The Panasonic LUMIX S1 is the latest in Panasonic’s offerings. It is a full frame camera, aimed at advanced photographers, but can also capture high quality 4K videos. The new camera will greatly benefit from the firmware update scheduled for later this year, so the appeal for videographers will be even higher. I’ve been running around with the yet to be released camera and had a chance to explore its video capabilities a little  further.  Panasonic LUMIX S1 While getting to know the new Panasonic S1 in Barcelona was nice, I felt that there is much more to explore about it and have therefore decided to dedicate some extra time and review the camera, although it is still in a pre-production stage. First, let’s have a quick recap in regards to its video specifications. Panasonic S1 Video Specifications: 24.2 MP CMOS Sensor 4K HLG (Hybrid Log Gamma) internal video recording, HEVC codec in 10-bit 72Mbps 4K 50/60p, 4:2:0 8-bit, cropped to APS-C, internal recording limited to 29:59 min 4K 24/25/30p Full Frame, 4:2:0 8-bit, unlimited recording Various Full HD recording modes Various High Frame Rate recording options in 4K and HD (No control on any of the recording parameters like shutter speed and ISO, no autofocus, no sound. 150fps and 180fps in HD mode are cropped) Native ISO of 100-51,200 Future paid firmware update unlocks: 4K UHD up to 30p, 10-bit 4:2:2 internal recording (At 150Mbps) 4K UHD 50/60p, 10-bit 4:2:2 external recording via HDMI with APS-C crop FHD at up to 60fps, 10-bit 4:2:2 at 100Mbps  V-Log Panasonic S1 top view – Large, robust, comfortable to hold Panasonic LUMIX S1 – First Impression and Handling As a reviewer, I get to use many of the new cameras out there and leaving specifications aside, there are always those cameras that simply feel more comfortable in the hand – the Panasonic LUMIX S1 falls into this category. This mirrorless camera is big, heavy and robust (especially when equipped with the new 24-105mm f/4 L lens), so you better think of it as if you are carrying a DSLR, but in this particular case, this is NOT a bad thing, as the camera felt very balanced in my hands and I could work with it for exceptionally long periods of time. This brings me to another advantage of working handheld with this camera: its IBIS (In Body Image Stabilization) system is simply working very well! If you feel the need for even extra smoothness in your shots, you can turn the E-Stabilization (Video) “ON” and – on the expense of a slight crop – you will get perfectly steady shots. (Everything that you see in the above video nut two shots, was shot handheld and although the stabilisation is enhanced digitally, to my eyes, there was no drop in picture quality). Panasonic S1 E-Stabilization option Call me an old-fashioned cameraman, but a viewfinder is a much more valuable and suitable for my style of working than an external monitor, as it gives me an extra gripping point when working handheld and also, in bright light, I can judge the exposure more accurately and easily. The reason I’m mentioning this here is because up until now, most – if not all – of the mirrorless cameras I’ve worked with had “just an OK” EVF (with the exception of the Leica SL). The Panasonic S1 brings back the faith in the possibility that an excellent EVF can be included in a mirrorless camera. I can report first-hand that manual focusing is a breeze and eye fatigue is a thing of the past, when extensively using that particular EVF. Well done, Panasonic! Last but not least, a word about battery life. The new DMW-BLJ31  7.2V 3,100mAh large capacity battery did very well during my shooting day(s). Again, Panasonic kept its reputation of equipping their cameras (aka GH5/GH5S) with long lasting batteries. Panasonic S 24-105mm f:4 L mount lens – ISO 5000   Panasonic S 24-105mm f:4 L mount lens – ISO 30,000   Panasonic S 24-105mm f:4 L mount lens – ISO 2000   Panasonic S 24-105mm f:4 L mount lens – ISO 12,800 Lowlight capability (The above images were taken from the editing timeline) This is where the camera REALY shines! Previously, I’ve seen similar results only when testing some of Sony’s cameras. As a documentary filmmaker, the lowlight capabilities of a camera can be a deal breaker, when considering what camera to purchase, as I never know where I’m going to find myself filming, or if I will have the time to set up proper lighting on location (whenever possible). With the Panasonic S1, there is absolutely nothing to worry about. Aggressive NR (Noise Reduction) or not, you can shoot and expect clean images up to ISO 30,000. (Not that above that figure the images are not usable, they are but with additional noise). As a picture is worth more than a thousands words, I encourage you to take a look at my above video and see for