At Cinegear 2019, T M Camera Solutions was showing MasterBuilt Vista-M Lenses that are designed to cover large format, full frame and the ARRI Alexa 65. The lenses have a very clear center sharpness with a fall off that that is very reminiscent of a Canon K-35. Like a lot of the new lenses on … Continued
Portrait photography takes both technical competence and the ability to work with people, making it a challenging but rewarding genre. This great video will give you five helpful tips to improve your portraits.
On May 25, a Miami photographer was handcuffed and had his equipment seized when he attempted to take photos of an accident scene.
Panasonic Leica DG Vario-Summilux 10-25mm F1.7 ASPH
The Panasonic Leica DG Vario-Summilux 10-25mm F1.7 ASPH is a fast zoom lens that covers several popular focal lengths. When mounted on a Micro Four Thirds body, where it’s equivalent to 20-50mm, you can hit 20mm, 24mm, 28mm, 35mm or 50mm with a single lens (and a fast one, at that). It will ship in July for $1799/£1799.
We were able to get our hands on a preproduction lens, so click through to learn more about this beast of a lens.
Big, but not that big
Make no mistake, the 10-25mm F1.7 is a hefty lens, but it’s not nearly as large or heavy as one would expect given its ambitious spec. The lens is 128mm (5″) long, has a max diameter of 88mm (3.5″) and weighs in at 690g (1.5lb). By comparison, Sigma’s 18-35mm F1.8 Art lens is a bit shorter, but almost 20% heavier, despite covering a narrower range of focal lengths.
The 10-25mm is a pricey lens, and it feels like it in the hand. It’s virtually all metal and is dust and splash-resistant. The lens can function down to -10°C/+14°F.
It shouldn’t come as a huge surprise that this ambitious lens requires a lot of glass. The 10-25mm F1.7 has 17 elements in 12 groups and includes aspherical, ED and UHR elements. The lens is threaded for 77mm filters, which serves as an example as how compact (relatively speaking) the 10-25 is.
The lens uses a stepping motor that focuses quickly and quietly.
Grabbing control over focus
The 10-25 is the first Panasonic Micro Four Thirds lens to have a focus clutch, making it easy to quickly switch between auto and manual focus. As you can see from the photo above, the lens can focus down to 28cm (11″).
With the clutch pulled back, the manual focus response is linear. This will be especially useful for video shooters, since it means you can be certain of how much the focus will change in response to you turning the lens. There’s a feedback stop at either end of the focus range but they’re not hard stops: the focus ring will continue to rotate beyond the close and far points, so it’s not great for use with a follow-focus.
Stills shooters are likely to appreciate that it gives an experience much more like an old, mechanically-driven lens,
Put a ring on it
The aperture ring, which travels from F1.7 to F16, is click-less, another feature the video crowd will appreciate. Something we like about the dial, at least on the prototype we used, is that there’s a detent to prevent you from accidentally switching the ring out of Auto mode.
Just as importantly for videographers, the aperture/iris is driven smoothly, without steps. This allows subtle adjustments in exposure (either manually or in auto mode), without the brightness of the video visibly jumping.
No going to great lengths
The lens extends when you adjust the zoom, but not by much: here it’s shown at full-extension.
Its comparably low weight should make it easy for a gimbal to stabilize, and the limited change in length should also mean its center of gravity doesn’t move very much. This should make it possible to get away without having to re-balance for different focal lengths, which is a clear benefit over using a series of prime lenses.
Panasonic released a pair of teleconverters for its S-series full-frame bodies alongside the 10-25mm F1.7. These 1.4x and 2x converters are compatible with Panasonic’s S Pro 70-200mm lenses: the currently available F4 version as well as the F2.8 model coming later this year.
Both teleconverters feature UHR (ultra-high refractive index lens) elements, and Panasonic claims that there’s virtually no reduction in resolution when using them.
The 1.4x and 2x teleconverters are priced at $499/£489 and $599/£579, respectively.
We use the verb “shoot” when we take pictures. The similarities between photography and the actual shooting of guns nearly stop there. Nearly.
Panasonic has announced the new LUMIX S1H full-frame mirrorless camera, the third L-mount camera after the S1 and S1H announced back in February 2019. The S1H is the world’s first digital interchangeable lens camera to offer 6K/24p video recording.
The S1H “combines the video quality of a professional camera and the high mobility of a mirrorless camera,” Panasonic says. “It accommodates a variety of recording formats like 4:3 Anamorphic mode, to meet professional needs. Its high-resolution data can also be used to create 4K videos with higher image quality or to crop images in 4K.”
