Edit: We have reached Leica seeking their official response to our findings and I have to say that the company was very fast to respond with very useful technical information (see their response at the bottom of the article). If you are interested in a full review of the SL2, keep an eye on this space. But on a personal note, this camera truly excites me. The images it can produce are simply engaging. I’m eager to receive the camera soon and put it through its paces. Leica’s flagship camera the SL2 was announced earlier this month and there is a good chance that by the time you read our article, it has already arrived at your local dealer. With a variety of goodies like high resolutions (up to 5K), variable frame rates (up to 180 fps in full HD), variable data rate (up to 400 Mbps in H264), a modest selection of picture profiles including LOG and HLG (Hybrid Log-Gamma), 5 axis In Body Stabilisation System, 10bit 4:2:2 recording and more, I was eager to take this new camera for a short spin. I’ll spoil now and summarise that this camera has A LOT to offer when it comes to video image quality, but moiré, in particular, needs to be eliminated badly. Leica SL2. Image credit: cinema5D Do you know that feeling when happiness is mixed with a bit of sadness? That’s how I felt when putting my hands on the new Leica SL2. I got happy to see that Leica is showing commitment to our filming community by introducing what seems to be a very capable filming tool but, at the same time, sad as I got four years older since I’ve tested its predecessor, the SL… I can’t believe how fast four years had flown since I shot the SL video review. That camera (The SL), left a great impression on me as the images that came out of it were the best I’ve ever seen from a mirrorless camera at that time. So obviously I was curious to see what Leica’s new creation brings, hoping that nothing has been lost during the process of developing the new SL2. After all, a lot has changed in our industry since that time. The camera market shrank even more and current full frame options are larger than ever, bringing the competition on every purchase to new heights. It’s Tokyo Baby It’s Tuesday 10:58 a.m Japan time and I’m standing excited in front of Leica’s flagship store at Ginza, Tokyo’s luxury district for shopping. The store will open at 11:00 precisely like a German watch. A few minutes later and I’m already getting myself familiarise with the SL2 menu. The start is positive as there is a dedicated VIDEO/CINE structure menu so whatever is not relevant won’t be shown. It looks as if Leica’s engineers tried to keep the menu operation simple in order to fit it to the clean design of the camera itself. They did succeed, in a way as I was “up and running” tuning the camera to my liking in a relatively short time. Mind you that there are some quirks like showing a certain shooting mode, and while the visual description on the LCD claims that the camera can record internally to an SD card, in reality, when pressing the recording button an alert message pops up saying that this specific recording mode can be activated while using an external recording device only (high frame rate recording in various resolutions is a good example for that phenomenon). On top, there is also a malfunction when attempting to record high frame rate in LOG picture profile mode. All indicates that it is possible to do so up to the point of pressing the recording button. Then the camera “jumps” automatically into the “NAT” (natural) picture profile. Why is it happening? No clue. I want to believe that those kinds of faults can be solved with a firmware update. Leica SL2. Image credit:cinema5D Leica SL2, Minimalistic Design –  (Almost) Max Performance Moving on to the camera itself and its minimalistic design, what can I say but bravo Leica! Externally, it looks as if they have changed only what considered for them fundamental for better and easier operation (like separate standard headphone and mic connectors. Rerouting the position of REC button to the shutter release button and in addition, the 4 soft keys surrounding the LCD of the SL are now a thing of the past. Instead, three “proper keys” are now resident on the LCD left-hand side). The SL 2 feels extremely robust and complete, it is simply a beautiful looking camera, one that I found myself looking at over and over again. Now, as you don’t really buy a $5,995 camera just to look at, it was about time to go out of the shop and film a little bit with it. And when I write “little”, please catch me in my word… I only had about 4 hours with the camera as I had to catch a flight right after. Well, I think it is better than nothing as this article and the inclosed footage are NOT meant to be a review in any way, just a quick first impression, something to satisfy my curiosity and see if its image aesthetic was kept from what I’ve remembered from the SL.  