yourself. Autofocus system If there is anything that needs some extra care and attention from Panasonic’s side, it is the autofocus system. The main thing, when using autofocus with any camera, is the ability to get good and constant results. With the Panasonic S1, I got mixed bag results. At times, I was very happy with the speed and accuracy of the autofocus system and then, there were times where the camera simply did not function well. As I was testing a pre-production model with a non-final firmware, I assume that Panasonic will do all they can do, in order to fine-tune the autofocus system within this camera, before it hits the stores. Dynamic Range Test We are continuing with our tradition of testing the Dynamic Range of new cameras, and although the sample unit we had is NOT a final one, we were rather curious about what ballpark range we stand in. Please head to this link in order to learn more about our Dynamic Range tests. Gunther, our DR specialist has tested 3 picture profiles and modes. HLG, Cinelike D and the new Flat picture profile. Here are his observations:  HLG option in the camera menu HLG, ISO 400 (12.2 stops) V-Log will come at a later stage, with a paid firmware upgrade, however with the Panasonic S1 you can already shoot in Hybrid Log Gamma (HLG) mode. (HEVC codec, 4:2:0 10bit long GOP 72Mbps).  Setting both, sharpness and noise reduction (NR) to -5, I was able to get a Dynamic Range of 12.2 stops at ISO400 for a signal to noise ratio (SNR) of 2 (13.4 stops at SNR = 1), see figure 1 below. Fig. 1: Panasonic S1 waveform plot of the step chart in HLG ISO400, noise reduction set to -5 (lowest). Visually, 12 stops above the noise floor are visible – a very good result! This is a very good result, which is only topped by the Blackmagic URSA Mini Pro – see figure 2 below. Fig. 2: Dynamic Range comparison of the Panasonic LUMIX S1 – it comes in just behind the URSA Mini Pro 4.6 If we compare this result to the Dynamic Range of the Panasonic GH5S in HLG mode (ISO800, NR = 0) coming in at 9.9 stops, this is about 2.3 stops higher! Now, the same GH5S has a Dynamic Range of 10.7 stops (ISO400) with V-Log L, hence, there is some potential for the Panasonic S1 to have an even better DR reading once V-Log becomes available! Looking at the noise floor and the lower steps of the step chart of the Panasonic S1, there is very little noise visible – it looks ultra clean. Although noise reduction was set to the lowest setting, we can assume that there is still a lot of internal noise reduction going on. (I also tried shooting the chart with noise reduction set to 0 (NR = 0), but there was very little difference). Personally, I would prefer to have more influence on the internal noise reduction through the settings – maybe a future firmware update will enable this. For me, if the image is too clean, it lacks mojo. Cinelike D picture profile (10.8 stops) Panasonic LUMIX S1 Cinelike D DR result If you are not interested or ready to shoot in HLG, Cinelike D might be a good option. As you can see from the chart above, we got 10.8 stops of DR in this mode. Flat picture profile – Unmeasurable Flat picture profile – Unmeasurable I was very curious to measure the new Flat picture profile – especially as Johnnie shot all of the above video in that mode – but to my surprise, it was unmeasurable. As you can see in the above figure in the upper chart, there is a very abrupt transition in the brightness value (density) response curve from the higher into the lower stops (representing the Xyla 21 patches). Furthermore, in the middle chart the RMS noise curve falls off to zero between -5 and -4 LOG exposure values (on the x-axis), and in the lower chart again, between -6 and -4 LOG exposure the lower stops (shadows) of the Xyla chart show zero pixel noise (lowest chart of the three) – thus confusing IMATEST. The software, therefore, shows a wrong 12.6 stops for all signal to noise ratios – which cannot be real, of course. I don’t know what it is, but it seems as if a very aggressive noise reduction is responsible for those unmeasurable results. In general, we can only hope that Panasonic will consider giving us more control on the noise (meaning, the ability to turn the reduction off all together) in a future firmware update. Choose between FullFrame or APSC filming options Conclusion The LUMIX S1 camera is Panasonic’s first attempt (alongside the S1R) of entering the world of full frame sensor cameras and as such, I think they did really well! They are presenting a well-balanced shooting device (specification- vs. performance-wise), although I have to say that I wish the video images received would have a bit more “mojo” in them. The Current  image is very clean – maybe too clean, at times. It is only in