Just snapped up the S1H and it’s absolutely incredible. After seeing the footage in this video I’ve also gone and bought the Atomos Ninja. There can honestly be no debate over the difference in quality. Thanks for another brilliant - and undeniably well timed - video mate. Bring on Pro Res Raw!
Chris! I've been seeing you everywhere 👀. I think with your content the S1H is going to be a better option than the R5 you've been looking at for sure.
you prolly dont care but does anyone know a method to get back into an Instagram account? I somehow forgot my login password. I appreciate any help you can give me
OlivaProductions There is no debayering done in the camera, so this is why you get the full sensor readout. In the NLE you can chose the debayering method. This is the beauty of raw 😁
I saw in the video you put that the 5.9k ProRes RAW was "4:2:2". That was a mistake right? Or do you have actual verification that it it actually is 422? ProRes Raw should be 4:4:4 not 4:2:2. Seems like a mistake. If it's surely not a mistake, then ProRes Raw or the s1h aren't as good as I had hoped.
from test ive seen the raw video the s1h is outputting does not have full whitebalance flexibility like other raw options. just something to keep in mind (even when using 3rd party tools like "Assimilate Scratch" to get back white balance control)
For the Panasonic S1H, would you rather have a 5inch monitor or 7inch monitor? Debating on getting the shinobi, just idk if 7 would be too big for the S1H.
The S1H imagery is brilliant. I think you would appreciate the very small size of the Sigma fp - which can output raw directly to SSD without a recorder (CinemaDNG) or output to either BlackMagic or ProRes depending which recorder you use. Apparently, it's also seeing great use as a stills camera in Japan - especially with M lenses. Although it's not Foveon, Sigma have developed great experience with colour working with Foveon. Yeah, so I can see you travelling with an X-Pro3 and an FP for a very small setup, and using the S series when you've got the time/space. You can buy an FP and an S5 for the price of the S1H, and have the best of both worlds.
*Uhhh, Joe, ProRes Raw is not 4:2:2. ProRes Raw is 4:4:4 12 Bit. ProRes RAW was designed to be the RAW version of regular, compressed ProRes 4:4:4 HQ, which is 4 bits of colour information per pixel on a 12 bit scale.*
Interesting seeing the quality of the footage and hearing you explain the ins and outs of ProRes Raw. Admittedly it's hard for me to wrap around as I don't even know how to properly use Sony Picture Profiles but it was a pleasant surprise to see the ZV-1 in your video, which is what I've been using to try to get into video!
Cheers! When I shot Sony (A7R II), I spent most of my first year using S-Log2, but I later realised I could get a much higher quality out of one of the other profiles (CINE4 for example) as the 100mbps bitrate and 8-bit codec just aren't enough for log footage. I do like how the Sony's can be well customised, but I did always struggle with consistency from shot to shot regardless of which profile I used. I hope things are better now they've updated their colour science though!
I have the S1H and am still waiting on BRAW on my 12G HDR 7" Video Assist for the S1H, as they did for the bigger brother in the EVA1.. but unlike the EVA1's S35 sensor the, FF on the S1H needs more mention!.. It takes it to another level. Hoping to have Divinci as my NLE (shoot a lot for News channels, and AVID is ITN's NLE of choice).
The colour difference is amazing, I hope this will also be the case when the S5 gets the raw output, I'm still using the gh2 and I am looking to upgrade either between the pocket 4k or the S5, I think the S5 with the Ninja could be the way to go.
The graded colors look very Fuji esque in a positive way. This would be the camera I'd be looking at if I was going FF or shooting video & had the funds.
Glad you like it! I think if I was doing more commercial video projects and needed a workhorse, the S1H would be at the top of my list. I'm still undecided if it's oversize for my current needs though...
Hey Joe, I do have s1h and Atomas Ninja V. I recorded the as pro-res raw. I have trouble with video playback in windows10 even when i try to import video in PREM PRO it doesn't import at all. Could someone help me regarding this?
You footage looks good. As a suggestion, if you really want test do a more comprehensive test,you should have shot some clips in various scenarios, such a night scene, with people, animals, ata market, indoors and outdoors at night. Most of your footage is day footage of buildings and skylines, during the day in the sun. What do you think ? I have subscribed !😀
Sorry, that's likely an incorrect title copy and edit from the 5.9K internal text. From the Apple white paper, the data rates at least, are described as the following: "ProRes RAW data rates benefit from encoding Bayer pattern images that consist of only one sample value per photosite. Apple ProRes RAW data rates generally fall between those of Apple ProRes 422 and Apple ProRes 422 HQ, and Apple ProRes RAW HQ data rates generally fall between those of Apple ProRes 422 HQ and Apple ProRes 4444, as shown in the chart below."
