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Posts Tagged ‘Panasonics’

Coming into focus: how Panasonic’s DFD gamble may yet pay off

08 Sep
Panasonic’s DFD autofocus system tries to determine distance information without masking pixels as most on-sensor phase detection systems do.

We’ve been impressed by what we’ve seen so far of the autofocus changes Panasonic introduced with its new S5. The latest version doesn’t iron-out all the quirks but continuous AF for stills, in particular, appears much improved. But beyond this, the details we were given about how these improvements had been achieved are interesting. They help to highlight both the benefits and the continued challenges of the company’s Depth-from-Defocus system.

It’s a system with a poor reputation in some quarters but one that’s continued to improve significantly in recent years. The S5 shows both how far DFD has come as well as hinting at what’s still needed.

What is depth-from-defocus?

Fundamentally, focus is a a question of distance: adjusting the lens optics until the light rays from a subject at a particular distance converge on the sensor plane.

The alternative: phase detection

Most manufacturers have settled on phase-detection as the heart of their AF systems: this views the target from two different perspectives then works out how much the focus needs to be moved in order to bring those two perspectives into phase with one another (the point at which that subject is in focus).

In mirrorless cameras, this is usually done by having partial pixels that only receive light from one or other half of the lens, to provide two differing perspectives. The downsides of these systems tend to be that these partial pixels either receive less light than a full pixel or that the complexity of the electronics (and the noise they produce) increases, in systems that combine pairs of half pixels. The performance can be excellent, but to a degree you’re trading away some light capture or noise performance to attain that AF performance.

There are two broad approaches used by cameras to conduct autofocus: ones that hunt until they find the point that’s in focus and those that try to interpret the depth in the scene, so that they can drive the focus without the same need to hunt.

DFD is Panasonic’s system for interpreting depth. It works by making a tiny focus adjustment and analyzing how the image has changed as a result. With an understanding of the out-of-focus characteristics of the lens being used, the camera can interpret these changes and build a depth map of the scene.

This challenge is made more difficult if elements in the scene are moving: the camera’s depth map needs to be constantly updated, because the distances are changing. This is where subject-recognition and algorithms designed to anticipate subject movement come into play, since they allow the camera to understand which bits of the scene are moving and what’s likely to happen next.

What’s new with the S5

Panasonic told us that the S5’s autofocus has been improved by a number of fundamental changes. Part of it comes from improved subject recognition. This is based on deep learning (an algorithm trained to recognize specific types of subject) which helps the camera know what to focus on and to not refocus away from it. For instance, teaching the algorithms to recognize human heads when they’re looking away means the camera understands it doesn’t need to find a new subject or refocus when the face it had recognized suddenly ‘disappears.’

Another part comes from re-writing the AF code to make better use of the available processing power. During the development of the S5, Panasonic’s engineers discovered they didn’t have to lean on the machine-learning trained algorithms for both subject recognition and movement tracking: they could combine the machine-learned recognition with their existing, faster, distance and movement algorithms, which freed-up processing power to run the process much more frequently.

This video shows the view though the viewfinders of the S5 (left) and older S1 (right). Note that even when the S1 is in focus, there’s still some very obvious pulsing and fluttering, this is much less noticeable in the S5.

Finally, other software improvements allowed the entire AF system to be run faster: providing more up-to-date information to the processor. The combined result of these changes, for stills shooters at least, is much improved autofocus with less reliance on the trial-and-error hunting of contrast detection AF. This, in turn, reduces the focus flutter in the viewfinder, making it easier for a photographer to follow the action they’re trying to capture, so you get an improved experience as well as improved focus accuracy.

Video is a greater challenge

But this approach is primarily a benefit for stills photography. Video is a more difficult challenge, partly because the focusing process is visible in the resulting video but on a technical level, because you have to read out the sensor in a manner that’s similar to the video you’re trying to produce. In stills mode you can reduce the resolution of the sensor feed (in terms of spatial resolution or bit-depth), to increase the readout rate, which increases how often the AF system receives new information about what’s happening. This low-res feed during focus doesn’t have any impact on the final image.

For video you need to run the sensor in a mode that’s tied to that of the footage you’re trying to capture

In high res video modes you need to run the sensor at a bit depth, pixel resolution and frame rate tied much more closely to those of the footage you’re trying to capture. At best, you get to read the sensor at double the output frame rate. Video is typically shot using shutter speeds at least twice as fast as the frame rate, meaning you can read the sensor out at 60 fps for 30p output, because each frame of video is usually made up from 1/60th second chunk of time or less, leaving you time to conduct another readout for the AF system before you have to expose your next frame.

The problem is that full frame sensors are big and slow to read out. The sensor in the S5 is very similar to the ones used in the likes of the Sony a7 III, which typically take over 21ms to read-out in 12-bit mode: not quite fast enough to run at 48 fps for double-speed capture of 24p footage. This has the unfortunate side-effect of meaning the camera’s worst AF performance comes in the mode most likely to be used by the most demanding video shooters.

Unfortunately for a brand so associated with video, the S5’s full-frame 4K/24p is the mode that delivers its weakest AF performance.

Despite this challenge, Panasonic has re-worked the AF response even in this weakest mode, to be less prone to unnecessary refocusing.

A bright new tomorrow

The updates in the S5 show us a couple of things. Firstly, that Panasonic is well aware of the criticisms being leveled at its cameras and is continuing to fine-tune its software to squeeze everything it can out of the current hardware.

DFD is not there yet but, in principle, staying committed to an AF method that gets better as hardware gets faster may prove a good choice

But, more significantly, the improvements we’re seeing when shooting stills and when using AF-C during bursts of stills in particular suggest that some of the downsides we’ve seen in the past aren’t necessarily inherent flaws of the DFD concept. Instead they’re aspects that can improve as sensor readout and processing power improve. You don’t need to be a semiconductor physicist to recognize that improvements in those areas are always coming.

