Panasonic released a new firmware update for the Lumix S1H full-frame mirrorless camera which enables 5.9K/29.97p and 59.94p 4K RAW video data over HDMI to the Atomos Ninja V HDR monitor-recorder.
The Panasonic Lumix S1H is the world’s first full frame camera capable of video recording at 6K/24p (3:2 aspect ratio), 5.9K/30p (16:9 aspect ratio), and 10-bit 60p 4K/C4K, combining professional-level video quality with the high mobility of a mirrorless camera. Outstanding video recording capability is the greatest feature of the LUMIX S1H, making it a professional tool for high-end film making.
The new Panasonic Lumix S1H mirrorless camera is now in stock and shipping in the US: $3,997.99 at Adorama | B&H Photo | Amazon.
Panasonic UK Press Release
Panasonic Releases RAW Video Data Output over HDMI Firmware for LUMIX S1H
21st April 2020 – Panasonic has announced the release of its RAW Video Data Output over HDMI firmware update program for its LUMIX S1H full-frame mirrorless camera to enhance performance and usability, further to news of its development 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 the Atomos Ninja V HDR monitor-recorder and saves it as Apple ProRes RAW. In addition, it further complies with 3.5K Anamorphic 4:3 standard.
Panasonic commits to continuing 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.panason… on 25th May 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.
Apple ProRes RAW can be recorded on Atomos Ninja V.
Area Resolution Frame Rate Aspect ratio HDMI Output
Full-Frame 5.9K (5888×3312) 29.97p/25p/23.98p 16:9 12-bit
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. Further enhanced video functions / improved performance
• Down converted output over HDMI during [6K]/[5.9K]/[5.4K] video recording is available.
• In Creative Video mode, it is now possible to disable the operation of starting/stopping video recording by pressing a shutter button.
• In Creative Video mode, it is now 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], designed to suppress ghosting or afterimages that could have 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 colour banding appeared in 4:2:0/10-bit video recording in some situations. This bug has been minimised.
• 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.
• It is now possible to set [AF+MF] in AFC mode.
• It is now 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 now 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 Stabiliser) 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 now 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.
• The 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 stop value control failed depending on the maximum F stop value when non-Panasonic L-Mount lens is mounted. This bug has been fixed.
Atomos Press Release
Atomos Ninja V enables 5.9K Apple ProRes RAW recording for Panasonic LUMIX S1H with free update
Melbourne, Australia – April 20, 2020 — Atomos and Panasonic have today made the dream of ultra-high-resolution RAW video from a full-frame mirrorless camera a reality. The two companies have announced updates to the award-winning Ninja V HDR monitor-recorder and Panasonic LUMIX S1H that together record 5.9K Apple ProRes RAW files direct from the camera’s sensor. The result is the highest quality video images ever seen from a mirrorless camera.
Jeromy Young, CEO of Atomos, said: “We are excited about what the combination of the Ninja V and the LUMIX S1H gives to our users. Providing the choice to record 10-bit ProRes video for fast turnaround projects, or stunning full-frame 5.9K 12-bit ProRes RAW for more creative flexibility. It becomes an extraordinary workhorse – especially for delivering the best HDR possible.”
Simply stunning 12-bit RAW
The Ninja V captures highly detailed 12-bit RAW files from the S1H over HDMI at up to 5.9K/29.97p in Full-frame, or 4K/59.94p in Super35. These unprocessed files are extremely clean, preserving the maximum dynamic range, color accuracy and every detail from the S1H. The resulting ProRes RAW files allow for greater creativity in post-production with perfect skin tones and easily matched colors, ideal for both HDR and SDR (Rec.709) workflows.
Anamorphic RAW
More and more cinematographers are now choosing to shoot with anamorphic lenses and the Ninja V and S1H combination caters to them with the new 3.5K Super35 Anamorphic 4:3 RAW mode. An even bigger world of cinematic opportunities opens up as the Ninja V and S1H can now be used as an A-camera or smaller B-camera on an anamorphic RAW production.
Advanced metadata
Each frame recorded in ProRes RAW has metadata supplied by the S1H. Apple’s Final Cut Pro X and other NLEs will automatically recognise ProRes RAW files as coming from the S1H and set them up for editing and display in either SDR or HDR projects automatically. Additional information will also allow other software to perform extensive parameter adjustments
Free updates
Ninja V and S1H owners will gain these new RAW features free of charge. The Ninja V will be able to update by downloading and installing AtomOS 10.5 from the Atomos website. Panasonic will release a free firmware update on their LUMIX Global Customer Support website. Both updates will be available on 25 May, 2020.
Mirrorless advantage
The combination of S1H and Ninja V has unique advantages that other systems cannot match. Panasonic’s years of experience in mirrorless camera design give the camera a state-of-the-art image stabilised sensor with dual Native ISO technology, superior ergonomics, electronic viewfinder, good battery life, audio options and multiple lens options thanks to the versatile L-mount. Combined with the Ninja V, the camera is perfectly suited to handheld, shoulder-mounted, gimbal, Steadicam, in-vehicle or even underwater setups.
Ninja V advantage
The Ninja V allows users to accurately monitor the RAW signal on its daylight-viewable 5” 1000nit brightness HDR screen. Setup is simple when the camera is attached with perfectly tuned color settings applied automatically. Users can then view the RAW image accurately in HDR in a choice of HLG and PQ (HDR10) formats. The Ninja V offers touchscreen access to tools like waveforms, 1-1 magnification and focus peaking, allowing them to perfect their RAW video. The Ninja V then records the ProRes RAW data onto a removable AtomX SSDmini or other SSD drive. When shooting is complete the drive is removed and connected to a computer via USB for immediate offload and editing.
ProRes RAW the new standard
In addition to their groundbreaking combination of flexibility and performance, Apple ProRes RAW files are smaller than other RAW files – simplifying and accelerating file transfer, media management, and archiving. Even with the new higher 5.9K resolution, ProRes RAW files from the S1H can easily be edited on most modern Macs. ProRes RAW is fully supported in Final Cut Pro X along with a collection of other apps including ASSIMILATE SCRATCH, Colorfront, FilmLight Baselight, and Grass Valley Edius. Adobe Premiere Pro and Avid Media Composer are also set to support ProRes RAW in 2020.
New short film “Blind Love” shot on S1H and Ninja V in 5.9K ProRes RAW
Polish director of photography Krzysztof Sieniawski – whose latest feature-length historical docudrama recently premiered on the History Channel and was made for just $120,000 – has shot a fast-moving drama to showcase the capabilities of the S1H and Ninja V. “Blind Love” was shot in just one day by his small team of indie filmmakers. Filmed entirely in 5.9K ProRes RAW, using one camera in basic handheld and gimbal setups, it demonstrates the amazing results that talented creators can deliver to screen without a Hollywood budget using this setup.
Sieniawski said: “I loved working with the S1H and Ninja; it really suits our style of fast-paced filmmaking. But it was the image quality that blew me away. I was super impressed by the colors and the latitude the 5.9K ProRes RAW files gave me in post. The image is clean even when shooting at high ISO in RAW, unlike other systems I have tried. I’m looking forward to using it on a feature-length production in the near future.”