Very good video Joe. I have the GH5 and love it, but am interested to see your review of the S1H. I’m planning to step up to the S1H, but am really researching due to the price tag. Any idea when you might post the review? Again, well done and thank you for doing what you do!!
Good Review! I have the S1H and am still waiting on BRAW on my 12G HDR 7" Video Assist for the S1H, as they did for the bigger brother in the EVA1.. but unlike the EVA1's S35 sensor the, FF on the S1H needs more mention!.. It takes it to another level. Hoping to have Divinci as my NLE (shoot a lot for News channels, and AVID is ITN's NLE of choice).
Joe, what was the file size like for 1min of ProRes Raw? And thanks for the review! It was exactly what I was looking for... Looks like I need to pick up an Atmos V :)
Just had a quick look and found a 1:01 clip at 8gb in size. ProRes RAW has a variable bitrate depending on the scene/data, so I'd take that figure as a ballpark. You can read more on page 6 of the white paper from Apple: allam.co/prores-raw-white-paper The clip in question, by the way, was of Elly on the bridge walking (seen at 7:17)
Thanks! We've been taking it slow and doing our bit to stay inside and try and get the world back on track. I've missed being able to be spontaneous with shooting, but glad when a video does eventually come together. Hoping we can get some things in place over the next month or so!
Yup! I have the Smallrig cage for the Ninja V. The screen itself is pretty solid build quality, but I like the adaptability of the cage for use with nato quick release accessories I have at home. There are half-cage options as well, if you don't want to go all in.
Excellent video Joe! It was so pleasant watching you talk tech stuff in a Gerald Undone fashion. Really well explained , hope there's more like this coming!
Cheers, although I have to say it looked even better on the Atomos! Still got a way to go in terms of workflow to get it even better on the output, but that's what these tests are for.
I believe I may be incorrect about the 4:2:2 aspect of the codec in the title (which I duplicated and edited from the other titles). This white paper from Apple gives more detail about it all. Page 7 in particular about data rates and similar specs: allam.co/prores-raw-white-paper Here's some more specifically about Panasonic and Atomos together: www.panasonic.com/global/consumer/lumix/s/s1h/firmware_atomos.html
Yeah I noticed that afterwards too. Didn't seem as problematic at the time of filming though, so I think I may need to experiment a bit more on the editing side of things before resorting to noise reduction.
The difference between Temp & Tint has nothing to do with the Codec (and it never has been in any camera), it is your white balance that you either missed or corrected differently. Same goes for the "depth", you crushed the blacks on the footage of the internal recording while not crushing them in the RAW image. When you correctly expose and set your WB the results are identical, especially with no to little movement in the frame. The DR is around 12.4 Stops in RAW & ALL-I/LONG-GOP, only the highlight-rolloff & noise may look differnt due to log vs linear. In general it is still a nice video but you are creating some really wrong perception for your audience here because you compare very different footage. People will get the exact image you get with RAW in even Long-GOP.
Thanks for the thoughts and I agree with you on the logic for all of it. However, a key aspect should be noted. The current version of Premiere Pro (2020) doesn't have correct gamma profiles for the raw conversion. In fact, it has no profiles at all! It's essentially doing its best all-round effort for ProRes RAW regardless of what camera it was shot with. This in turn gives the footage its own Premiere-style "character". As such the colour casting is apparent and not inline with the camera's designed colour. The latest beta of Premiere Pro (Available since September 2020) features improvements to ProRes RAW that will likely make it to the 2021 final release. Most notably is the selection of gamma conversion via the colour space control. This allows the footage to be interpreted correctly via V-Log to then have the gamut conversion applied correctly as a technical LUT. The end result of this would be identical, as you say, to shooting V-Log in-camera. Since filming this video, I've actually been working directly with Atomos and am pleased to see the improvements on the way. As for the footage shot in this video (edited before these improvements came about), I should note that auto white balance was used for most of the footage to test the camera's perceived choices. The colour aspects shown are a difference between the camera's native processing and Premiere's "guessed" processing. There were no temperature/tint adjustment differences between any comparison clips. It's exciting to see how ProRes RAW will develop over time and will be equally interesting to return to old footage once new features are released for post-production.
Ha! I actually started off calling it the 5, because of Roman numerals, just like OS X and iPhone X being “10”, but then I heard atomos reps at trade shows calling it the V and that got me confused!
You gonna be using one for ProRes RAW? I'd be interested in seeing how it does in comparison to the in-camera colours, just like the tests I did here with the S1H that surprised me.