In principle, in the long run, staying committed to an AF method that gets better as hardware gets faster may prove to be a better choice than an approach that trades-off light capture for AF performance. But the S5’s performance, particularly in video, shows DFD is not there yet. The risk for Panasonic is whether these fast-readout sensors and powerful processors arrive before the majority of full frame buyers have already committed themselves to other camera systems.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic’s new Lumix S Pro 70-200mm F2.8 offers up to 7 stops of shake reduction

06 Nov

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Panasonic has officially unveiled the Lumix S Pro 70-200mm F2.8 for its full-frame L-mount system, adding a fast-aperture, stabilized telephoto zoom to the native lens lineup. The lens will go on sale early next year for $ 2600.

The 70-200mm F2.8 includes optical stabilization, which can be combined with in-camera ‘Dual IS 2’ system for a total of 7 stops of shake reduction. It’s dust and water-resistant, and offers a minimum focus distance of about 1m (3ft).

The lens weighs 1570g (3.5lbs) and accepts 82mm filters. Optical construction comprises 22 total elements in 17 groups, including one aspherical, three Extra-low Dispersion and two Ultra Extra-Low Dispersion lenses to reduce chromatic aberration.

The Panasonic Lumix S Pro 70-200mm F2.8 will arrive alongside the also-announced 16-35mm F4 in January at a price of $ 2600.

Press release:

Panasonic Launches Two New L-Mount Interchangeable Lenses for the LUMIX S Series Full-frame Digital Single Lens Mirrorless Camera

Newark, NJ (November 6, 2019) – Panasonic is proud to introduce two new interchangeable lenses based on the L-Mount system for the LUMIX S Series Full-frame Digital Single Lens Mirrorless Cameras. Designed for professional use, the LUMIX S Series offers uncompromising photographic expression with its high-quality cameras and lenses.

The LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200) is a large-aperture telephoto zoom lens that boasts high descriptive performance across the entire zoom range. The LUMIX S PRO 16-35mm F4 (S-R1635) is a versatile wide zoom lens that provides high resolution images and a beautiful bokeh despite its compact, light-weight profile. Both high-performing LUMIX S PRO lenses achieve LEICA’s stringent standards.

LUMIX S PRO/S Lens Lineup as of November 2019

  • LUMIX S PRO 50mm F1.4 (S-X50)
  • [NEW] LUMIX S PRO 16-35mm F4 (S-R1635)
  • LUMIX S PRO 24-70mm F2.8 (S-E2470)
  • LUMIX S 24-105mm F4 MACRO O.I.S. (S-R24105)
  • [NEW] LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200)
  • LUMIX S PRO 70-200mm F4 O.I.S. (S-R70200)

In addition to Panasonic’s existing portfolio of first-class lenses for the LUMIX S series family of cameras, the company is committed to designing and developing 11 or more lenses with the emphasis on the “LUMIX S PRO” class by March 2021. Currently, more than 46 interchangeable L-Mount lenses are available or will be available from Panasonic, Leica Camera AG and Sigma, opening up a virtually limitless spectrum of new creative possibilities.

LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200)

Designed and developed for professional field shooting, the LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200) uses 2 UED (Ultra Extra-low Dispersion) lenses, 3 ED (Extra-low Dispersion) lenses and optimum alignment comprising 22 elements in 17 groups, effectively suppressing both axial chromatic aberration and chromatic aberration of magnification. Astigmatism is also corrected with an aspherical lens, achieving high resolving performance. Adoption of a double focus system suppresses fluctuation of aberration even at close distances, which results in high descriptive performance from the center to the corners over the entire zoom range despite its large aperture.

Covering from 70mm to 200mm, the use of a Teleconverter allows a maximum 280mm (1.4x, with DMW-STC14) and 400mm (2x, with DMW-STC20) super telephoto shooting*1, with maximum 480 fps focus control for high-speed, high-precision auto focus. The O.I.S. (Optical Image Stabilizer) in the lens complies with the camera’s Body I.S. and the 5-Axis Dual I.S. 2*2 makes it possible to use a 7-stop slower shutter speed*3. Adoption of a focus clutch mechanism enables instant AF/MF switching and accurate manual focusing.

The constant F2.8 large aperture provides smooth defocus gradation from the focus peak to the neighboring area of the image to achieve a beautiful bokeh effect as well as a rich perspective. The LUMIX S PRO 70-200mm F2.8 O.I.S. also excels in video recording performance with a mechanism that suppresses focus breathing, which was a fatal problem in all interchangeable lenses designed for still image photography.

The rugged, dust/splash-resistant*4 design withstands use under harsh conditions even at 10 degrees below zero for high mobility. The filter size is 82 mm, with an 11-blade circular aperture diaphragm.

LUMIX S PRO 16-35mm F4 (S-R1635)

The LUMIX S PRO 16-35mm F4 (S-R1635) is a versatile wide zoom lens boasts high descriptive performance in both photo shooting and video recording.

Comprising 12 elements in 9 groups, the use of 3 aspherical lenses, an ED (Extra-low Dispersion) lens and a UHR (Ultra-High Refractive Index) lens and the optimum alignment achieves high MTF performance despite its compact size and light weight. It boasts stunningly high resolution toward the corners even at wide open as well as a beautiful bokeh, suppressing double line bokeh and vignetting.

A double-magnet linear motor is integrated for the AF actuator, featuring high power despite its small size, achieving a maximum 480 fps high-speed sensor drive. This realizes fast, high-precision AF to ensure that photo opportunities are never missed. Like the 70-200mm F2.8 O.I.S. (S-E70200), the 16-35mm F4 (S-R1635) adopts a focus clutch mechanism, enabling instant AF/MF switching and accurate manual focusing, as well as excels in video recording performance thanks to a mechanism that suppresses focus breathing.

It is also rugged dust/splash-resistant, *4 withstanding harsh conditions even at 10 degrees below zero for high mobility. The filter size is 77 mm, with a 9-blade circular aperture diaphragm.

Both lenses will be at retail in January. The LUMIX S PRO 16-35mm F4 will available for $ 1,499 and the LUMIX S PRO 70-200mm F2.8 is $ 2,599.

*1 Use of the tele converter reduces the effective aperture by one f/stop (DMW-STC14) or two f/stops DMW-STC20)
*2 5-Axis Dual I.S. 2 can be used with the camera LUMIX S1R, S1 and S1H, as of November 6, 2019.
*3 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm, when
LUMIX S1R/S1/S1H is used.]
*4 Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to
direct contact with dust and water.