Modesty and Pride. Image credit: cinema5D Does Family Roots Matters? It’s no secret that Leica and Panasonic are cooperating VERY closely together and I won’t be surprised if what we see here is a result of this cooperation. From sensor size to the number of pixels (Full Frame, 47.3 MP in both the SL2 and Panasonic’s S1R), to the great EVF, responsive touch screen LCD and IBIS. Even the not so great autofocus performance is shared – contrast-detection type focus on both cameras. There are clues all over the place that the Leica SL2 and Panasonic range of Sxx cameras are related. That said, it seems like the actual processing of the image is COMPLETELY different! While Panasonic’s Sxx line of cameras can produce beautiful footage, their archils hill is its strong unforgiving noise reduction which causes the image to look a bit “too clean”. With Leica, the story is different. Of course, we haven’t tested the SL2 in our lab yet, but to my eyes, the look has a strong “identity”! Unlike the previous model, it seems that the flat LOG picture profile has been tweaked and now it is not so “milky” as it used to be. In the above video, I applied our “custom made Leica SL LUT”, manipulated the contrast and exposure a bit and Voilà, here is an image I can certainly write home about, UNLESS, well, keep reading on.  Oh and on second thought, S1, S1H, S1R, SL2, all sounds a bit too similar, no? Leica SL2 – Beautiful image, ugly moiré By now, it is evident that I like what I see in this camera, but what about the weaknesses found during the short time I’ve spent with it? I’ve already mentioned the menu quirks. On top, watching the bit of high frame footage I took (180/150/120fps in full HD), well, none is really looking usable… I hope the day will come when non-usable frame rates won’t be included in a camera for the sake of marketing purposes only. When it comes to powering, the supplied camera battery seems to do an OK job, but to my surprise, at a certain point when the battery level went low, the camera popped up a message saying that 4K video can not be recorded. I’ve tried switching to HD, and indeed, the camera was still functioning. So, take it into account, when you are out and about, what you see is not what you get battery indication wise. Those are the kind of issues that we filmmakers can live with (I think), but one noticeable drawback might be a cause for real concern, MOIRÉ. In all honesty, I did not expect from such a pedigreed modern camera to exhibit such kind of strong moiré. On top, it seems like this is not a high-performance lowlight camera of any sort, so calculate your shooting scenarios accordingly. Of course, there are other shortcomings like the exclusion of modern efficient codec like H265, or better yet, RAW recording, but hey, who knows, maybe some other goodies can be implemented within the next 4 years until the SL3 sees the light of day.  The ultimate way to wait for the camera to charge Image credit: cinema5D In the Field – 5 Axis In-Body Stabilisation, AF, Ease of use and more I could spend only a short time with the SL2, but all in all, I really had fun filming with it! The IBIS is truly amazing (Panasonic Sxx anyone?) and the autofocus is working well as long as you don’t stress it too much is AFC mode (continuous AF). Again, sounds  Panasonic-ish somehow… Also, to my eyes, the rolling shutter performance looks good! (See the GIF below). Good Rolling Shutter Performance In regards to power consumption, it was nice to see that 25 minutes of a coffee break gave life back to the drained battery that refused to cooperate when filming 4K DCI before. Connected directly to the camera via USB-C, this “fast charging method” was what I needed in order to put me back on track and finish the day. When it comes to lowlight capability, I would say that it is safe to film around ISO 1600. Above that, the image becomes noticeably noisy – more pixels, small size, less light sensitive. We don’t have the information concerning the native ISO of the camera, but ISO 400 is as low as one can go. Leica SL2 – 5K Filming Options. Image credit: cinema5D Leica SL2 – 4K DCI Filming Options. Image credit: cinema5D When it comes to actually choose a filming resolution and frame rate, I went with 4K DCI – this mode alongside 4K UHD will give you maximum performance in some frame rates, namely: All-I, 10bit, 4:2:2, up to 400 Mbps. If you aim to explore 5K filming, be aware that this option is limited to those settings to choose from: Long GOP, 200 Mbps 4:2:0, 8bit. I would also want to highlight the fantastic EVF, responsive touch screen LCD, joystick, and the three configurable buttons at the back. Each in its turn was very helpful in operating the camera fast and accurately. Leica SL2 – Easy Video Menu Mode. Image credit: cinema5D Back to the camera menu, depending on your working style, you can choose between “VIDEO” and “CINE” modes. Cine will allow reading the shutter speed information in degrees ISO in ASA and aperture in T stops. Leica VARIO ELMARIT-SL f/2.8-4 24-90mm Lens A camera will bring to the table some of the important ingredients for creating “a look”, but of course the other vital component is the lens being used. For the above video, I used the Leica VARIO ELMARIT-SL f/2.8-4 24-90mm lens as I needed to be quick and also, I remember to enjoy working with it during my SL review and it did not let me down this time too. Although I have to say, that the situation then and now is totally different. Having the L alliance between Leica, Panasonic and SIGMA means greater lens offerings and I’m very much tending to try and use smaller lenses on those large size Leica and Panasonic camera bodies. To my knowledge, currently only SIGMA is producing a small capable L mount lens (The 45mm), but the alternative is using small Canon FD lenses together with a KIPON FD to L-mount adapter. This can reduce the overall camera/lens weight, keep the possibility