The camera can shoot 6K/24p with a 3:2 aspect ratio or 5.9K/30p with a 16:9 aspect ratio. It’s also the first full-frame digital interchangeable lens system camera to allow for 10-bit 4K/60p recording.
Equipped with V-Log/V-Gamut with 14+ stops of dynamic range, the camera will produce footage comparable to what you’d achieve with the $16,500 Panasonic Cinema VariCam and the highly-regarded LUMIX GH5/GH5S.
It can “capture everything from dark to bright areas,” Panasonic says. “So much so, that the color and even the texture of human skin are faithfully reproduced.”
There’s no video recording limit in the camera, so you’ll be able to shoot for as long as your memory card or battery allow (assuming the camera stays under the certified operating temperature — otherwise, it may shut off recording to prevent heat damage).
Other reported features and specs of the S1H include dual card slots (XQD + SD), a 3.2-inch triaxial tilt screen, a 5.76-million-dot OLED EVF with a 120Hz refresh rate, a 225-area DFD AF system, a 3100mah battery, a USB-C port, an HDMI port, a 2.5mm port, and 3.5mm microphone and headphone jacks.
“Panasonic now offers three innovative models in the LUMIX S Series of full-frame Digital Single Lens Mirrorless cameras – the S1R, the S1, and the new S1H,” Panasonic says. “The LUMIX S1R is ideal for capturing high-resolution images, while the LUMIX S1 is an advanced hybrid camera for high-quality photos and videos, and the LUMIX S1H is designed especially for film production.”
“With this lineup, Panasonic is committed to meet the demands of every imaging professional by challenging the constant evolution of the photo/video culture in today’s new digital era,” Panasonic says.
Panasonic has yet to reveal the camera’s full specs and capabilities, so there will be another announcement for the camera leading up to its expected release date sometime in the fall of 2019. It’ll have a price tag of around $4,000.
You can save over $750 on the Astra 6X Bi-Color LED, including either a free V-mount or Gold-mount, now for a limited time.
If you’ve been thinking about adding LitePanels to your lighting kit, now is the time to buy. Adorama is running a fire sale on the Astra 6X Bi-Color LED for a limited time. Both kits, which include either V-mount or Gold-mount brackets at no additional charge, now cost $899 with free shipping. These durable lights are still the standard for highly mobile lighting kits and you’ll see them on location worldwide.
The Astra 6X is a traditional Litepanel 1×1 and is designed with select premium quality, high CRI, surface mount LEDs and paired with custom optics. The Astra 6X has an impressive output that rates among the highest of similarly sized LED panels. It is 50% brighter than the first generation Astra and 6 times brighter than the original 1×1. The result is a longer throw and illumination that covers a wider area, allowing the panel to better compete with strong exterior light sources or illuminate a larger area effectively with just a single fixture.
If you’ve ever shot a couple or a subject who doesn’t much care for having their photo taken, you become immediately and acutely aware of how important your direction is. Here are three easy posing tips for engagement photos.
The Art Directors Guild (ADG, IATSE Local 800) Film Society’s 2019 Screening Series will be presenting the Oscar-winning film Close Encounters of the Third Kind (1977) and pay tribute to its Oscar-nominated Production Designer Joe Alves, ADG, at the Egyptian Theatre on Sunday, June 23rd at 5:00 pm. Following the screening, there will be a […]
The new liquid crystal (LCD) ND filter from Panavision not only gives you all the stops of ND you need in a single filter but lets you control it all remotely.
Neutral Density (ND) filters, which darken the entire area of the frame evenly without any color cast, are a vital part of cinematography.
Yes, you can affect exposure through changing the aperture, but that also changes the depth-of-field. You can change the camera sensitivity, but that effects noise levels. Changing shutter speed affects motion blur.
If you want to keep the depth-of-field, noise, and blur consistent shot to shot for matching (which most cinematographers do), you need to use ND filters to maintain consistent exposure in changing lighting conditions. This has traditionally required taking out a full set of a variety of ND filters until the new LCND from Panavision came along.
By using liquid crystal technology, the same technology in your LCD monitors, Panavision now offers users the ability to have up to 6 stops of ND, all variably controlled, in a single filter.