Panasonic Lumix S Pro 70-200mm F2.8 O.I.S. specifications

Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 70–200 mm
Image stabilization Yes (up to 7 stops with Dual IS 2 compatible bodies)
CIPA Image stabilization rating 7 stop(s)
Lens mount Leica SL
Aperture
Maximum aperture F2.8
Minimum aperture F22
Aperture ring No
Number of diaphragm blades 11
Optics
Elements 22
Groups 17
Special elements / coatings 1 aspherical + 3 ED + 3 UED elements
Focus
Minimum focus 0.95 m (37.4)
Maximum magnification 0.21×
Autofocus Yes
Motor type Linear Motor
Full time manual Yes
Focus method Internal
Distance scale Yes
DoF scale No
Focus distance limiter Yes
Physical
Weight 1570 g (3.46 lb)
Diameter 94 mm (3.7)
Length 209 mm (8.23)
Materials Magnesium alloy
Sealing Yes
Colour Black
Zoom method Rotary (extending)
Power zoom No
Zoom lock No
Filter thread 82 mm
Hood supplied Yes
Tripod collar Yes

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic’s versatile Leica DG Vario-Summilux 10-25mm F1.7 lens available in July

01 Jun

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Panasonic has announced that its Leica DG Vario-Summilux 10-25mm F1.7 ASPH lens – first teased at Photokina 2018 – will be available for purchase in July. Panasonic is marketing the 10-25mm, which in full-frame terms is equivalent to 20-50mm on a Micro Four Thirds body, as a single lens that covers five commonly used equivalent focal lengths: 20, 24, 28, 35 and 50mm.

The lens features a total of 17 elements, including aspherical, ED and UHR glass. The lens uses a stepping motor to provide fast, quiet focus. It has a nine-blade aperture and minimum focus distance of 28cm (11″). The lens isn’t as large or as heavy as one would expect, and is very well-built and fully weather-sealed. It’s the first Panasonic Micro Four Thirds lens with a focus clutch and a clickless aperture ring is also provided.

The 10-25mm was very much designed with video in mind, with minimal focus breathing, ‘seamless’ iris control for smooth exposure changes and linear focus response.

The Panasonic Leica DG 10-25mm F1.7 ASPH will be available in July for $ 1799/£1799.

Panasonic Introduces The World’s First* Standard Zoom Lens Achieving Full-range F1.7

LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. (H-X1025)

*As a digital interchangeable lens for a mirrorless camera, as of May 31, 2019

Newark, NJ (May 31, 2019) – Panasonic is proud to introduce a new standard zoom digital interchangeable lens, the LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH.

(H-X1025), which boasts a large F1.7 aperture throughout the entire 20-50mm (35mm camera equivalent) zoom range and exceptionally high optical performance, clearing the stringent LEICA standards. The LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. is suitable not only for stills shooting, but also for video recording, to satisfy both professional photographers and videographers.

The full-range F1.7 ASPH. high-speed aperture provides beautiful bokeh and high descriptiveness. Covering a focusing distance from wide angle to standard zoom range, the LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. functions as a multiple fixed focal-length lens, providing the same or higher level of descriptiveness than a fixed focal-length lens can offer. It is suitable for a variety of daily shooting situations, from dynamic landscapes to portraits–even in low-lit scenes– eliminating the need to change lenses between variations in environment.

Comprising 17 elements in 12 groups, the lens system features three aspherical lenses and four ED (Extra-low Dispersion) lenses that effectively suppress the axial chromatic aberration and chromatic aberration of magnification. Spherical aberration and distortion are also corrected by the aspherical lenses for stunningly high resolution. The use of aspherical lenses coupled with the optimum design of the lens system, results in a compact size and light weight, while maintaining its outstanding optical performance.

Compatibility with a maximum 240-fps high-speed sensor drive realizes high-speed and high-precision auto focusing. Notably, the new lens excels in video recording performance. In addition to the silent operation achieved by the inner focus drive system, the stepless aperture ring and micro-step drive system in the aperture control section help the camera smoothly catch up to brightness changes when zooming or panning. The optical design achieves exceptional barycentric stability to minimize image shifts during zooming. Adoption of a focus clutch mechanism enables instant AF/MF switching and accurate manual focusing. The LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. also excels in video recording performance with a mechanism that suppresses focus breathing, which was previously a fatal problem of all interchangeable lenses designed for still image photography.

The rugged dust/splash-resistant* design withstands use under harsh conditions even at -10 degrees Centigrade for high mobility. Nine blades give the aperture a rounded shape that produces an attractively smooth defocus effect in out-of-focus areas when shooting at larger aperture settings. Filter diameter is in 77mm. A highly reliable metal mount endures long time use.

Panasonic is committed to expanding the of Micro Four Thirds lineup through its LUMIX G series of cameras and lenses.

*Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.

  • Design and specifications are subject to change without notice.

Leica DG Vario-Summilux 10-25mm F1.7 ASPH lens specifications

Principal specifications
Lens type Zoom lens
Max Format size FourThirds
Focal length 10–25 mm
Image stabilization No
Lens mount Micro Four Thirds
Aperture
Maximum aperture F1.7
Minimum aperture F16
Aperture ring Yes
Number of diaphragm blades 9
Optics
Elements 17
Groups 12
Special elements / coatings 1 UHR, 3 aspherical, 4 ED elements
Focus
Minimum focus 0.28 m (11.02)
Maximum magnification 0.14×
Autofocus Yes
Motor type Stepper motor
Full time manual Yes
Focus method Internal
Distance scale Yes
DoF scale No
Physical
Weight 690 g (1.52 lb)
Diameter 88 mm (3.46)
Length 128 mm (5.04)
Materials Magnesium alloy
Sealing Yes
Colour Black
Zoom method Rotary (extending)
Power zoom No
Zoom lock No
Filter thread 77 mm
Hood supplied Yes
Tripod collar No

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic’s upcoming Lumix DC-S1H cinema camera can capture 6K video

01 Jun

Panasonic has announced the development of its video-focused, full-frame Lumix DC-S1H mirrorless camera, which will be available in the third quarter of 2019 for $ 4000.

