Some things involving esoteric and expensive gear we do because they help us bring our creative visions to fruition or enable new technical capabilities that can improve the quality or efficiency of our work. Some things we do just because we can. This video is about the latter.
The Panasonic S1H is already quite the powerhouse camera, with impressive specs that should satisfy the needs of lots of filmmakers and videographers. Panasonic is increasing the camera’s capabilities all the more with the release of firmware 2.0, which will enable 5.9K raw video output over HDMI.
There is a lot of noise in photography, and I am not talking about the sort that appears in your images at higher ISOs. Rather, there are a lot of things in the industry that simply do not matter when it comes to making images, running a business, or simply enjoying the experience and thrill of taking a photograph and seeing it come to life before your eyes. This great video discusses some of the things we should worry about a bit less in photography and reminds us of what really matters.
The Laowa 100mm F2.8 2X Ultra Macro APO is now available in Canon RF and Nikon Z mounts.
Macro lenses can produce surreal imagery. Venus Optics, the company behind the Laowa brand, has several macro capable lenses, including it’s popular 24mm Probe, a 25mm, 65mm, and the 100mm F2.8 2x Ultra Macro APO. The 100mm adds two new mounting options, and is now available for E, EF, F, RF, and Z mounts.
Film and Digital Times April 2020 Issue 101 is now online.
132 pages of new products and productions.
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Panasonic has announced firmware V2.0 for the Lumix S1H that, alongside the usual bug fixes, adds the ability to output 5.9K or 4K Raw video data that can be captured as ProRes Raw when connected to an Atomos Ninja V recorder.
Raw video provides editors with more post processing flexibility than Log-encoded footage, including Panasonic’s own V-Log, and provides similar capabilities to Raw photo editing, such as the ability to set a new white balance after footage is shot.
Apple recently released a version 1.0 beta of ProRes Raw for Windows that added support to Adobe apps running on the Windows platform, including Adobe Premiere Pro and After Effects. Availability on both Apple and Windows systems should make it easier for video shooters to adopt the codec.
|Firmware V2.0 for the Panasonic S1H adds ProRes Raw video capture capability when paired with an Atomos Ninja V recorder.|
The firmware, which doesn’t require a paid upgrade, adds 5.9K 16:9 capture from the full width of the sensor at up to 30p or 4K 17:9 capture from a Super 35 region at up to 60p. There’s also a 4:3 option for anamorphic Super 35 shooting. All modes are based on 12-bit output.
Unlike ProRes Raw capture on Nikon’s Z6, the Panasonic does not pixel skip to produce its Raw video data stream. Its viewfinder also continues to function when Raw data is being output, which is likely to be a benefit for anyone shooting hand-held footage.
A full suite of exposure support tools, including Wave Form Monitor, Vector Scope, Luminance Spot Meter, Zebra Pattern remains available.
Alongside Raw video options, a series of minor UI and handling improvements have been added, and a series of minor bugs fixed. The firmware will be available from May 25th.
Panasonic Releases Firmware Update Program for LUMIX S1H RAW Video Data Output over HDMI
Newark, NJ (April 20, 2020) – Panasonic has announced that the company will release the firmware update program for the LUMIX S1H Full-Frame mirrorless camera to enhance its performance and usability, as stated last September. Working together with Atomos, a global company that creates video equipment for professional film creators, the new firmware enables the output of maximum 5.9K/29.97p and 59.94p 4K* RAW video data over HDMI to save it as Apple ProRes RAW on the Atomos Ninja V 4K HDR monitor-recorder. In addition, it further complies with 3.5K Anamorphic 4:3. Panasonic commits to provide innovative solutions for professional film creation by enabling all S1H users to receive this firmware for free of charge.
The program will be available at LUMIX Global Customer Support website https://av.jpn.support.panasonic.com/support/global/cs/dsc/ on May 25, 2020.
* 4128×2176(17:9), announced as “C4K” at IBC2019. Corresponding to C4K (4096×2160) as defined by Digital Cinema Initiatives (DCI).
LUMIX S1H Firmware Version 2.0
1) RAW video data output over HDMI
- [5.9K] / [4K] / [Anamorphic (4:3) 3.5K] 12-bit RAW video data can be output over HDMI. The Apple ProRes RAW can be recorded on Atomos Ninja V.
|Area||Resolution||Frame Rate||Aspect||HDMI Output|
|Super 35mm||4K (4128×2176)||59.94p/50p/29.97p/25p/23.98p||17:9||12-bit|
|Super 35mm Anamorphic||3.5K (3536×2656)||50p/29.97p/25p/23.98p||4:3||12-bit|
- V-Log or Rec.709 is selectable on Live View monitor during RAW output.
- Shooting assist functions including WFM (Wave Form Monitor), Vector Scope, Luminance Spot Meter, Zebra Pattern can be used during RAW output.