post-production that you can actually turn it into having a more distinguished identity (keeping in mind that it is an 8bit camera, so color correction needs to be treated gently)… Moving to pricing, in Panasonic’s eyes, this is probably a camera for photographers first and then for us filmmakers, hence, I do understand the reason why they decided to charge extra money for the additional features. I guess, they do not want photographers – who are the main target of that camera – to pay a price if it is not needed. Fair enough. Saying that, it is an expensive camera and the price cannot be neglected, when doing the overall calculation before buying (any) camera. And further than that, we have gotten spoiled, while one of the companies to spoil us most is… Panasonic. They proved in the past that they are able to provide us with cameras that can shoot high data rate, 10bit, 4:2:2, all Intra, internally, so I won’t be surprised if this will be the case this time, too. The basics are all there, all Panasonic needs to do is top up the video specifications and produce a “video centric” camera and charge us a fair price. In case this ever happens, it’s going to be a real treat! Panasonic LUMIX S1 The above video was shot handheld on a pre-production Panasonic LUMIX S1 camera. Image quality is not final. Picture profile “Flat”. Edited on Adobe Premiere CC latest edition and color corrected with FilmConvert. The music used in the video above is courtesy of Music Vine. Get 25% off your next music license with code C5D25 (valid for one use per customer). What do you think? Does the new Panasonic LUMIX S1 interest you? Will you consider buying it or do you prefer waiting for Panasonic to produce a more capable camera that shoots video? Share with us your thoughts in the comment section below. 

The Daylight Zylight F8 200 is admittedly a strange light to look at. It has about the same physical footprint of a 1×1 panel, but to compare it to a simple high output flood light would be a mistake. There is more here than meets the eye. I took the Zylight F8 200 into the field recently in a documentary project in Europe to really put this LED fixture to the test in a wide variety of situations. Does it hold up? Find out below:  The Zylight on location in Basel, Switzerland. Out of The Box When you open the box, it is clear that a ton of thought went into this light. It’s dimmable from 0-100%, runs quiet and isn’y over-designed, but the ability to accordion (for lack of a better word) out the lens to focus the output works marvelously well. Simply turn a knob at the back of the fixture and the beam angle narrows from 16 degrees to about 70 degrees as the lens extends. This simple design feature gives you a more versatile light and keeps it compact for travel (it fits in a small Pelican case with all the accessories). The build is superb; it feels bullet proof. In 6 weeks, we never encountered any issues. I do think it will hold up over longer shoots, but we put it through the paces at a month of using it for several hours a day. In The Field The manufacturer claims a CRI of 93 and in my experience, that’s accurate. I paired the light with several other brands of daylight LED fixtures, and it matches color perfectly without the need of minus green. The light also has an IP54 rating, which means that rain, snow and dust shouldn’t effect the operation of the light much. We did use it in the rain with no problem. You can power the light through the wall obviously, but Zylight also makes a dual V-mount or Gold Mount battery adapter (available separately for $350) that affixes to most C-stands. I will say that the light is battery hungry. I’d say two new Dionic 90’s will get you about an hour of use in most situations. Not a big deal for us as we use Dionic 90‘s with everything. The ability to travel all over the Alps with this light in a run and gun doc style project was exactly what we were looking for. I will say the light weighs a little over 10lbs (4.5 kg), so you’ll want to make sure you have a properly sandbagged C-stand to use for mounting. Zylight F8 200 Output and General Usage The output is where this light really shines. Think around a 2K, if your head still homebases in tungsten. That output allowed us to punch the light into rooms from outside windows in some cases, as a bounced key light or to fill in dark portions of backgrounds as motivated sunlight. There where even moments where we used the light outside (with some diffusion) to fill in shadows on the face of talent during long interviews. The Zylight raking the background of an interview in Lucerne, Switzerland. Accessories and Pricing The price point of $2,499.00 puts the Zylight significantly cheaper than comparable (in terms of output) HMI fixtures, but more