to achieve high quality images (but a bit softer, which is not necessarily a bad thing), and of course, lower the total price of such a set. My colleague Gunther took the Panasonic S1 together with a KIPON adapter and his set of Canon FD lenses. Watch this space for his review and impressions for working in such a way. Leica VARIO ELMARIT. Image credit: cinema5D Final thought By no means, this is a review! I took the camera for a short spin, enjoyed using it and decided to share my thoughts with you guys. So, for now, I wouldn’t want to come up with a solid conclusion but I think that if image quality is your main objective (and money is not an obstacle) then this camera should really be considered (as long as moiré can be controlled). I mean, I keep talking about “aesthetic” and “image identity” (Mojo anyone)? and in my opinion, this camera certainly has a lot going for it. The above video was shot HANDHELD on a Leica SL2, 4K DCI, 25p. Graded with our original “Leica SL LUT”. Edit: Leica’s response to my findings *   Regarding L-Log: We do not believe that Log is helpful for 8 Bit video post production,  so it is restricted to the 10 Bit modes only (Internal to SD recording or external via HDMI) *   Moiré: The camera is designed without optical low pass filter in order to maximize the acutance for still images. When recording video in full frame mode, we use pixel mix to get the 4k resolution. But the camera offers as well a full scan option by switching to APS-C format (means roughly Super 35). We all know, that there is some demand for full frame 4k filming and SL2 does follow this demand in order to make the aesthetics of the large sensor available for specific applications. But if the aesthetics of the large format is not needed and a more technical approach regarding image quality is required, the APS-C option does deliver better performance with SL2´s high resolution sensor. It will provide video without pixel mix and on top better rolling shutter performance. (Rolling shutter is already pretty good in full frame with this camera vs. competition) On top, Leica SL lenses are designed for ultimate detail contrast, offering MTF >50% at 60 LP/mm. The drawback of such lenses is the tendency to produce Moiré if the lens resolution is better than the sensor resolution. Regarding Moiré for such periodic structures it is the best solution to use an optical low pass filter inside the camera or with a lens with low detail contrast performance. So it is tricky to find the right balance, but our philosophy is always to maintain as much as possible detail (same is true for the noise reduction, as you correctly reported in your article). So we do not necessarily see this as a weakness of the concept, but potential customers need to know the special characteristics of our product: If you would like to maintain maximum detail, this camera is most probably the best in the market and for non periodic structures it will not cause any issues. If average detail sharpness (and that does produce a somehow boring look) is required and the absence of any Moiré is most important, a camera with OPLF will serve such requirements much better. *   Regarding compact lenses: We do have a full assortment of APS-C L-Mount lenses with very high optical performance. So in order to keep the video camera equipment small, there is no adaptation needed. The camera will select the APS-C mode by itself. So instead of choosing a slow full frame lens, it will be the better solution to use a slightly faster APS-C lens. The look will be the same, but size and technical IQ will be improved by APS-C mode. https://us.leica-camera.com/Photography/Leica-CL-TL2/Lenses-for-Leica-TL?/switchlanguage/to/corposite_eng_us/155573 The other option for compact lenses is the Leica M-lens adaptation: These are the most compact lenses for full frame on this planet and SL2 does support the lenses like our M-cameras. Lens type is automatically detected with the Leica M to L-Mount adaptor and these lenses offer unique classical rendering performance. The optical pass between lens and sensor surface is a unique Leica design with SL2 and supports the performance of M-lenses like no other mirrorless camera (except the Leica M). For usage in a typical movie camera setup, M-lenses are available from our sister company with modified mechanics: https://www.leitz-cine.com/m-08-cine-lenses/. With next lens firmware update our lenses will allow linear focusing (angle for infinity to close focus position is selectable) and do operate in Cine Mode with real T-Stop values instead of F-stop values in order to allow the integration in a movie camera setup. *   Battery preference: tThe camera has some peak current requirements that can not be provided by the battery below a certain charging level. We did decide to go this way, because the majority of customer do use the camera as a still camera. This issue can only be solved by a bigger battery. This would mean for the majority of customers to carry a bigger and heavier camera body for a functionality, that they do not use. For serious video product we did implement the USB power supply option. From our point of view this is the best solution for such a versatile product. Leica SL2 – Ready for Street Filming. Image credit: cinema5D Music courtesy of MusicVine.com – Get 25% off any Pay-Per-Use license with code C5D25 (valid for one use per customer). A special thank you to Yuya Koike – Leica Professional Store Tokyo, and Osamu Tsukada – Leitz Guys, what do you think? Can you see yourself spending almost $6000 on the Leica SL2? Please share with us your thoughts in the comment section below. 