The International Cinematographers Guild (ICG, IATSE Local 600) is producing two panels at the Cine Gear Expo to be held at the Paramount Studios, both on Saturday, June 1st. The first panel is titled “Landing the Gig and Building a Career,” with panelists explaining how camera crew members and others in the industry can market […]
Panavision, the world-class provider of end-to-end solutions, will return to Cine Gear Expo (May 31-June 1) at The Studios at Paramount to showcase the latest innovations in the company’s expanding production and post production ecosystem. Panavision, Light Iron and LEE Filters will display an array of integrated technologies and systems at booth S408 on Stage […]
The post Cine Gear Expo: Panavision’s Camera-to-Finish Imaging Ecosystem appeared first on Below the Line.
Panasonic has just announced Lumix S 1.4x and 2x teleconverters for use with their full frame mirrorless cameras. The DMW-STC14 1.4x and DMW-STC20 2x teleconverters are a welcome addition to the S mount. With a growing number of native L mount lenses being brought to market, these teleconverters are bound to find themselves ending up … Continued
Hot on the heels of Panasonic’s announcements from Cine Gear 2019, Chris and Jordan give us a hands-on preview of the new 10-25mm F1.7 lens, along with details of the new VLog upgrade for the S1 and the announcement of a new video-oriented full frame mirrorless model, the S1H.
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Panasonic has announced the development of its video-focused, full-frame Lumix DC-S1H mirrorless camera, which will be available in the third quarter of 2019 for $4000.
The S1H will be able to capture 6K/24p video from the 3:2 region of its sensor and 5.9K from the 16:9 area. The camera will also be capable of 10-bit 4K/60p recording. In addition, it will support multi-aspect recording, such as anamorphic 4:3. Regardless of what video setting you’re using, the S1H will be able to keep recording until the battery dies or your card fills up.
The S1H has been designed to produce video virtually identical to that of Panasonic’s pro-level VariCam cinema camera, through the use of V-Log and V-Gamut. The company claims that the S1H will match the VariCam in terms of both dynamic range (14+ stops) and color reproduction.
|Panasonic Lumix S1R, S1H and S1|
Panasonic says it plans to have ten L-mount lenses by the end of 2020 and, via EF and PL adapters, S1H users will be have access to more than 50 cinema lenses from its L-mount partners Sigma and Leica.
And that’s all we know about the S1H at this point. A prototype will be shown at the CineGear expo this weekend, and we have no doubt that Panasonic will drip out more information in the months to come.
Panasonic Announces the New LUMIX S1H Full-Frame Mirrorless Camera
With Cinema-Quality Video and the World’s First 6K/24p*1 Recording Capability
Newark, NJ (May 31, 2019) – Panasonic Corporation is proud to announce the newest addition to the LUMIX S series, the LUMIX S1H, a new Digital Single Lens Mirrorless camera equipped with a full-frame image sensor. As the world’s first camera capable of video recording at 6K/24p *1 (3:2 aspect ratio), 5.9K/30p (16:9 aspect ratio), and 10-bit 60p 4K/C4K.*2 *3, it combines the video quality of a professional camera and the high mobility of a mirrorless camera. The LUMIX S1H will be released to world markets in fall 2019.
The main features of the new LUMIX S1H are as follows:
- High resolution up to 6K for multiple formats.
Maximizing the use of the pixels in the full-frame image sensor, the LUMIX S1H, as a digital camera, has achieved 6K/24p (3:2 aspect ratio) or 5.9K/30p (16:9 aspect ratio) video recording for the first time in the world.*1 It is also the world’s first full-frame digital interchangeable lens system camera*1 to enable 10-bit 60p 4K/C4K *2*3 video recording. It accommodates a variety of recording formats like 4:3 Anamorphic mode, to meet professional needs. Its high-resolution data can also be used to create 4K videos with higher image quality or to crop images in 4K.
- Rich gradation and a wide color space virtually equal to those of cinema cameras.
The LUMIX S1H features V-Log/V-Gamut with a wide dynamic range of 14+ stops, which are virtually the same as those of the Panasonic Cinema VariCam, allowing it to precisely capture everything from dark to bright areas. So much so, that the color and even the texture of human skin are faithfully reproduced. Designed under consistent color management, the S1H’s recorded footage is compatible with V-Log footage recorded by VariCam or the LUMIX GH5/GH5S.
- High product reliability that allows unlimited video recording. *7
In every S1H recording mode, video can be recorded non-stop under the certified operating temperature so the user can concentrate on shooting.