expensive than an equivalent intensity tungsten fixture. However, as you know, Tungsten burns hot and pulls a ton of power. A whole line of accessories exist for the light including a softbox and various types of cases, but the barn doors are included in the kit. The Zylight F8 200 is also available in dedicated 3200K form as well. Conclusion I’m always looking for the one light that works in all situations (spoiler alert – it doesn’t exist) but you really can’t go wrong with a high CRI/high output source like the Zylight F8 200. It is small enough to take along in a small crew, has minimal power draw for use in homes and the ability to focus the beam without attaching complicated accessories is fantastic. Since using the fixture in Europe I had the opportunity to use it during a PSA shoot and a longer 6-episode digital series and it is steadily becoming one of my go-to lights. The LED market is becoming more crowded these days, but the Zylight F8 200 is a true standout for me. Did you have a chance to use the Zylight F8 200? Do you prefer working with Daylight/Tungsten fixture? Please share with us your thoughts on the comment section below. 

The iPad Pro has been on the market for a while now, yet the “Pro” in its name still has to live up to expectations. I talked to Pedro Hofmann, a videomaker from Vienna, in how he is making the iPad Pro into his fast turn-around editing machine using the LumaFusion app. The iPad Pro-ish Apple’s most recent upgrade to the iPad Pro line was impressive – with a processor that is exceeding the speed of many laptops in its line-up, it became clear during the Keynote introduction that it’s a sign of things to come. The iPad was finally powerful enough to be the Pro machine they promised a year earlier. With one huge caveat: the lack of a a proper file system and the incompatibility of the consumer-oriented iOS with the professional Mac OS makes the “Pro” in iPad Pro nothing more than a shallow promise. LumaFusion on the iPad Pro In comes Pedro Hofmann, a videomaker based in Vienna, who creatively specialised in producing fast turn-around one-minute films for his clients. He’s shooting the films on his Sony a7s II, his DJI Mavic drone and other gear, and then he edits right on the spot using his iPad Pro using the app LumaFusion. In fact he sold his MacBook Pro and considers the iPad Pro the best “selling tool” for his productions he’s ever had. I agree with him that showing edits to clients on an iPad often gets them more excited than showing them something on a conventional laptop – somehow the experience feels more haptic and organic. File Access in iOS & WD My Passport Wireless Regarding his workflow, it isn’t completely straightforward simply because Apple is limiting the way you can access files in iOS. He’s working with Apple’s USB-C SD reader as well as a Western Digital My Passport Wireless, which also has an SD reader built in, and it enables him to read and copy every file system of any camera (on the SD card) while Apple’s own reader ignores the folder structure of Sony cameras, for example, effectively showing an empty card despite the fact there’s data on there. The My Passport Wireless becomes a media hub that can serve the data into the editing app LumaFusion. SD Reader in the WD My Passport Wireless LumaFusion Now of course it’s not ideal that there isn’t an Adobe Premiere or Final Cut Pro for the iPad Pro yet, meaning, it is impossible to move projects between your desktop and iPad so far. However, the LumaFusion editing app is truly impressive in what it’s capable to do: You can have up to three layers of video at 4K 50 playing simultaneously without any hick-up. And believe it or not, but it also plays H.265 extremely smoothly due to the graphics chip in the iPad Pro, something that even the biggest desktop machines can still struggle with these days. LumaFusion seems like a very capable editing app at first glance, with proper editing shortcuts, layering, proper typo handling and many advanced functions. It’s definitely worth a closer look and seems to work quite well for these fast turnaround edits. iPad Pro Editing – the Way of the Future? Enjoy this workflow video above, peeking into Pedro’s way of working. I personally can’t wait until we can finally use an iPad Pro or any other laptop for professional editing because I think it will totally change the way of working. Direct interaction with your footage feels a lot more natural than the indirect way of working we’re used to with keyboards and mouses, and nothing has changed in that way in the last 30 years. It’s time for a revolution in professional interfaces. What do you think about editing on an iPad Pro? Have you worked with LumaFusion before? Let us know what you think in the comments. 