DJI just announced the Mavic Mini, the smallest and lightest foldable drone they have ever made – it’s only 249 grams with the battery, which qualifies it as a toy in many countries. We have already tested it – is it good enough for pro filmmakers? Mavic Mini – Image credit: cinema5D Mavic Mini weighs only 249 grams – Why does that matter? DJI’s newest entry into their Mavic line of drones is the Mavic Mini, the lightest and smallest foldable drone they ever made. At 249 grams including the battery, it’s below the minimum of 250 grams which in many countries means that it’s in fact defined as a toy, not a drone – which means you don’t need a drone license or permission to fly. However, drone regulations are complex and different all around the world, so please be sure to always abide by your local regulations! Mavic Mini Fly More Case – Image credit: cinema5D What’s inside the box? In the Fly More Package, the drone comes in a nice carrying case, with three batteries which give you around 30 minutes of flying time each, and of course the remote controller and more accessory cables and replacement rotors. The battery holder is also a very compact charger, which is nice, plus you can use it to charge your phone using the USB-connector.  The supplied 3 batteries charger (Fly More Option) – Image credit cinema5D How easy is it to fly the Mavic Mini? I took the Mavic Mini for a spin to see how easy it is to fly and how the footage looks. And as someone who has flown every single iteration of the Mavic line over the years, I have to say that I was pleasantly surprised about how easy and stable this thing is to fly, even on a bit of a windy day. It really does seem like a perfect beginner’s drone from how it feels when you operate it. It’s very hard to describe but it feels very “secure” in the air, even more so than other Mavic drones, which is certainly because of less inertia due to the very low weight. Flying Modes There is a Position (P) mode that will help beginners with basic operation of the drone, the typical Sports (S) mode for more advanced operation, and a new CineSmooth (C) mode that lengthens the braking time of the drone for smoother shots and more cinematic footage. I recorded most of what you see in the video above in that mode.  Mavic Mini – Image credit: cinema5D Simplified Operator’s Interface and Functions If you have flown any Mavic before, you will be very familiar with the interface. The only difference is that it’s much simpler than for example the interface of my higher-end Mavic 2 Pro. For fun, there are the QuickShots that were first introduced with the Mavic Air, which can create some interesting professional-looking pre-programmed movements around your subjects.  Other than that, you have the most important information laid out in front of you, but little chance to actually influence your image. Video Image Compression & Resolutions You can only shoot video in 1080p or 2.7K 25p or 30p with the Mavic Mini, and photos with 12 megapixels. Video is also highly compressed with a maximum bitrate of 40 Mbps – and it’s only H.264, not H.265 like in the Mavic 2 Pro.  Mavic Mini – Lovely Vivid Images. Image credit: cinema5D No Picture Profiles, Only Auto Shutter – For Now There are also no ways to tweak your video image in the gimbal camera. There is no D-Log or any other kind of picture profile or way to change or optimize your image – no sharpness settings, not even white balance control – which, unfortunately, of course, results in some weird color shifts when the light is changing in your shot.  Now, all of these things would be acceptable even for a professional if you consider that this drone will retail for $399 in its basic package. However, one thing that is really annoying for me is the fact that in the version I tested, you can’t manually set the shutter speed in video mode. It will always adjust your exposure. This means that of course there will be overexposed parts of your image in high-contrast scenarios. Yet on average scenes, the auto shutter does a pretty good job at adjusting dynamically so that you don’t see it too badly in your shot, but it’s still unnecessary to force this auto adjustment onto users. Especially considering the fact that only in photo mode, you can switch to manual shutter speed for some reason. This is something that DJI could fix with simple firmware update immediately and I certainly hope they will! Mavic Mini – The new Controller. Image credit: cinema5D Conclusion – Impressively Vivid Image Considering the Compression Other than that, the image is pretty impressive considering its high compression. Yes, it does have the over-sharpened look that we have gotten used to from footage from the first-generation Mavic Pro, and fine details still fall apart if there is too much going on in a shot – but as a one-off establishing shot even in a professional documentary, footage from the Mavic Mini is certainly more than tolerable, and actually quite amazing, for a drone that costs merely 400 Euros. Is the Mavic Mini a “toy”? Controversy Ensured … And considering that this thing can probably legally fly where all your other drones can’t without permission, it’s going to be a no-brainer for many camera operators to have one of those super light drone wonders always in their bag with them. I expect to see a lot of controversy about the weight limit popping up soon as the Mavic Mini will most certainly show up a lot even within cities around the world, for better or worse. I expect this to become DJI’s most popular drone to date, even more than the amateur-level Spark drone.  