

June 3, 2019 at 2:18AM

0
Reply
avatar
Stu Mannion
writer/dir/dp
775

Footage is not properly shot. There is no excuse for this.

If I would offer such footage to my customers or the team that hired me.... this was my last time on their set!

June 3, 2019 at 4:23AM

3
Reply
avatar
JeffreyWalther
Steadicam Operator/Owner
1910

I was impressed by the light roll off on highlights, the detail of her hair on the night shot backlight, and the lack of noise in shadows.
Am I seeing a video everyone else isn’t?
This looks quite strong for first looks IMO . . .

June 5, 2019 at 9:38PM

0
Reply
Richard Gerst
Stills photographer with occasional cine work.
109