This is it, people! The brand new Panasonic LUMIX S1 and S1R are finally here and from what we’ve seen so far they look impressive. Let’s take a deep dive into the features and differences of these new mirrorless cameras! Panasonic LUMIX S1 and S1R The perfect camera has yet to be invented but it seems that Panasonic has taken this challenge very seriously with their new LUMIX S1 and S1R full-frame mirrorless cameras. The two new models tick a lot of boxes when it comes to both still photography and video features. Furthermore, the company has already gathered a ton of experience with their GH5 and GH5S in regards of usability, features and –most importantly for us indie filmmakers–  a clear focus on pro video capabilities. Panasonic LUMIX S1 and S1R Both models look identical from the outside, the only real difference is the red “R” on the S1R. Other than that both models share the exact same housing. Internally, it’s a different story, obviously. For starters, the LUMIX S1 sports a 24MP full-frame sensor while the S1R features a 47MP sensor. The S1 is more focused on filmmaking while the S1R is aimed at pro photographers. Spot the difference.. In regards to our industry, the LUMIX S1 seems to be very well suited to the needs of professionals and indie filmmakers alike: Full HD 180fps (4:2:0 8-bit) and 4K50p/60p 4:2:2 10-bit video is possible and this is a first in the full-frame mirrorless game! This feature comes with a few downsides, though: 1) 4K50p/60p is only available via external recording through HDMI. 2) A –paid– software key later this year is needed to unlock this (and other) features. 3) 4K50p/60p is limited to 15min (even less if the environment is very hot – the camera will stop the recording in order to protect itself). 4) Due to the different sensors used, the LUMIX S1 will switch to a 1.5x crop in 4K50p/60p mode while the S1R keep its 1.09x crop for video consistent throughout all modes (but offers 4:2:0 8-bit only). Speaking of that paid software key for the LUMIX S1: Along with the upgrade to 4:2:2 10-bit, a V-Log profile will be added, too. The following shooting modes will be enabled with that upgrade: 4:2:2 10-bit (internal) MP4 4K 25/30p 150Mbps (4:2:2 10-bit, Long-GOP, LPCM) MP4 4K 24p 150Mbps (4:2:2 10-bit, Long-GOP, LPCM) MP4 FHD 50/60p 100Mbps (4:2:2 10-bit, Long-GOP, LPCM) MP4 FHD 25/30p 100Mbps (4:2:2 10-bit, Long-GOP, LPCM) MP4 FHD 24p 100Mbps (4:2:2 10-bit, Long-GOP, LPCM) V-Log profile 4K 50/60p 4:2:2 10-bit HDMI output Furthermore, the S1 sports a Like2100 (HLG) profile which the S1R lacks. Both cameras share Cinelike D / Cinelike V and Like709 profiles. There is no 29-min recording limit anymore, the only limitation is heat and that’s why both cameras are limited to 15 min (or less) in high speed mode. The S1 is able to record 4k at 150Mbps and FHD at 100Mbps (this 100Mbps requires the optional paid upgrade, too) while the S1R tops out at 150 Mbps (4K) and 28Mbps (FHD). The S1 is capable of recording in MP4 HEVC (aka h.265) while the S1R only shoots plain MP4. Features of the LUMIX S1 and S1R So, what’s new here? Well, pretty much everything: New lens mount, new sensor(s), brand new viewfinder, new dual card slot (featuring XQD and SD), new body design.. Anything else? Yes! New Venus-Engine processor, new menu system, new autofocus system, improved IBIS, rugged design and improved weather sealing. The autofocus system has been improved, too. It now sports artificial intelligence to recognize people, faces and even animals. Also new: A small LCD status display on top of the camera. Nothing fancy but definitely helpful! Both models sport microphone ports and a headphone port plus a lockable HDMI port. According to Panasonic, the LUMIX S1R flagship camera with its 47MP full-frame sensor is aimed at pro photographers while the 24MP S1 is more tailored for the video crowds who doesn’t need the massive resolution of a nearly 50MP sensor. Simply put, the S1R has all the pixels plus lower end video features, the S1 has everything for video minus the megapixels pro photographers might be after. In order to fully utilize the potential of the LUMIX S1 (4:2:2 10-bit & V-Log), you must also take into account the cost of the software key that comes later this year. The