Panasonic S1H Announcement Tuesday, August 27th

TheDingo said:
Can you post some links that clearly demonstrate that this is a Panasonic S1H problem ?

All I've been able to find is the standard blue LED problem that virtually every digital camera has, and it's always caused by LED lights that have a massive blue spike in their spectrum.
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The stuff about blue T-shirts clipping and yellow clipping are reports from the S1. While a lot of cameras have similar issues what I am hearing from people is that its particularly bad on the S1. Hopefully the S1H is more tame, but I am not counting on it. That said Panasonic has responded to people and said they will be working on it, so that is encouraging. Apparently the S1H videos on B&H all have it pretty severely.

The GH5 didn't have that issue in Vlog at least not to the degree the S1 has it. Have to wait until more people get their hands on the S1H.
 
Back in the days when I had the original A7S, which had a bad blue clipping issue, my solution was to shoot tungsten lit scenes with an 80a filter.
It worked but on the flipside you lose a bunch of light in the process.
 
sgttom said:
The stuff about blue T-shirts clipping and yellow clipping are reports from the S1. While a lot of cameras have similar issues what I am hearing from people is that its particularly bad on the S1.
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I remember all the reports about how terrible the Panasonic S1 AF was, until a few people actually figured out how to configure the AF properly and then suddenly the results were very different. I remember all too well that many reviewers could not deal with GH5 4K 10-bit 4:2:2 footage when it first came out because the only NLE they knew was Premiere or FCPX and neither of these editors could open the footage. ( where other editors like EDIUS Pro or the TMPGEnc apps had no problem with it ) From my own experience shooting projects with the GH5 I know that it can produce great results in the right hands, where I've seen other people crash'n'burn trying to do the same thing.

So color me a skeptic until I can see some actual S1H results against other cameras first-hand. Too often the people reviewing new gear have no clue on how to properly use it.
 
TheDingo said:
I remember all the reports about how terrible the Panasonic S1 AF was, until a few people actually figured out how to configure the AF properly and then suddenly the results were very different. I remember all too well that many reviewers could not deal with GH5 4K 10-bit 4:2:2 footage when it first came out because the only NLE they knew was Premiere or FCPX and neither of these editors could open the footage. ( where other editors like EDIUS Pro or the TMPGEnc apps had no problem with it ) From my own experience shooting projects with the GH5 I know that it can produce great results in the right hands, where I've seen other people crash'n'burn trying to do the same thing.

So color me a skeptic until I can see some actual S1H results against other cameras first-hand. Too often the people reviewing new gear have no clue on how to properly use it.
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Skepticism is understand, I have it from sources I trust though which is why I am really bummed out as I was hoping to get the S1 this month. We'll see soon enough. That said I keep going back to being happy with my XT3 which is good I guess.
 
TheDingo said:
I remember all the reports about how terrible the Panasonic S1 AF was, until a few people actually figured out how to configure the AF properly and then suddenly the results were very different. I remember all too well that many reviewers could not deal with GH5 4K 10-bit 4:2:2 footage when it first came out because the only NLE they knew was Premiere or FCPX and neither of these editors could open the footage.
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All true, except a small detail, which you'll forgive me for pointing out. FCP X has always supported 10-bit video since the GH5. It's QuickTime which doesn't understand it, a surreal oversight that baffles.

I'm sure the camera will survive a less than enthusiastic review. Time will tell.
 
TheDingo said:
Can you post some links that clearly demonstrate that this is a Panasonic S1H problem ?
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Not just a Panasonic problem I've had it with Sony cams as well but when it comes to blue LEDs the worst examples I've seen are from the S1 V-LOG so maybe it's the same or similar on the H.

A similar discussion on this 'blue issue' going on at:


Chris Young

https://www.youtube.com/watch?v=1hFBnAGahFM

http://www.dvxuser.com/V6/showthrea...-on-Canon-Rumors/page14&highlight=chris+young
 
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Luis De La Cerda said:
Back in the days when I had the original A7S, which had a bad blue clipping issue, my solution was to shoot tungsten lit scenes with an 80a filter.
It worked but on the flipside you lose a bunch of light in the process.
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Yea, this was (is) a big Sony problem for years that was discussed quite frequently (especially about the mirrorless').

If the Panasonic has a Sony sensor (IDK) then the unfavorable, similar results might make some sense. But in general, I do think other cameras have some issues too.
 
DLD said:
S1/H, Z6 and A7III share the same sensor. I assume it's tweaked differently.
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The S1H sensor has an optical low-pass filter (OLPF) to reduce aliasing as well as dual native ISO support. So there are a few minor differences between the sensor on the S1 and S1H, although it's not clear that those differences would be relevant to the blue clipping problem.

There are various comments on the YouTube video Chris referenced that indicate that the problem only occurs in V-Log on the S1, and does not happen in HLG or one of the standard picture profiles:
https://www.youtube.com/watch?v=1hFBnAGahFM

Which suggests that it's not actually a sensor problem, but instead some issue in the V-Log implementation on the S1. HLG uses the Rec. 2020 color space, whereas V-Log uses V-Gamut which is a slightly larger color space than Rec. 2020.
 
You are correct the problem is worst in V-LOG and best in HLG but in ALL modes it is a problem given certain nasty lighting situations. The worst I've had to fix in post to date has been with the Sony mirrorless and now the Panasonic S1, which I think is the worst I've come across so far.

Chris Young
 
stoneinapond said:
All true, except a small detail, which you'll forgive me for pointing out. FCP X has always supported 10-bit video since the GH5. It's QuickTime which doesn't understand it, a surreal oversight that baffles.
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Does it make a difference if it's a QuickTime or FCPX issue, the net result was that GH5 4K 10-bit footage could not be edited by either Premiere or FCPX when the GH5 was first released, and many reviewers saw this as a camera problem. Eventually the popular NLEs adapted and were able to handle the footage. ( I had the same issue with Vegas Pro 14 and supplied MAGIX with 2GB of GH5 footage to help them sort out Vegas )
 
cyvideo said:
https://www.youtube.com/watch?v=1hFBnAGahFM
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Unfortunately the LED make and model is not mentioned, so while the problem might be more visible in V-LOG, it's likely that the light source can't be considered usable for photo or video work. There are lots of cheap LED lights that should never be used for production work.

This is like using a LED light with a bad CRI rating and then blaming the crappy skin-tones on the camera, when the source of the problem is always going to be the light itself.
 
Cary Knoop said:
The fact that this camera is in stock everywhere and already discounted does not sound very good.
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I said it, everyone said it...the L-mount will single-handedly destroy the camera. Because there is truly almost nothing else wrong with it.

It never received a B&H badge either (#1 Seller or Best Seller or Top Seller)...almost everything else we talk about on here usually does at some point.
 
NorBro said:
I said it, everyone said it...the L-mount will single-handedly destroy the camera. Because there is truly almost nothing else wrong with it.
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Just like with other camera mounts, it's going to take a few years before a large range of L-mount lenses become available.

Out of curiosity, what mount should Panasonic gone with instead of the L-mount ?

Keep in mind that Panasonic wants fast focusing ( L-mount lenses use both a linear focus motor and a stepper focus motor ) that does not make any noise.
 
I do agree but a few years is a lifetime now.

And obviously the EF mount but the EVA1 probably did not allow that to happen (or Canon didn't through licensing).

Even the E-mount with their very large growing number of lenses would have been nice (but again...Sony wouldn't have that).
 
They obviously then couldn't offer S35 or full-frame capturing if they stayed with the MFT mount (besides S35/FF cinema glass with a MFT mount).

What you're talking about is a GH6, which will of course be a big seller.
 
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