If you want to support cinema5D in our unbiased reviews, please consider buying the DJI Mavic Mini through our links below! It costs you nothing more and will help us A LOT to sustain! Music courtesy of MusicVine.com – Get 25% off any Pay-Per-Use license with code C5D25 (valid for one use per customer). What do you think about the DJI Mavic Mini? Can you see this in your camera bag as an extra tool for easy drone shots, or as an inexpensive “emergency drone” if the other one crashes? Let us know in the comments below.

Finally, we were able to put the Panasonic S1H to the test in our cinema5D lab. Looking at the various frame rates and resolutions, as well as the full frame and Super 35 modes of this camera, this turned out to be quite an endeavour. Ready for a lab marathon? Read on… Panasonic S1H – Image credit: cinema5D I have long waited for the day to come when I would be able to put the Panasonic S1H through our lab test procedures. I sold my Sony a7S II a while ago expecting a successor to be announced soon, now finding myself impatient in the waiting position for my next camera purchase … will this cam be it? Spoiler alert: lab results are very impressive – the Panasonic S1H is the first camera in our tests, that shows nearly identical dynamic range results for the two ISO settings of the dual gain sensor! I will share most of the results in detail with you, so this is going to be a long read. Sorry about that… As described by my colleagues Nino, Jeff, and Johnnie in detail here, the Panasonic S1H is designed with a “video first” mindset by Panasonic and ticks a lot of my personal boxes. I was even hoping for an internal ProRes recording option, but dream on my friends (just to be clear, Panasonic and Atomos are working together in delivering 5.9K ProRes RAW data output to Atomos Ninja V recorder. More info can be found here). Nevertheless, the specs are impressive as is the price – so will it live up to the high expectations? To help you read through this post, it is organized as follows: ISO640 V-Log dynamic range results for 6K, 5.9K, and 4K DCI full frame ISO4000 V-Log dynamic range results for 6K, 5.9K, and 4K DCI full frame Rolling shutter results for 6K, 5.9K, and 4K DCI full frame as well as Super 35 Summary table of all measurements So let’s dive into the results. Dynamic Range Measurement of the Panasonic S1H If you are not familiar with how we test dynamic range in our lab, have a look here first. As mentioned at the beginning of the article, the list of resolutions/codecs/ frame rates/crop options on the Panasonic S1H is endless, and bearing in mind the fact that this camera offers two native ISO’s (640 and 4000 in V-Log), I had to focus at these key areas: 6K 3:2, 5.9K 16:9, 4K DCI full frame and Super 35 in 24p, 30p and 60p. ISO 640 V-Log 6K 3:2 Mode (5952×3968) and 5.9K 16:9 Mode (5888×3312) Dynamic Range Results: First positive surprise: in 6K 3:2 mode (5952×3968) and 5.9K 16:9 mode (5888×3312) the dynamic range measured by IMATEST at a signal to noise ratio (SNR) of 2 is 12.7 stops! This is the second-best result that we have ever measured, right after the ARRI Alexa (14 stops at SNR=2). IMATEST dynamic range result Panasonic S1H in 5952×3968 (full frame 3:2 mode) V-Log ISO640. 12.7 stops are calculated for SNR = 2   Waveform plot of the Xyla 21 step chart Panasonic S1H 5952×3968 Full frame V-Log ISO640 – about 13 stops can be identified above the noise floor. Looking at the waveform plot of the step chart the IMATEST result is confirmed – about 13 stops above the noise floor can be identified, see the plot above. As a video codec, H265 10bit 4:2:0 (HEVC) at around 200Mbit/s is the default for the 6K 3:2 and 5.9K 16:9 modes (I measured around 180Mbit/s for the step chart video files). ISO 640 V-Log 4K DCI (4096×2160) Full Frame Dynamic Range Results: Next up is 4K DCI (4096×2160) in full frame mode. Quite interestingly the dynamic range drops to 12.3 stops. This comes unexpectedly, as I was assuming that the 6K sensor width would be scaled to 4K hence the noise and therefore dynamic range should slightly improve. IMATEST dynamic range result Panasonic S1H 4096×2160 Full frame V-Log ISO640. 12.3 stops are calculated for SNR = 2 Looking at the noise results in IMATEST (lowest graph of the three in the image above) and waveform plot for 4K DCI full frame mode below, it becomes obvious that the noise floor is more pronounced – simply more noise is present. A major difference to 6K and 5.9K is the used codec: H264 10bit 4:2:2 is the setting for 4K DCI, and the step chart video files showed about 420 Mbit/s bitrate. Waveform plot of the Xyla 21 step chart Panasonic S1H at 4K DCI Full frame V-Loog ISO640 showing 12 stops above the noise floor. Now we are left to speculate what is happening here – why are we getting 0.4 stops less? First, in 6K and 5.9K, the measured H265 bitrate of about 180Mbit/s is low for 10bit 6K. If we compare 5.9K 16:9 (19.5 Megapixel) to 4K DCI (8.8 Megapixel) we have about 2.2 times