next big thing the LUMIX S1 and S1R inherit from the GH line of mirrorless cameras is the superb IBIS (in body image stabilization). For the S1 and S1R it’s rated at +5.5 EV for the IBIS only and +6 EV when combined with the two-axis image stabilization with a compatible lens attached. This is really good news since experience shows that shooting handheld can be a bit tricky with a mirrorless camera which lacks weight and therefore normally does not rest on your shoulder. Dual card slots (XQD and SD). Both camera sport dual card slots. One classic SDXC slot and one XQD slot which will support CFexpress media in the future. The SD slot can handle read speeds of up to 300MB/s and read speeds of up to 260MB/s while the more advanced XQD slot features write speeds of up to 400MB/s and read speeds of up to 440MB/s. EVF and Display The EVF of these cameras sport a 5,8MP 3:2 OLED display with a refresh rate of 120 fps (60 fps can be selected, too). You even can choose from three magnification factors: 0.7, 0.74x or 0.78x. The 3.2″ (8,1 cm) touchscreen sports a 2.1MP LCD multi-touch display and features anti-fingerprint coating, just in case. The display is mounted on a triaxial tilt rear monitor that allows it to flip out for low or high angled viewing in both portrait and landscape orientation. Please note: Unlike the GH5, however, the display cannot be swiveled into selfie mode. New L-Mount Lenses The LUMIX S1 and S1R are Panasonic’s first cameras sporting the L-Mount. The newly formed L-Mount Alliance (read all about it here) is a consortium of Leica, Sigma and Panasonic. Right now, only Leica has some L-Mount glass on display, but Panasonic is following suit with three new lenses. New Lenses: 50mm, 24-105mm & 70-200mm. The three new L-Mount lenses are: LUMIX S PRO 50mm F1.4 LUMIX S PRO 70-200mm F4 O.I.S. LUMIX S 24-105mm F4 MACRO O.I.S. One neat feature is the newly designed focus ring which can be pulled back to reveal the focus scale (= manual focus mode) or pushed back to hide it (= autofocus mode). Furthermore, you can set the fly-by-wire focus behavior in camera: Nonlinear (focus change dependent on rotary speed), Linear (constant focus change) or set the desired rotation angle yourself, from 270° all the way to 360°. LUMIX S PRO 50mm F1.4 with newly designed focus ring. Both zoom lenses sport optical image stabilization, which –as stated above– can be combined with the IBIS of the body itself to compensate up to 6 EV. While the 24-105mm seems to be a decent all-purpose zoom range I personally would have preferred an F2.8 lens (which would have resulted in a very pricey lens, I’m sure). On the other hand, this lens is also a macro lens, which can be really handy especially when paired with such a versatile zoom range. LUMIX S 24-105mm F4 MACRO O.I.S. A ‘nifty-fifty’ is a must in any lens lineup so Panasonic delivered one with an impressive F1.4. And of course, a classic 70-200mm lens is among the first L-mount lenses by Panasonic. Again, ‘only’an F4 but with optical stabilization which is nice to have with such a long focal length. Panasonic claims that there will be at least 10 L-Mount lenses by the end of 2020. Furthermore, there are already 8 lenses available by Leica themselves plus three more by the end of 2020. Also, Sigma has already announced 14 L-Mount lenses and an EF adapter. As you can see, the L-Mount is not a dead horse at all! Let’s wait and see what new lenses come out over time. Into the Future These new mirrorless cameras seem to path Panasonic’s way into the future. Both models come with a really impressive set of features without too many compromises. The engineers tweaked the menus even further, making them easier to navigate. Video and still photography menu items are separated from each other more clearly and the physical buttons are highly customizable. Sure, some kind of internal ND system would have been nice but other than that there’s very little to ask for. Let’s wait and see how first hands-on impressions and reviews hold up to the expectations here. UPDATE: As per our own Johnnie, who has attended the Barcelona press event, the LUMIX S1 seems to be a pretty decent full-frame mirrorless camera. The IBIS seems to perform well and the overall build quality