The S1H will be able to capture 6K/24p video from the 3:2 region of its sensor and 5.9K from the 16:9 area. The camera will also be capable of 10-bit 4K/60p recording. In addition, it will support multi-aspect recording, such as anamorphic 4:3. Regardless of what video setting you’re using, the S1H will be able to keep recording until the battery dies or your card fills up.

The S1H has been designed to produce video virtually identical to that of Panasonic’s pro-level VariCam cinema camera, through the use of V-Log and V-Gamut. The company claims that the S1H will match the VariCam in terms of both dynamic range (14+ stops) and color reproduction.

Panasonic Lumix S1R, S1H and S1

Panasonic says it plans to have ten L-mount lenses by the end of 2020 and, via EF and PL adapters, S1H users will be have access to more than 50 cinema lenses from its L-mount partners Sigma and Leica.

And that’s all we know about the S1H at this point. A prototype will be shown at the CineGear expo this weekend, and we have no doubt that Panasonic will drip out more information in the months to come.

Press release:

Panasonic Announces the New LUMIX S1H Full-Frame Mirrorless Camera

With Cinema-Quality Video and the World’s First 6K/24p*1 Recording Capability

Newark, NJ (May 31, 2019) – Panasonic Corporation is proud to announce the newest addition to the LUMIX S series, the LUMIX S1H, a new Digital Single Lens Mirrorless camera equipped with a full-frame image sensor. As the world’s first camera capable of video recording at 6K/24p *1 (3:2 aspect ratio), 5.9K/30p (16:9 aspect ratio), and 10-bit 60p 4K/C4K.*2 *3, it combines the video quality of a professional camera and the high mobility of a mirrorless camera. The LUMIX S1H will be released to world markets in fall 2019.

The main features of the new LUMIX S1H are as follows:

  1. High resolution up to 6K for multiple formats.

Maximizing the use of the pixels in the full-frame image sensor, the LUMIX S1H, as a digital camera, has achieved 6K/24p (3:2 aspect ratio) or 5.9K/30p (16:9 aspect ratio) video recording for the first time in the world.*1 It is also the world’s first full-frame digital interchangeable lens system camera*1 to enable 10-bit 60p 4K/C4K *2*3 video recording. It accommodates a variety of recording formats like 4:3 Anamorphic mode, to meet professional needs. Its high-resolution data can also be used to create 4K videos with higher image quality or to crop images in 4K.

  1. Rich gradation and a wide color space virtually equal to those of cinema cameras.

The LUMIX S1H features V-Log/V-Gamut with a wide dynamic range of 14+ stops, which are virtually the same as those of the Panasonic Cinema VariCam, allowing it to precisely capture everything from dark to bright areas. So much so, that the color and even the texture of human skin are faithfully reproduced. Designed under consistent color management, the S1H’s recorded footage is compatible with V-Log footage recorded by VariCam or the LUMIX GH5/GH5S.

  1. High product reliability that allows unlimited video recording. *7

In every S1H recording mode, video can be recorded non-stop under the certified operating temperature so the user can concentrate on shooting.

Since the 1990s, Panasonic has been a leader in the development of video recording technologies for digital cinema, and has produced a host of innovative technologies for impressive cinematic imagery, such as 24p video recording, slow motion video using a variable frame rate, and the wide dynamic range and color space of V-Log/V-Gamut. By working with film creators for more than 25 years, Panasonic has successfully designed a number of cinema cameras that exhibit stunningly high video performance. The LUMIX GH1 made its debut in 2009 as the world’s first Digital Single Lens Mirrorless camera capable of full-HD AVCHD video recording. *4 The LUMIX GH4 was launched in 2014 as the world’s first Digital Single Lens Mirrorless camera*5 capable of 4K video recording. Next, the LUMIX GH5 was released in 2017 with the world’s first 4K/60p, 4:2:2 10-bit 4K/30p recording capability.*6 The LUMIX GH5 is highly acclaimed by film creators for its high performance, excellent mobility, and superb versatility in film production. And now, in 2019, the LUMIX S1H joins as Panasonic’s newest cinema camera.

Panasonic now offers three innovative models in the LUMIX S Series of full-frame Digital Single Lens Mirrorless cameras – the S1R, the S1, and the new S1H. The LUMIX S1R is ideal for capturing high-resolution images, while the LUMIX S1 is an advanced hybrid camera for high-quality photos and videos, and the LUMIX S1H is designed especially for film production. With this lineup, Panasonic is committed to meet the demands of every imaging professional by challenging the constant evolution of the photo/video culture in today’s new digital era.

The LUMIX S1H prototype will be exhibited at the 2019 Cine Gear Expo.*8?

*1 As a digital interchangeable lens system camera, as of May 31, 2019 (U.S.). Panasonic research.

*2 As a full-frame digital interchangeable lens system camera, as of May 31 May, 2019 (U.S.). Panasonic research. In Super 35mm-equivalent size.

*3 Corresponding to 4K (4096×2160) as defined by Digital Cinema Initiatives (DCI).

*4 As of March 25, 2009, as a digital interchangeable lens system camera. Panasonic research.

*5 As of March 25, 2014, as a Digital Single Lens Mirrorless camera. Panasonic research.

*6 As of January 25, 2017, as a digital interchangeable lens system camera. Panasonic research.

*7 Recording time varies depending on the battery capacity and memory card capacity. When the camera’s temperature rises above the specified operation temperature, the camera may automatically stop video recording to protect it from heat damage.

*8 Cine Gear Expo 2019 is the premier annual event for professionals engaged in the technology, entertainment and media industry to be held at Paramount Studios in Los Angles, U.S., through May 30 to June 2.

?Design and specifications are subject to change without notice.

Articles: Digital Photography Review (dpreview.com)

 
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Hands-on with Panasonic’s 10-25mm F1.7 Micro Four Thirds lens

01 Jun

Panasonic Leica DG Vario-Summilux 10-25mm F1.7 ASPH

The Panasonic Leica DG Vario-Summilux 10-25mm F1.7 ASPH is a fast zoom lens that covers several popular focal lengths. When mounted on a Micro Four Thirds body, where it’s equivalent to 20-50mm, you can hit 20mm, 24mm, 28mm, 35mm or 50mm with a single lens (and a fast one, at that). It will ship in July for $ 1799/£1799.