the pixels to encode – it equals to about 80Mbit/s H265 4:2:0 compared to 420Mbit/s H264 4:2:2 for 4K. Is this enough to encode the noise in the lower stops properly? I could not see any macro blocking in the shadows so it does looks robust to my eye. Second, we can see that the image in 6K and 5.9K at ISO640 is less noisy compared to 4K DCI. Again, pure speculation – but is some sort of internal noise reduction happening here to help encode the image at this low H265 bitrate? Is the full frame 4K DCI image much closer to the “raw” image of the sensor? Third, the spec sheet mentions a low pass filter that is used to reduce Moiré. Could it be that the 6K image is a bit soft on the pixel level due to the low pass filter, and therefore the noise is blurred to an extent? As will be seen below looking at the ISO4000 results, to an extent (about 0.1 stop) this seems to be true but cannot explain the 0.4 stops difference that we are seeing. For your info, comparing the Panasonic S1H 4K DCI dynamic range results to the Panasonic S1 UHD results, we are getting almost equal numbers: 12.3 stops for the S1H, 12.2 stops for the S1 at SNR = 2. Now let’s see what happens if we increase the ISO to the second gain value, namely 4000. ISO4000 V-Log 6K 3:2 Mode (5952×3968) and 5.9K 16:9 Mode (5888×3312) Dynamic Range Results: The next surprising result – at ISO4000 we see only a slight drop of 0.4 stops in dynamic range, see the IMATEST result below. While we got 12.7 stops at ISO640, we are now seeing 12.3 stops at ISO4000 for 6K and 5.9K full frame mode. IMATEST dynamic range result Panasonic S1H in 5952×3968 (full frame 3:2 mode) V-Log ISO4000. 12.3 stops are calculated for SNR = 2. Looking at the waveform below, this result is confirmed. More than 12 stops can be identified at ISO4000 (even the 13th stop looks still quite solid to my eye). Waveform plot of the Xyla 21 step chart Panasonic S1H 5952×3968 Full frame V-Log ISO4000. More than 12 stops can be identified above the noise floor. ISO 4000 V-Log 4K DCI (4096×2160) Full frame Dynamic Range Results: Another surprise – in 4K DCI mode almost the same result as for 6K and 5.9K is now achieved – 12.2 stops. Even more surprising is the fact, that there is almost no difference between ISO640 and ISO4000 in 4K DCI mode – only 0.1 stops of dynamic range are lost switching to the higher ISO value – very impressive! IMATEST dynamic range result Panasonic S1H 4096×2160 Full frame V-Log ISO4000. 12.2 stops are calculated for SNR = 2. Notice that we are getting almost exactly the same result as with ISO 640!   Waveform plot of the Xyla 21 step chart Panasonic S1H at 4K DCI Full frame V-Log ISO4000. 12 stops can be identified above the noise floor. Another interesting observation: at ISO4000, the 6K and 5.9K V-Log results are now very similar to the 4K DCI full frame results – we see only 0.1 stops difference. Seems that noise reduction (speculation #2 above) is not so present here. The 0.1 stops could be due to the low pass filter blurring some noise on the pixel level (as mentioned earlier, see speculation #3). Rolling Shutter Measurements of the Panasonic S1H We are using a strobe light at 300Hz which creates a pattern of black and grey bars due to the nature of read out from top to bottom of CMOS sensors. Each set of black/grey stripes is equal to 3.3 [ms] of rolling shutter. Let’s start with the worst scenario: the 6K 3:2 mode should have the highest rolling shutter, as all the vertical 3968 pixels from top to bottom have to be captured for each frame. In this mode at 23.98 frames per second, the Panasonic S1H has a rolling shutter of 29.7 [ms]. This is a very high value – the rolling shutter is partially mitigated thanks to the stabilized sensor so handheld shooting is no problem but takes it slow on pans. For 5.9K 16:9 mode at 23.98fps, a rolling shutter of 24.8 [ms] is measured, for 29.98fps the result is better at 21 [ms]. For a full frame sensor, those values are average. Looking at the 23.98 fps result, the Panasonic S1 was a tad better – at 25fps a value of 22 [ms] capturing UHD was measured for the S1. A rolling shutter of 29.7 [ms] is measured for the Panasonic S1H in 6K full frame 3:2 mode at 23.98 fps. The situation improves slightly at full frame 4K DCI settings. A rolling shutter of 24.2 [ms] is measured, see the result below.   A rolling shutter of 24.2 [ms] is measured for the Panasonic S1H in 4K DCI full frame mode at 23.98 fps. In the Super 35 mode, a result of 13.9 [ms] is achieved for 4K DCI 23.98 as well as 59.94 fps. This now is a good result – but again the Panasonic S1 was better at 10.4 [ms] at 25 fps.   