seems very robust and rugged. The autofocus, however, lacks a bit consistency. Hopefully this will be improved via firmware update. Note that Johnnie had a pre-production model so things could change until the release. Check out the above video for all his thoughts about the new S1 camera. A full review is coming so stay tuned! The music used in the video above is courtesy of Music Vine. Get 25% off your next music license with code C5D25 (valid for one use per customer). What do you think of these two new cameras? Are you going to invest in the L-Mount system? Share your thoughts int he comments below! Full disclosure: Johnnie and other media representatives were guests at Panasonic LUMIX S1 launch event in Barcelona, Spain. Panasonic paid transport and accommodation for this 2-day trip, but there was no other payment involved whatsoever. 

With the introduction of the Sony a6400, I had a chance to take the new camera for a short spin and after playing with it for a bit, I made up my mind. Sony’s latest offering is very different and interesting, BUT, is it worth the upgrade from its a6300 and a6500 siblings? (Same sensor but enhanced image processing engine). Is it really a Vlogger’s camera? What is its strongest selling point and last but not least, what is the real reason for Sony to introduce this camera in my personal opinion? Interested? Keep reading. Sony a6400 – The autofocus is a killer! It is the middle of January. My short (and yet to be disclosed) assignment in Japan is almost over but before going back home, I’m lucky enough to put my hands on the new Sony a6400 to take it for a short spin. At first, my plan was to shoot a short documentary with it and by doing so, explore its video capabilities, but after noticing that most features and even technical specifications are very similar to the Sony a6300 and a6500 (which I reviewed and tested before), I decided to scrap my original plan and concentrate on testing a single feature, the one that captured my attention most. Sony a6400 – An Overall Look Before talking about that feature, let me conclude and say that for the price ($898), the Sony a6400 is a fine camera. It accommodates an APS-C sensor, plus, has all the “normal” goodies we have been given by Sony for the last years now. Namely, S-Log 2, S-Log 3, high frame rate recording, different exposure measuring tools, REC-709 view assist function, proxy recording (unfortunately without matching file names) and even LCD and EVF guides (2.35:1, 1.85:1 and such). On top of that, Sony added HDR and time-lapse recording functions plus a 180-degree tiltable LCD monitor. On the less favorable side, the rolling shutter is horrendous, there is no IBIS (In-Body Image Stabilization) system, no headphone jack and the camera menu, well, what can I say, it is slowly but surely becoming one of the least pleasant camera features to deal with. So many possibilities and functions, yet so little sense (at least in my opinion), to why it is all there. If I’m in the video mode, all I want to see is the related functions – ONLY! Nothing more and nothing less. Sony a6400 – Try and see yourself in the tilted LCD screen now Is it the Right Tool for Vlogging? Now, somehow I got the feeling that Sony is kind of emphasising the advantages of this camera as a vlogging tool. In my opinion, it might be useful to promote this camera as a family companion or all the way up as an additional “throw in bag” filming device for professionals (to act as a secondary camera in addition to a more capable one). I think that the idea to push the a6400 as a vloggers device might prove to be wrong. Surely it can be operated as one but so many things might go wrong, especially when filming on the move. The absence of IBIS and the very noticeable rolling shutter effect might kill your shot. The exclusion of a headphone jack will make it hard to monitor audio levels, yet if you insist vlogging with it, don’t add a microphone on the available hot shoe mount and tilt your LCD monitor at the same time as the microphone will block the LCD view completely (the screen can only be folded upwards!) My review could end here, but there is one huge thing which I haven’t talked about yet: Sony added ONE KILLER feature. An autofocus function