The lens was originally announced last year at Photokina, and saw a mockup under glass at CP+ back in March.

We were able to get our hands on a preproduction lens, so click through to learn more about this beast of a lens.

Big, but not that big

Make no mistake, the 10-25mm F1.7 is a hefty lens, but it’s not nearly as large or heavy as one would expect given its ambitious spec. The lens is 128mm (5″) long, has a max diameter of 88mm (3.5″) and weighs in at 690g (1.5lb). By comparison, Sigma’s 18-35mm F1.8 Art lens is a bit shorter, but almost 20% heavier, despite covering a narrower range of focal lengths.

The 10-25mm is a pricey lens, and it feels like it in the hand. It’s virtually all metal and is dust and splash-resistant. The lens can function down to -10°C/+14°F.

Seventeen elements

It shouldn’t come as a huge surprise that this ambitious lens requires a lot of glass. The 10-25mm F1.7 has 17 elements in 12 groups and includes aspherical, ED and UHR elements. The lens is threaded for 77mm filters, which serves as an example as how compact (relatively speaking) the 10-25 is.

The lens uses a stepping motor that focuses quickly and quietly.

Grabbing control over focus

The 10-25 is the first Panasonic Micro Four Thirds lens to have a focus clutch, making it easy to quickly switch between auto and manual focus. As you can see from the photo above, the lens can focus down to 28cm (11″).

With the clutch pulled back, the manual focus response is linear. This will be especially useful for video shooters, since it means you can be certain of how much the focus will change in response to you turning the lens. There’s a feedback stop at either end of the focus range but they’re not hard stops: the focus ring will continue to rotate beyond the close and far points, so it’s not great for use with a follow-focus.

Stills shooters are likely to appreciate that it gives an experience much more like an old, mechanically-driven lens,

Put a ring on it

The aperture ring, which travels from F1.7 to F16, is click-less, another feature the video crowd will appreciate. Something we like about the dial, at least on the prototype we used, is that there’s a detent to prevent you from accidentally switching the ring out of Auto mode.

Just as importantly for videographers, the aperture/iris is driven smoothly, without steps. This allows subtle adjustments in exposure (either manually or in auto mode), without the brightness of the video visibly jumping.

No going to great lengths

The lens extends when you adjust the zoom, but not by much: here it’s shown at full-extension.

Its comparably low weight should make it easy for a gimbal to stabilize, and the limited change in length should also mean its center of gravity doesn’t move very much. This should make it possible to get away without having to re-balance for different focal lengths, which is a clear benefit over using a series of prime lenses.

L-mount teleconverters

Panasonic released a pair of teleconverters for its S-series full-frame bodies alongside the 10-25mm F1.7. These 1.4x and 2x converters are compatible with Panasonic’s S Pro 70-200mm lenses: the currently available F4 version as well as the F2.8 model coming later this year.

Both teleconverters feature UHR (ultra-high refractive index lens) elements, and Panasonic claims that there’s virtually no reduction in resolution when using them.

The 1.4x and 2x teleconverters are priced at $ 499/£489 and $ 599/£579, respectively.

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CP+ 2019: We tour Panasonic’s Yamagata lens factory

09 Apr

Yamagata: a long way from Osaka

Left to Right; Kiyokazu Ishiyama, Kuniko Katagiri, Kimihiro Wakamizu, Toshiaki Takano and Takemi Oketa

The city of Tend? sits on a wide plain in the Yamagata prefecture of North Eastern Japan. It’s a city of just 61,000 people and, with snow-topped peaks visible in nearly every direction, feels even more distant from Panasonic’s headquarters in industrial Osaka than the 600km (370 miles) that actually separate them.

But this quiet spot, hemmed-in by the Iide, ?u and Asahi mountain ranges, plays an essential role in the company’s camera business, as it’s home to Panasonic’s Yamagata lens factory.

It makes other things, too, but we visited because it’s responsible for lens units for compact cameras, interchangeable lenses, and lens elements for both Panasonic and other (un-named) customers. The factory was founded in 1982 and has been making lenses since 1987, giving it 35 years of experience in the field. But, the company maintains, it’s still constantly looking for ways to improve.

All of the images in this article were supplied by Panasonic and are used with permission.

All the usual processes

Lens elements about to be coated by vapor deposition

The factory can take rough glass blanks or the raw materials for plastic elements in at one end and do all the processing and assembly needed to make a complete lens.

This sees glass elements ground and polished to shape. These elements then have their edges ground off, with careful attention given to ensuring the optical center of the lens is perfectly central within the element. The lenses are then coated, by vapor deposition, to give them the anti-reflective and water/oil resistant coating they might need, before having their edges blacked, to prevent internal reflections.

These lenses are then either installed into lens barrels (also made at the factory) or sent elsewhere. Although the factory can build a lens from start to finish, it also creates individual lens elements that are sent off to other manufacturers, both for Panasonic and other companies’ products.

Precision construction and checking

Some lenses have alignment adjusted by machine, others are fine-tuned manually

For the lenses that are made in Yamagata, the assembly process is pretty involved. The word that came up most often during my visit was the word ‘precision,’ and Panasonic is clearly proud of its ability both to assemble lenses with high precision and to measure and confirm that precision.

The example I was shown was the Panasonic Leica DG Vario-Elmar 100-400mm F4.0-6.3 ASPH Power OIS. It’s a fairly complex lens with 20 elements in five groups. The different groups are assembled and then introduced into the lens barrel.

Every group has to be made and positioned with high precision, but it’s impossible to make the entire lens with perfect precision. As a result, the lens is designed so that the groups that are most sensitive to tilt and centering (the ones that have the biggest effect on image quality) are adjustable.

Adjusting the 100-400mm F4.0-6.3

Three of the five groups that make up the 100-400mm F4.0-6.3 ASPH are adjusted during the manufacturing process

In the case of the 100-400mm, there are three groups that are designed to be adjusted.