Since the 1990s, Panasonic has been a leader in the development of video recording technologies for digital cinema, and has produced a host of innovative technologies for impressive cinematic imagery, such as 24p video recording, slow motion video using a variable frame rate, and the wide dynamic range and color space of V-Log/V-Gamut. By working with film creators for more than 25 years, Panasonic has successfully designed a number of cinema cameras that exhibit stunningly high video performance. The LUMIX GH1 made its debut in 2009 as the world’s first Digital Single Lens Mirrorless camera capable of full-HD AVCHD video recording. *4 The LUMIX GH4 was launched in 2014 as the world’s first Digital Single Lens Mirrorless camera*5 capable of 4K video recording. Next, the LUMIX GH5 was released in 2017 with the world’s first 4K/60p, 4:2:2 10-bit 4K/30p recording capability.*6 The LUMIX GH5 is highly acclaimed by film creators for its high performance, excellent mobility, and superb versatility in film production. And now, in 2019, the LUMIX S1H joins as Panasonic’s newest cinema camera.
Panasonic now offers three innovative models in the LUMIX S Series of full-frame Digital Single Lens Mirrorless cameras – the S1R, the S1, and the new S1H. The LUMIX S1R is ideal for capturing high-resolution images, while the LUMIX S1 is an advanced hybrid camera for high-quality photos and videos, and the LUMIX S1H is designed especially for film production. With this lineup, Panasonic is committed to meet the demands of every imaging professional by challenging the constant evolution of the photo/video culture in today’s new digital era.
The LUMIX S1H prototype will be exhibited at the 2019 Cine Gear Expo.*8
*1 As a digital interchangeable lens system camera, as of May 31, 2019 (U.S.). Panasonic research.
*2 As a full-frame digital interchangeable lens system camera, as of May 31 May, 2019 (U.S.). Panasonic research. In Super 35mm-equivalent size.
*3 Corresponding to 4K (4096×2160) as defined by Digital Cinema Initiatives (DCI).
*4 As of March 25, 2009, as a digital interchangeable lens system camera. Panasonic research.
*5 As of March 25, 2014, as a Digital Single Lens Mirrorless camera. Panasonic research.
*6 As of January 25, 2017, as a digital interchangeable lens system camera. Panasonic research.
*7 Recording time varies depending on the battery capacity and memory card capacity. When the camera’s temperature rises above the specified operation temperature, the camera may automatically stop video recording to protect it from heat damage.
*8 Cine Gear Expo 2019 is the premier annual event for professionals engaged in the technology, entertainment and media industry to be held at Paramount Studios in Los Angles, U.S., through May 30 to June 2.
･Design and specifications are subject to change without notice.
Panasonic has announced that its Leica DG Vario-Summilux 10-25mm F1.7 ASPH lens – first teased at Photokina 2018 – will be available for purchase soon. Panasonic is marketing the 10-25mm, which in full-frame terms is equivalent to 20-50mm on a Micro Four Thirds body, as a single lens that covers five commonly used equivalent focal lengths: 20, 24, 28, 35 and 50mm.
The lens features a total of 17 elements, including aspherical, ED and UHR glass. The lens uses a stepping motor to provide fast, quiet focus. It has a nine-blade aperture and minimum focus distance of 28cm (11″). The lens isn’t as large or as heavy as one would expect, and is very well-built and fully weather-sealed. It’s the first Panasonic Micro Four Thirds lens with a focus clutch and a clickless aperture ring is also provided.
The 10-25mm was very much designed with video in mind, with minimal focus breathing, ‘seamless’ iris control for smooth exposure changes and linear focus response.
Panasonic hasn’t disclosed pricing or availability, but we expect to find out soon, so stay tuned.
Panasonic Introduces The World’s First* Standard Zoom Lens Achieving Full-range F1.7
LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. (H-X1025)
*As a digital interchangeable lens for a mirrorless camera, as of May 31, 2019
Newark, NJ (May 31, 2019) – Panasonic is proud to introduce a new standard zoom digital interchangeable lens, the LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH.
(H-X1025), which boasts a large F1.7 aperture throughout the entire 20-50mm (35mm camera equivalent) zoom range and exceptionally high optical performance, clearing the stringent LEICA standards. The LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. is suitable not only for stills shooting, but also for video recording, to satisfy both professional photographers and videographers.
The full-range F1.7 ASPH. high-speed aperture provides beautiful bokeh and high descriptiveness. Covering a focusing distance from wide angle to standard zoom range, the LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. functions as a multiple fixed focal-length lens, providing the same or higher level of descriptiveness than a fixed focal-length lens can offer. It is suitable for a variety of daily shooting situations, from dynamic landscapes to portraits–even in low-lit scenes– eliminating the need to change lenses between variations in environment.