which has an algorithm that was fine-tuned to tightly work together with the Bionz X processor and as the results show, this is certainly worth writing about! Sony a6400 – a Superior Autofocus Function As an experienced shooter and camera tester, it is seldom that I’m being introduced to a feature that can change the face of the industry forever! The new autofocus system presented by Sony on the a6400 is exactly that kind of feature. It is not that we haven’t seen a good autofocus functionality before (Canon and FUJIFILM are a good examples), but now, Sony is certainly taking it to the next level. The reliability and consistency of the new autofocus was very impressive. True, it is not always 100% there, but, I was really challenging it and I was pleasantly surprised with the results. Back to the camera “vlogging option”, I set the camera in front of me and “talk to it” during doing my OLYMPUS E-M1X review, and for about 40 minutes of recording time in 2 different locations (lit very differently), it did not lose the focus on my face even once. Actually, the autofocus did not even “hesitate” or try to search for my face while filming. Later, when running with it on the streets of Tokyo, it continued to amaze me to the point that I was starting to believe that the days of manual focus lenses are numbered. Yes, you read that correctly (and I did not confuse taking the blue pill with a red one this morning) …. If this technology will be implemented on any of the more professional video orientated Sony cameras (mirrorless and beyond), there will be NO reason to use manual focus lenses for documentary shoots anymore, especially zoom lenses. Let’s think about it this way. There are a few reasons to why we are using manual focus lenses. One of them is the reliability in achieving constant focus. Now, imagine that autofocus lenses can do exactly that same thing, plus: Stay focused on the object while ignoring disruption like crossing people/cars/general objects Reliably track objects/people coming towards you Change focus from one object to another WITHOUT any noticeable breathing (also when using modestly priced lenses) On top, one will always have the possibility to change from this autofocus mode to the manual focus, if wanted. So after reading all of the above features, wouldn’t you choose this focusing option? If you would have asked me a year ago, I guess I would have dismissed this option especially as I’m a pro who is used to working with manual lenses, but now when thinking about how good and reliable this autofocus function is, there is actually no reason not to use it on everyday production(s). By the way, in regards to the Sony a6400, as this camera does not have a rear joystick, it is not so easy to place the desired object in focus while using the EVF. If you are using the LCD, it is much easier. With your finger, touch the screen where you want the focus to be, and voilá. It will stay there. I hope you can take a moment to look at the footage above which I’ve captured with the camera. In this case, an autofocused picture worth a thousand words… Sony a6400 – The price is very reasonable Conclusion Manufacturers often test new features in their professional lines first and then let them crawl down into their consumer/prosumer line – and it seems like this is what they did again on the A9, which is considered to have one of the fastest autofocus systems in the industry. (We haven’t tested Sony’s top-of-the-line A9 mirrorless camera simply because it’s not focused on video shooting at all – it lacks all Slog options.) So while the a6400 could have been that ordinary camera which resembles the a6300 and a6500, that autofocus killer feature alone is worth the extra look, especially as this is a glimpse to the future of all other cameras too! The music used in the video above is courtesy of Music Vine. Get 25% off your next music license with code C5D25 (valid for one use per customer). What do you think? Would you be able to rely on the functionality of this autofocus during your productions? Are you able to think “out of the box” and endorse new technologies as long as they are working well and enhancing your creativity? Please share with us your thoughts on the comment section below.