The third group is adjusted for tilt and for centering within the barrel. With this done, the rest of the lens is assembled and spacing between groups one and two is adjusted. Finally, the first group is adjusted for tilt and centering.

The company says the lenses are designed to be centered to within 5?m, but the factory actually achieves less than 3?m. Tilt is supposed to be corrected to within 3/60th of a degree but the accuracy actually achieved is less than 1/60th of a degree.

Individual checks

Each lens is checked for any unexpected mechanical noise

Every lens is then adjusted for back-focus and tracking, then subjected to MTF measurements. Each unit is also checked to ensure its gyro sensors are correctly calibrated and that there’s nothing generating any unexpected mechanical noise.

Every single lens is checked, they say, and lenses are then picked at random for more extensive testing as part of the quality control process.

Aspherical expertise

Aspherical elements are used to offer different optical corrections at different points across its surface

But the site’s main area of expertise, and the reason other brands come to it for lenses and elements, relates to aspherical lens elements. Aspherical lenses are those whose surfaces vary in shape across their surface, such that they can’t be described by a sections of a sphere.

They’re are used to correct a phenomenon known as ‘spherical aberration,’ where rays of light passing through the edge of a lens are effectively focused at a different distance to those passing through the center of the lens. Adding aspherical lenses to a design can replace the need for multiple elements, which can help make the lens as a whole smaller, lighter, cheaper or simply better optically corrected.

The role of the die: too important to be left to chance

Aspheric lenses, whether plastic or glass, need to be re-shaped using precision dies or molds

The key to creating an aspherical lens element, whether its glass or plastic, is the ability to precisely form the complex shape of the element. And a key part of this is creating a die: the shaped tool that presses the plastic or glass into the correct shape. The precision of the shape of these dies is essential to ensure the resulting lens element has the correct optical properties.

The factory has capacity to make around 400 dies per month, working 24 hours in two shifts. These are made from very hard metal and require high pressures for shaping them.

The molds for glass elements can be used to shape between 500 and 1500 units before they need replacing. The molds for injection-molded plastics lenses will last for around 10,000 elements before it needs replacing. The company says it takes around five weeks to go from a design to having a working mold, while the molds for glass take around 8 weeks.

Expertise + experience

Even the relatively modest 14-45mm F3.5-5.6mm Micro Four Thirds kit zoom uses an aspherical element in its design (one of a pair of elements cemented together near the very right of this image)

This expertise has been developed over the company’s many years experience of making aspherics. For instance, its work making both glass and plastic lenses means this knowledge can be worked-in at the design stage.

Panasonic says having these expertise within the company is central to the development of new products: the factory communicates with the design team on a regular basis. During the product development process, the factory will recommend materials and manufacturing processes that the design team then takes into account when coming up with a final design. This sharing of knowledge ensures the products can take full advantage of what it’s possible to repeatably produce, using its molding technology, assembly and high-precision evaluation.

The factory once received a request for a very small compact camera, which required a very thin lens. The factory worked with designers and engineers to achieve a lens element with 0.3mm thickness: the thinnest aspherical lens element in the market at that time.

Process improvement

Panasonic’s expert polishers can refine the surface of a molding die from a roughness of 50nm down to 20nm

But, in addition to building up experience, Panasonic also takes the Kaizen approach to continuous process improvement: constantly looking, and looking to its staff, for ways to improve the way it works.

This focus on improvement has helped it refine the production quality of its aspherical lenses.

Press releases regularly talk about the number of aperture blades and their shape as the way of ensuring better bokeh, but all they do is define how circular the bokeh is. The smoothness of the lens elements also has a vital role to play: any imperfections in the lens surface can result in an onion-ring pattern appearing in the bokeh.

Panasonic found surface smoothness of the final lenses could be improved if the dies used to shape them are coated by vapor deposition (the same process used to coat lenses).

Meanwhile, the dies used for glass molding (which are subjected to much greater temperatures and forces), can be improved by hand-polishing. The factory’s ten trained polishers can take a die with 50nm roughness and take it to 20nm, again, improving the bokeh performance.

In perfect shape

Panasonic has developed its own machine to assess the shape of the lens to within 100nm

A machine developed in-house, known as the UA3P (Ultra accurate 3D profilometer) checks the shape: the shape of the lens can be created to within 100nm of the intended shape.

The company says that making the small, high-resolving-power lens elements for compact cameras was very valuable for developing the facilities, technologies and skills needed to build lenses for larger cameras (Micro Four Thirds and full frame). However, some of the specific challenges are different: temperature control becomes even more critical when building lenses at larger scales.

The lens has to be cooled very evenly, to ensure both its shape and the optical properties of its glass remain consistent across the element. This requires the development of a new machine with more precise temperature control.

Looking beyond lenses, and beyond Panasonic

The factory has invested in new machines to deal with the challenges of making elements for its S-series lenses

The factor I found most interesting was how it’s responding to a changing market. The factory was first established to make magnetic tape heads for video recorders: something that’s much less in demand than it was in 1982.

Now, as the camera market declines, Yamagata is looking for ways to adapt to market demand again, and has started making lens modules for automotive sensors and the complex mirrors needed to project a head-up display (HUD) image onto a car’s windscreen.

Even on the lens side, the demands of supporting Panasonic’s interchangeable lens business is very different to creating vast numbers of the complex lenses needed for its travel zoom compacts.

Not all Panasonic lenses are made at Yamagata and not all lenses made at Yamagata are for Panasonic

The move to making fewer, but more challenging lenses has prompted a lot of investment in new machinery. Where previously the factory had a few machines performing the same process thousands of times, it now has large numbers of machines designed to create fewer elements but with even higher precision. Interestingly, although the factory can manufacture most of the components for a complete lens, not all of the company’s lenses are built in Yamagata.

Having been rushed through the factory, there was one area we weren’t allowed to visit. This is essentially a mirror-image of the areas I was shown, but all working for another, unspecified client. Something to consider, next time you see the phrase ‘Made in Japan’ on a lens you weren’t expecting to see it on.