Comprising 17 elements in 12 groups, the lens system features three aspherical lenses and four ED (Extra-low Dispersion) lenses that effectively suppress the axial chromatic aberration and chromatic aberration of magnification. Spherical aberration and distortion are also corrected by the aspherical lenses for stunningly high resolution. The use of aspherical lenses coupled with the optimum design of the lens system, results in a compact size and light weight, while maintaining its outstanding optical performance.
Compatibility with a maximum 240-fps high-speed sensor drive realizes high-speed and high-precision auto focusing. Notably, the new lens excels in video recording performance. In addition to the silent operation achieved by the inner focus drive system, the stepless aperture ring and micro-step drive system in the aperture control section help the camera smoothly catch up to brightness changes when zooming or panning. The optical design achieves exceptional barycentric stability to minimize image shifts during zooming. Adoption of a focus clutch mechanism enables instant AF/MF switching and accurate manual focusing. The LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. also excels in video recording performance with a mechanism that suppresses focus breathing, which was previously a fatal problem of all interchangeable lenses designed for still image photography.
The rugged dust/splash-resistant* design withstands use under harsh conditions even at -10 degrees Centigrade for high mobility. Nine blades give the aperture a rounded shape that produces an attractively smooth defocus effect in out-of-focus areas when shooting at larger aperture settings. Filter diameter is in 77mm. A highly reliable metal mount endures long time use.
Panasonic is committed to expanding the of Micro Four Thirds lineup through its LUMIX G series of cameras and lenses.
*Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.
- Design and specifications are subject to change without notice.
Panasonic has announced an upcoming firmware upgrade for its Lumix DC-S1 full-frame mirrorless camera. Officially referred to as DMW-SFU2, the upgrade adds a number of high-end video features and capabilities, many of which are similar to those found in the company’s GH5 series of cameras, which have often been class-leading when it comes to video.
Most prominent is the addition of Panasonic’s V-Log gamma profile, which promises to deliver 14+ stops of dynamic range. Notably, this is not the truncated V-Log L profile found on the GH-series, which capture a bit less dynamic range due to their smaller sensors. Rather, it’s the same gamma profile used by the company’s VariCam cinema cameras, which should allow the S1 to deliver the same look as VariCam models using the same V-Gamut color space.
Additionally, the upgrade adds 4:2:2 10-bit 4K/30p internal recording, 4:2:2 10-bit 4K/60p recording using an external recorder via HDMI, and 48 kHz/24-bit or 96 kHz/24-bit audio when used with Panasonic’s DMW-XLR1 adapter.
Videographers will be excited to hear that Panasonic is also adding very useful tools like a waveform monitor and in-camera LUTs, which can be used when shooting in V-Log to approximate the look of graded output.
Who should consider this upgrade? If you’re primarily a stills-shooter, or even a video-shooter who mostly shoots casually, it’s possible that none of these new features will be important to you. However, if you’re a serious video shooter who understands the advantages of Log video, or who needs to match footage with other pro video cameras from Panasonic, this is probably an upgrade you’ll want to consider.
The SFU2 will be available in July at a cost of $199 in the US and €199 in Europe.
Panasonic to Release the Upgrade Firmware Key DMW-SFU2 for LUMIX S1 in July 2019 to Expand Its Video Performance
Newark, NJ (May 31, 2019) – Panasonic has announced that the company will release an Upgrade Firmware Key DMW-SFU2 for the full-frame mirrorless camera LUMIX S1 in July 2019. This paid software program will further expand the video performance of the LUMIX S1 for advanced video recording. As announced separately, the new LUMIX S1H features 14+ stops of full V-Log, which is equivalent to the V-Log of high-end cinema cameras such as the Cinema VariCam. The user can experience the 14+ stops of V-Log on the LUMIX S1 with the firmware update program provided by the Upgrade Software Key DMW-SFU2, prior to the release of the LUMIX S1H.
Functions available with the upgrade program are as follows.
- 14+ stops of V-Log recording
- World’s first 4:2:2 10-bit 4K MOV 30p/25p*1 internal video recording*2
- World’s first 4:2:2 10-bit 4K 60p/50p*1 HDMI output*2
- V-Log and V-Gamut compatible with Cinema VariCam Look
- In-camera LUT (Look Up Table) application enabling playback of V-Log while or after recording (LUT Display with Custom Function)
- A WFM (Waveform Monitor) displays brightness level while recording
- High-res 48-kHz/24-bit or 96-kHz/24-bit sound can be recorded in MOV using the XLR Microphone Adaptor DMW-XLR1
The Upgrade Software Key DMW-SFU2 will go on sale in July 2019.
*1 PAL area only
*2 For a full-frame digital still camera as of May 31, 2019.
Design and specifications are subject to change without notice.