S1H FIRST LOOK Part 2 – The Panasonic Look: Color Science + Sensor
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S1H FIRST LOOK Part 2 – The Panasonic Look: Color Science + Sensor

Okay, let’s talk a little bit about the
sensor. Yeah, what is the sensor all about? Well, it’s a 24 megapixel sensor for
photography. There are some differences between this one and the S1
however. The first is that we are actually putting an optical low-pass
filter on this particular sensor. We know how many video shooters are going to be
using it and people are going to be concerned about the potential for moiré and false aliasing issues so that will help us to prevent that. Also, I
think we’re a little sensitive to the criticism of an overly video image or an
overly sharp image and those filters help to really even out the look of the
sensor so it looks more “filmic,” as people call it, so you get that on the camera.
And then the second thing is that we are adapting the dual native ISO function
that we have in the VariCam and the EVA so the camera will have two native ISO
functions which effectively means you have two analog circuits, one for the
high ISO and one for the low ISO. And so if you shoot in log, your low native will
be 640 and if you shoot in high it’ll be in 4000.
So that’s your log natives, and then if you’re doing it for photography there is
actually photography dual-native in the camera. So you have a 100 and a 640 as
it’s natives for photography and you also have native points for traditional
picture profiles. So if I’m in like the cine-like D or cine-like V profiles,
you’re gonna be at an ISO of 400 or 1250 as the natives. We’re huge VariCam users,
we recently, well I say recently but within the last three or four years,
still used our tape-based VariCam. It’s 720p! Wow, okay! And we had
people say, “wow, what did you shoot this with?!” There’s something about that
Panasonic look from the very first VariCam. Is that what you’re talking about
with this? So we have the dual native which is adapted from the VariCam,
and then you also have our color science, right, and how we interpret the way
that we see the world and how we see flesh tones and how we render reds. One
of the engineers who led the project for the VariCam 35 was instrumental in
developing the color science of the S1H, and we want to make sure that when we
shoot in LOG we had V-Gamut which is the wider color
space of the VariCam. And they actually remapped the color matrix of this camera
so it’s as close as we can possibly get it to a VariCam or an EVA. So that
brings me to the question of positioning this camera and who the customer is?
You didn’t just develop this as a B camera, did you? Well I think we always
had a target of A camera quality so we always wanted it to be usable as an A
camera. We’re also realistic! We know that, on
certain productions, budgets will allow you to use a more complete cinema camera
solution like a VariCam, an EVA1, so we view it as an A cam quality product
which can fill in as A camera and there are applications where you’ll need it
for A camera. Especially if you’re doing certain POV shots it works very well as
a POV A camera but as a match to a B camera, clearly it’s going to be a
beautiful match to a VariCam or an EVA. But when you think about the workflow of
a higher level of production where we might be pulling this into an ACES
workflow, we’re actually bringing color into ACES space. There already is an IDT
available for the VariCam and the EVA that brings you to an ACES workflow and
that IDT works perfectly fine with this camera as well which gives you a much
larger pool of cameras that it becomes easier to work in the similar workflow.
Well look at your line-up now. You have a micro 4/3, you have super 35 in
the EVA1, and then you have super 35 in the VariCam which again is a much more
cinema-style camera, it’s gonna have a lot of the things you need. This is small
so it’s a little more tricky, but it’s great for shooting documentaries, small
cinema movies is how I’m seeing it. I don’t see doing a 30 million dollar
movie with this camera! I see the VariCam is really the camera for that. Right, this may work well as a B or C camera in a 30 million dollar
production. It’s clearly not gonna be your A camera. I think for student
filmmakers or people who are looking for maybe that second or third camera and
they haven’t quite reached the budgets to be able to work with a cinema camera,
yeah, this is a great tool because it speaks cinema camera language.
It actually has shutter angle instead of shutter speed.
It actually gives you waveform monitor, it actually gives you vectorscopes. It
gives you a master pedestal function, It gives you a proper, cinema camera
experience if you choose to set it up that way. And, you’re not gonna have to
learn a new language and a new way of thinking about photography when you go
into your next cinema camera. Ultimately this will be a tool that
you’ll be able to keep with you as you make those investments into more
expensive cameras because it’ll match so many different cameras. And it costs…?
Yeah, we’re gonna go for $30,000! No, I’m joking!! We’re
gonna go for $4000 on this one. That camera has the features of
a $40,000 camera or $30,000 for sure. Well a few years ago
that would have been the price, you know? I mean I think people get caught up in
this 6k of the camera which is… it’s a great feature and it’s gonna give you a
lot of resolution and it’s a very cool functionality it’s also what we’re doing
in the 4k side that I think is exciting. Because you know you get 10-bit internal recording in 4:2:2 color with this camera.
The 6k is actually 10-bit as well but it’s 4:2:0 color. I think those are the
things that as a filmmaker I think a lot of filmmakers will find even more
exciting because it gives you more flexibility in post when it’s time to
color grade and color correct your files. Most of the cameras in this category
either don’t give you any 10-bit at all or they’re using an external
recorder of some type. Also when you think about the dynamic range, you know,
you’re at 14 plus stops of dynamic range that we’ve measured on this camera.
That’s a lot of headroom to be able to work with in a camera like this. There
are maybe some other full-frame cameras out there that you can count 14 stops if
you measure it but once you get down below the 10th stop into the 11th and
12th there’s so much noise there that you question the usability of it. So
you’re getting a much more useful camera for more applications because of that.
Now some people might be wondering, is this a replacement for the GH5, but it’s
not really, is it? No, I think when we look at the GH5 there are certain things we
can still do with a micro 4/3 sensor that we simply can’t do with a
full-frame sensor. First of all, this is a 24-105 lens and it’s an F4
constant-aperture. We make a 12-60 which is the equivalent of a 24-120,
F28-F4. It’s a fraction of this size. So for portability, compactness
of the whole system, we can make things much smaller and lighter with a micro
4/3 sensor. So there’s certainly documentary work, and frankly, a lot of
rigging work that people want to do with a smaller, lighter weight camera. Frankly
just for drone it brings you into a much lower price drone to fly a GH5
than in does an S1H. How will it match up color wise? So it’s gonna
be a very close match but you have to remember we’ve re-matrix-ed! We’ve remapped the matrix. So I’m not gonna say it’s gonna be as close as we are at a VariCam, but it is still V-log so you still have the same LUTs that you can use
with it. There’ll be some differences in color, I think it’s really going to come
down to what level of production you’re working on, right? So, yeah, at a cinematic
level of production it’s close enough to where your colorist is going to get them
to match. At a lower end level where you’re not working with an expert
colorist you may have to do some, a little more work than you’d want you to
get them to match perfectly. And you know, on top of that, readout speeds are simply
faster on a sensor that’s smaller. You know, this camera will do 4k 60, but
it’s going to do it in the APS-C region, it can’t do it in the full-frame region.
Whereas with a Micro Four Thirds sensor, we can do 60 frame for the entire sensor
width, so there’s clearly use cases for micro four-thirds and we’re not
abandoning it by any stretch of the imagination. We’re actually going to
continue to develop it and aggressively develop it.
They’re just certain tools for certain applications.

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