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Atomos Ninja V, Inferno recorders will support 4K 10-bit 422 HDR with Panasonic’s Lumix S1

07 Feb

Atomos has announced its Ninja V and Inferno monitor/recorders will support 4k (3840×2160) 10-bit 422 HDR from the Panasonic Lumix S1 when it starts shipping.

Atomos says recording via HDMI to a Ninja V or Inferno will allow direct recording to Apple ProRes or Avid DNx codecs at up to 4K30 in the HLG HDR format. Using metadata transferred over the HDMI cable, the Atomos recorders can correctly display the HLG signal which provides an instant and accurate HDR image for monitoring purposes.

In Atomos own words, ‘The metadata triggers auto-setup of the Atomos recorders, and the same data is written into the ProRes or DNx file for instant playout to compatible HDR televisions and monitors, or upload to YouTube.

Atomos also addresses Panasonic’s upcoming support for 10-bit 422 HDMI output in V-Log gamma in a future paid firmware update saying the Atomos recorders will be able to record this format and that it’s working hand-in-hand with Panasonic to ensure full support and additional features will be supported when the firmware is launched.

The Atomos Ninja V and Inferno are available from authorized retailers for $ 695 and $ 1,295, respectively.

Press release:

Atomos Ninja V offers 4K 10-bit 422 HDR recording with the Panasonic Lumix S1

February 4th, 2019: Atomos is delighted to announce that as soon as it ships, the new Panasonic LUMIX S1 full-frame mirrorless camera will immediately be able to record 4k (3840×2160) 10-bit 422 HDR footage to the Atomos Ninja V and Inferno monitor/recorders. Recording over HDMI to one of these Atomos recorders will allow recording direct to Apple ProRes or Avid DNx codecs at up to 4kp30 in the HLG HDR format. HDR metadata passed over HDMI from the Panasonic LUMIX S1 to the Ninja V or Inferno allows the HLG signal to be correctly displayed, giving the users an instant and accurate HDR image they can expose and trust. The metadata triggers auto-setup of the Atomos recorders, and the same data is written into the ProRes or DNx file for instant playout to compatible HDR televisions and monitors, or upload to YouTube.

Panasonic will also add 10-bit 422 HDMI output in V-Log gamma via a paid firmware update to the camera in the future. This version of the gamma curve will be the full V-Log, rather than the V-Log L variant found on the GH5 and GH5S. Atomos will record this and are working with Panasonic to fully support the additional options that the upcoming firmware will bring.

The Panasonic LUMIX S1 is the latest in a growing number of large sensor mirrorless cameras to support 4k 10-bit 422 recording via HDMI. The increased image quality brings greater flexibility in post-production for better HDR or SDR images. Stepping up to 10-bit offers greater accuracy with billions of color combinations. This is massively beneficial when utilising computer processing for finishing. Typically, users will see smoother color gradients, eliminating the commonly seen banding in areas with gradual tone change such as blue skies. Recording to an Atomos recorder perfectly preserves this information in the ultimate way possible, combining Panasonic and Atomos technology.

The Panasonic LUMIX S1 has an ergonomic body design that is perfectly partnered with the 5″ Atomos Ninja V HDR monitor/recorder. The Ninja V weighs 360g and sits perfectly on top of the camera. When the two are used together they balance well in the hand, forming an easy to operate camera setup that rivals some traditional cinema cameras.

High bright 1000nit or 1500nit monitoring

Seeing the built-in screen of all mirrorless cameras is difficult in bright conditions. The Ninja V screen has 1000nit of brightness when in SDR mode, allowing it to be used effectively, even when outside. The Ninja Inferno and Shogun Inferno each offer an incredible 1500nit brightness and are well suited to productions where a larger 7” screen is required.

Why external recording makes sense

External recording via HDMI from mirrorless cameras is perfect for users wanting to get the best possible image quality from cameras like the Panasonic LUMIX S1. Until this year users needed to invest in a high-end cinema camera costing ten of thousands of dollars to get a larger than Super35 sized sensor that offered 4K 10-bit 422 recording. Now, with the advent of cameras like the LUMIX S1 combined with the Ninja V, users can have access to just that but at amazing price points – in this case less than $ 2500 US MSRP for the LUMIX S1 body and $ 695 MSRP for the Ninja V.

In addition, by moving recording to an external Atomos recorder like the Ninja V, mirrorless cameras are freed of many of their key video limitations. Record time limits are lifted and easy-to-edit Apple ProRes or Avid DNx codecs recorded, instead of harder to edit H.264 or H.265. When recording video with the Panasonic LUMIX S1 and Ninja V you can shoot to the new generation of Atomos AtomX SSDmini drives or Atomos Master Caddy II drives. These are developed with leading brands and offer high speed and high reliability in a compact metal chassis at a highly affordable cost per GB.

The Atomos Ninja V, Ninja Inferno and Shogun Inferno are available now from all Atomos approved resellers. To see a full range of AtomX accessories visit: https://www.atomos.com/accessories

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Panasonic’s new Lumix DC-S1 and S1R: What you need to know

03 Feb

Panasonic Lumix DC S1 and S1R: What you need to know

The new Panasonic Lumix DC S1 and S1R are Panasonic’s first full-frame cameras, and only the second (and third) full-frame options for what had, until recently, been the Leica SL-mount. Broadly comparable in intent to Nikon’s Z-series, the S1 is a powerful all-rounder, featuring advanced video capabilities as well as 24MP stills, while the more expensive S1R is a high-resolution 47MP stills-oriented flagship.

We’ve had our hands on the S1 and S1R, and in this article we’ll pull out the key specifications, and walk through the major features and ergonomics of both cameras.

Panasonic Lumix DC S1 and S1R: What you need to know

Ergonomically and cosmetically, the S1 (shown here) and S1R are effectively identical. They’re DSLR-style full-frame mirrorless cameras intended for professional and enthusiast use. As such, they’re fairly large, chunky, and peppered with buttons, switches and dials.

Panasonic Lumix DC S1 and S1R: What you need to know

They’re also tough. Panasonic claims that the magnesium alloy bodies of the S1 and S1R are sealed against dust and moisture, and will operate down to -10°C (14°F). Essentially, we understand that the S1/R were designed to be at least as durable as the GH5 in tough conditions, which in our experience means they should be very tough indeed.