A rolling shutter of 13.9 [ms] is measured for the Panasonic S1H in 4K DCI Super 35 mode at 59.94 fps. Summary of Test Results for the Panasonic S1H Wow, you made it until this point? Great, so here is my summary table for all the different modes and ISO’s. Summary of cinema5D lab results for the Panasonic S1H. All in all, I am impressed – the dynamic range results are exceptional. Panasonic claims this cam to be a 14+ stops camera, which is close to the signal to noise ratio = 1 result (13.8 stops) – as mentioned earlier we are a little more strict here and use the SNR = 2 result of 12.7 stops as the official cinema5D rating (following ARRI’s logic). Furthermore, the fact that the dual gain sensor shows very similar dynamic range results (in 4K DCI) at both ISO640 and ISO4000 settings is phenomenal. You can use the higher ISO without any impact on your final image. However, where there is light you also find shadows: compared to the Panasonic S1, the rolling shutter in all modes is higher – in full frame depending on the fps setting around 13%, in Super 35 mode about 33%. So, is the Panasonic S1H worth the 4000 USD versus the 2500USD Panasonic S1 (+200USD for the V-Log upgrade)? Certainly if you are looking for a Netflix certified camera (Full information can be found by clicking here and here). My colleague Johnnie might also help us with this decision. His Panasonic S1H review and the short documentary he made as part of this review are now online and can be watched by clicking here. And yes, I have not decided on this subject myself either… Are you considering the Panasonic S1H as your next full frame camera? Let us know in the comments below.

The Panasonic S1H is now finally available for purchasing and we took it for a spin in order to put it through its paces. If you are in a rush and have no time to continue reading, here is my conclusion first: Currently it is the best mirrorless camera that can shoot video in the market. Of course, no filming device is perfect, but any manufacturer who would like to produce something even better will have to work harder to achieve this. Ready to dive into details? Keep on reading.  EDIT: Our Panasonic S1H Lab test is now available online. You can access it by clicking here. Panasonic S1H (Image credit: cinema5D) It was at the last day of May when the Panasonic S1H was first announced (looks like an eternity by now…) and since then we had several opportunities to play with the camera but now it was time to take a closer look into it and check how well Panasonic did with its flagship mirrorless full frame monster. Panasonic S1H in a Nutshell It is for some time now that Panasonic is moving in a parallel direction by bringing to the market a photo orientated camera first and a few months later, a video-oriented sibling (on the Micro Four Third front we could see this done with the Panasonic G9/GH5/GH5s). Now the same procedure is being repeated with the Panasonic S1 and S1H. This is why I was not surprised to see that some “filmmaking” key elements were missing from the S1 when it was intruded. It was just a question of time (and price) till a mirrorless “video orientated” camera, namely the S1H, would appear. When I first had the chance to play with the S1H it was around the time when Blackmagic Design launched their BMPCC 6K so of course, my attention (and the attention of the audience too) went it to this direction. Then came the SIGMA fp. This camera is just about to be officially launched (see our full review by clicking here), but now it is time to put the Panasonic S1H into the spotlight and let me tell you, it deserves our full attention as the camera is so versatile and packed with features that one might be a bit confused when attempting to use it… So, here, in a nutshell, some of its highlights: a HUGE variety of resolutions, frame rates, and data rates to choose from (Up to 6K). 3:2 Full Frame sensor optimized for anamorphic work, dual SD cards recording, fabulous EVF, great 5 axis IBIS (In Body Stabilisation System), an internal fan to combat overheating issues, “unlimited” recording time, dual ISO and very capable lowlight recording and more. True, the camera is heavy to run with but extremely comfortable to hold – more on that later. If you look carefully, you will notice that one feature is missing from my glorying list and this is ‘Auto Focus performance’. Like with other Panasonic mirrorless camera models, be it MFT or full frame sensor,  Panasonic choose to implement Contrast detection AF and the results are very noticeable especially when trying to follow moving objects. This is very unfortunate as the camera could do probably better if it was equipped with Phase Detection Auto Focus system. Now, some will argue that a “proper” filming camera does not rely on AF so why to bother, but my opinion is extremely solid. The Auto Focus technology is progressing fast. Up to the point when accuracy and reliability can be trusted, so this feature is becoming extremely important for the independent One Man Band (documentary) operator who is working solo in the field. The joystick that is killing me – Much too sensitive (Image credit: cinema5D) Panasonic S1H – Usability As I wrote earlier, the camera is heavy but comfortable to work with. But actually on second thought what really makes it heavy is Panasonic own L-Mount zoom lenses… I was using the 24-105mm f4 for filming the above story and I felt that the lens is a bit limiting me. I really felt restricted by doing camera movements, and on top, f/4 leaves a lot to be desired (even on such lowlight king camera). In favor of Panasonic, I must write that they probably noticed that too and created the 24-70mm f/2.8 lens which will of course help when filming in lowlight situations. Unfortunately during the time of conducting this review, this new lens was not optically ready so I could not test it together with the camera. I would like to spend an extra minute and talk about L-Mount lenses. It is a bit of a “chicken/egg” thing: more L-mount camera users, more incentives to develop new lenses; not enough attractive modestly priced lenses, many will consider if to buy L-mount cameras. And while on the subject of buying a