2) Enhanced video functions / improved performance
- Downconverted output over HDMI during [6K]/[5.9K]/[5.4K] video recording is available.
- In Creative Video mode, it is possible to disable the operation of starting/stopping video recording by pressing a shutter button.
- In Creative Video mode, it is possible to set [Rec Quality(My List)] from the control panel.
- The value of noise reduction in [V-Log] in Photo Style has been expanded to [-1]. It suppresses afterimages previously occurred in some situations.
- It is possible to prevent the enlarged view window of MF Assist to be output over HDMI.
- There were cases where color banding appeared in 4:2:0/10-bit video recording in some situations. This bug has been minimized.
- There were cases where the REC RUN time code did not count up when the video was not recorded on an SD Memory Card but was recorded on an external device over HDMI. This bug has been fixed.
3) Other added functions / improvements
- It is possible to set [AF+MF] in AFC mode.
- It is possible to assign functions to the lens’ Fn buttons when the Panasonic LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200) is mounted.
- It is possible to assign function to the Fn buttons of Sigma L-Mount interchangeable lenses.
- When attaching a lens using the Sigma MC-21 mount converter and [Image Stabilizer] > [Lens] is set to ON , Body I.S.(Image Stabilizer) suppresses roll movement.
- [Backlight Illumination Period] has been added to the menu of Status LCD. [ON1] prevents the LCD backlight to be turned off.
- It is possible to select the card slot to save the JPEG images developed by in-camera RAW processing.
- [0.5 SEC] has been added for an option of [Duration Time (photo)] in [Auto Review].
- [Off (Disable Press and Hold)] can be assigned to the Fn button. It disables operation when the button is long-pressed.
- Fn button can be used for checking aperture effect while the button is pressed.
- To prevent improper operation, touch-control is disabled for [Delete All] operation in playback mode. Only cursor buttons can be used for [Delete All] operation.
- There were rare cases where the camera froze during [Segmented File Recording] or during recording at 400 Mbps under a particular set of conditions including the type of SD Card used. This phenomenon has been improved.
- Aperture and shutter speed can be controlled using front/rear dials when the rear monitor is set to OFF.
- There were cases where F value control failed depending on the maximum F value when non-Panasonic L-Mount lens is mounted. This bug has been fixed.
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- Canon EOS C300 Mark III Super35 Camera
- Canon CINE-SERVO 25-250 mm T2.95-3.95 Zoom
- Teradek Bolt 4K
- Panasonic LUMIX DC-S1H with Apple ProRes RAW on Atomos Ninja V
- Cooke Tour 2020
- Blackmagic Pocket Cinema Camera Reports
- ARRI OCU-1 & Master Grips on Location
- FUJINON Premista Around the World
- ARRI ALEXA Mini LF
- Hunters, Rexer, SIGMA, RED
- DENZ FDC-LPL
- Focus Puller at Work
- Gods of Focus
- ARRI EF Mount, ERM
- Mole 20K & LED Spacelites
- Codex Dock & Reader for ARRI
One of the things I love most about photography is its rich history of innovation and quirkiness, with a vast range of cameras and lenses with unique designs having come and gone throughout the years. If you would like to take a trip down memory lane (or you need a manual for that old camera sitting on your shelf), this fantastic site features a wide range of camera and lens manuals and sales brochures from about 120 different brands across decades of history.
Hey gang we are back at it this week with another great show. Our guest on the podcast is cinematographer Catherine Goldschmidt and her latest work is out now on Quibi.
Catherine talks about shooting Dummy and having to tackle a brand new set of challenges framing for both landscape and portrait modes at the same time. Lots of fun stuff in this one and I think all of the issues that Catherine had to figure out will soon (if they have’t already) be coming to a set near you.
Be sure to check out Catherine’s website to see more of her great work and give her a follow over on instagram.
Commercial Cinematography: The Foundation Course
If you are interested in Commercial Cinematography and getting the most out of Pre-Production than this course is for you.
In the course I lay out a step by step plan of action to get on commercial production radars and raise the level of your projects by maximising the prep time you have at your disposal.
Check it out:
Patreon Podcast – I Think We Could Do That
This week on the Feature Film Breakdown we go over a film that I spent a good month looking at. I Think We’re Alone Now shot by Reed Morano ASC was a huge movie for the team I shot the feature with last year.
We embraced a number of different ideas and technique from this film and referenced it quite a bit whilst shooting.
In this week’s breakdown I talk about what we did in pre when it came to specifics and how we applied some of the ideas on the actual shoot.
To see the images and listen to the special breakdown podcast click the link below:
Featured Guest – Cinematographer Catherine Goldschmidt
The post The Wandering DP Podcast: Episode #224 – Catherine Goldschmidt appeared first on Cinematography Podcast & Tutorials.