camera, when you buy one, usually the tendency will be to buy a lens with the same mount to go with it. I do feel that the current offerings from members of the L-Mount alliance like Panasonic, SIGMA and Leica are either limited or expensive. What I would love to see are smaller and faster lenses that can accommodate both the Panasonic S1H/S1 and SIGMA fp cameras. For now, I’m hooked on trying to use some old Canon FD lenses together with the excellent KIPON L-Mount to FD adapter. Other than that, you get a refined Panasonic camera menu (a la Varicam camera style) which for some might be simpler to navigate. Last but not least, the “joystick” at the back of the camera. Man, I tell you, this little knob and I are totally not good friends… Much to sensitive to my taste. The good thing is, I was told by Panasonic that its’ sensitivity can be adjusted. Now I should only find where is this option hiding in the menu… A la Varicam style screen menu (Image credit: cinema5D) Lab test summary My colleague Gunther conducted our routine camera lab test and came up with some interesting findings. Here is a quick summary of his conclusion: “Spoiler alert. lab results are very impressive – the Panasonic S1H is the first camera in our tests, that shows nearly identical dynamic range results for the two ISO settings of the dual gain sensor!”  The dynamic results are impressive (the Rolling Shutter less), so please stay tuned for the full comprehensive lab test results coming soon. Panasonic S1H, ISO 6400 at f/4 –  what the eye can see Panasonic S1H, ISO 20,000 at f/4 Panasonic S1H,  ISO 51,200 at f/4 Panasonic S1H  – Picture Quality When testing the camera I was debating with myself which of the two new highlighted features I should check, the 6K resolution or its anamorphic capabilities. For now, I opted for the 6K resolution, but I’m eager to shoot a short documentary with it together with an anamorphic lens or at least a suitable anamorphic adapter. In this regard, it is worth mentioning that filming in 6K can leave a bit to be desired as ALL Intra, 400 Mbps and 4:2:2 color sampling are not supported in this filming mode. Those high specs goodies are reserved for filming in 4K DCI and downwards. (Please head to Panasonic’s official link to explore the mind-blowing diverse resolution/frame/data rates the S1H can offer). Now, when reviewing the Panasonic S1, we were saying that the picture quality is very nice but somehow it lacks “Mojo” (not easy to explain. Maybe the best way to describe it is by using the words  “identity/charm”). So how does the Panasonic S1H do in this regard? Well, in all honesty, the footage is clean, nice and have A LOT going for it, but to me personally, footage looks-wise, it is very similar to Panasonic S1. Call me crazy, but somehow it was not so easy to grade Panasonic’s S1H V-Log image. Just to be clear here, I’m NOT a colorist. I’m a cameraman who is painting his work and most of the time I find Panasonic’s skin tones tonality to be much too red (even after applying the official rec 709 LUT taken from here). And yes, Davinci Resolve can of course help in fixing the issue, but I really want to know and understand if it is my eyesight which sees enhanced red or, this is the reality… Panasonic S1H vs the Panasonic S1 Well, here is the one million dollar question, which one to prefer, the Panasonic S1H or S1? (The two million dollar question is if to wait for the imaginary Sony a7S III). See my answer in the question… (Please head to my Panasonic S1 review by clicking here). The images coming from those 2 cameras are very similar. I don’t have a definite favorite here, as much is depending on your budget and style of shooting. The S1H is DEFINITELY a better video orientated camera but at a price. If you are not after anamorphic work and much of your creation will end on the web anyway, then the Panasonic S1 is a perfect camera to work with. The S1H is more capable, but the price difference might be steep for many and hard to justify. On the other hand, if filming is what feeds your family and you are after a very capable and flexible filming tool,  the s1H is simply amazing! Actually, for what it is offering, the price is very fair. Panasonic S1H – Best in class Full Frame Mirrorless camera (Image credit: cinema5D) Conclusion Panasonic worked hard in order to create the best available full frame mirrorless camera that can shoot video. Sure it is not perfect (what is?), and sure we will continue to ask for better internal codec recording formats and variable ND filters, but all in all, this is a serious tool for the working professional who intended to create high-quality content at a relatively manageable price. Last but not least, Netflix just approved the camera for its productions. Full information can be found by clicking here and here. Well done Panasonic!  The above video was shot in MOV 5.9K, 4:2:0, Long GOP, 25p. Picture Profile V-Log. Graded with FilmConvert. Lens: Panasonic 24-105mm f/4. Everything but the interview was shot handheld. Music courtesy of MusicVine.com – Get 25% off any Pay-Per-Use license with code C5D25 (valid for one use per customer). Many thanks for Brittany. Her courage and strength should be a torch for others! What do you think about the Panasonic S1H? Are you considering purchasing it? Do you think it can be your main working tool? Please share with us your thoughts in the comment section below.