This shot shows the vertical controls on the optional grip, which like the S1/R is weather-sealed and built to a high standard.

Panasonic Lumix DC S1 and S1R: What you need to know

Panasonic has stressed to us that feedback from professional photographers was critical to the design of these cameras, and it turns out that when you ask professional photographers what they want a full-frame camera to look like, you end up with something that looks an awful lot like a high-end DSLR, complete with a large grip, and wide, fairly deep body.

Panasonic Lumix DC S1 and S1R: What you need to know

And… (drumroll…) twin card slots! The S1/R support SD (UHS-II / v90 compatible) and XQD recording media, with support for CFexpress (an evolution of XQD offering even higher data transfer rates which has the same form factor) coming in future. A ‘card lock’ feature issues an audible warning if the card door is opened while the camera is still writing data.

Panasonic Lumix DC S1 and S1R: What you need to know

The substantial handgrip houses an appropriately substantial battery, which is good for a curiously unremarkable CIPA-rated endurance of between 360 and 400 images, depending on which model, which card type you use and whether you use the EVF or LCD. These figures increase to ~1100 in ‘power save’ mode. In normal shooting, considering the battery’s high capacity, we’d expect much more.

Panasonic Lumix DC S1 and S1R: What you need to know

The single biggest difference at a component level is the sensors. The S1 features a 24MP, ‘high-sensitivity’ sensor with a maximum ISO sensitivity of 204,800, whereas the S1R offers greater resolution, at 47MP, with a lower absolute maximum ISO sensitivity of 51,200. Neither cameras’ sensors feature a low-pass filter, which should guarantee excellent sharpness, potentially at the expense of moiré in some situations. Both sensors are stabilized.

It’s worth noting that these sensors are not BSI-CMOS designs. This means that they are not variants of the manufactured sensors we’ve seen in contemporary Sony and Nikon DSLRs and mirrorless cameras. Until we’ve completed our testing we won’t know exactly what that means, except that we’re not expecting any PDAF striping or banding issues. Why? Because there’s no PDAF. More about that on the next slide.

Panasonic Lumix DC S1 and S1R: What you need to know

Panasonic has opted to use a variation of its established contrast-detection DFD autofocus system, rather than an on-sensor phase-detection system of the kind favored by other manufacturers. Despite their very different sensors, the S1 and S1R offer the same 225-zone autofocus system.

This is because the AF system is effectively a processing layer on top of the sensor, not built into it. Since both cameras feature the same processor, autofocus performance should be identical – notwithstanding the risk of misfocus being more noticeable in the S1R’s higher-resolution files.

This image shows off the S1/R’s large top-mounted LCD and twin control dials. Just to the right of the LCD is the on/off switch which interestingly – and in our opinion a bit disappointingly – has been moved from its G9 / GH5 position around the shutter button. While less likely to be bumped in its new position, we miss the ability to react quickly and turn the camera on with a single finger.

Panasonic Lumix DC S1 and S1R: What you need to know

The S1 and S1R both feature high-resolution 5.76M-dot OLED viewfinders, which Panasonic describes, accurately, as offering ‘the world’s highest resolution’. In use, the S1/R’s viewfinder experience is certainly impressive, and free of the ‘rainbow’ effect which for years has dogged the field-sequential viewfinders used in some of Panasonic’s M43 cameras. We’re not sure it uses all of those 5.76M dots, though, since that number implies a 4:3 finder and these appear to be 3:2.

Sharpness isn’t just about resolution, of course. The optical assembly in the EVF is unusually complex, comprising five elements in three groups, including three ‘optical glass’ elements. The EVF’s default (max) magnification is 0.78X, but this drops to 0.74X or 0.7X if you want to see information displayed around the preview, rather than overlaid on-top.

In this image you can see the S1/R’s rear controls, which include a combined rear dial / 4-way controller and a dedicated 8-way autofocus joystick. The joystick is, no pun intended, a joy to use, capable of directing your chosen AF point around the frame extremely quickly. The 4-way controller beneath it is less satisfying, being a smaller and shallower control which we can imagine being hard to manipulate with cold or gloved fingers.

Panasonic Lumix DC S1 and S1R: What you need to know

On the rear of the S1/R is a 3.2″, 2.1M-dot ‘triaxial’ tilting display, with a tilting mechanism designed to withstand professional use in tough shooting conditions. As we’d expect from Panasonic at this point, the display is touch-sensitive. A ‘night mode’ can be activated on both EVF and / or rear display which switches to a red on black interface to avoid eyestrain and dazzling when shooting in dark conditions.

Speaking of brightness, the rear display is an RGBW type, which includes (W)hite pixels alongside red, green and blue ones to improve visibility in bright conditions and reduce battery use the rest of the time.

Panasonic Lumix DC S1 and S1R: What you need to know

Aside from the difference in resolution for stills, video is where we see the biggest differentiators between the S1 and S1R. At a casual glance, both cameras appear to offer fairly similar 4K video shooting capabilities, but a closer look reveals that the S1 is better optimized for serious video capture.

Panasonic Lumix DC S1 and S1R: What you need to know

While both the S1 and S1R can shoot 4K/60 video, they differ in just about all important respects.

The S1 can shoot UHD/30p from the full width of its sensor and can do so for an unlimited time. It can also capture UHD/60p from an APS-C crop for up to 29:59 minutes. All this footage can be captured as 8-bit 4:2:0 footage or output over HDMI as 8-bit 4:2:2. The 30p footage can also be captured as 10-bit 4:2:0 high dynamic range footage in the camera’s HLG mode.

A paid firmware upgrade will allow 10-bit 4:2:2 capture and output of the 30/25 or 24p footage and access to the full V-Log gamma option (not the truncated V-LogL version offered in the GH-series cameras).

The S1R can shoot both UHD/60p and 30p from a 1.09x crop of its sensor, and is pixel-binned, which is likely to mean less detailed footage. There’s no HLG or upgrade option for the S1R, its 30p shooting is capped at 29:59 and the 60p option will shoot for about 10 minutes.

This shot shows the S1’s audio, HDMI and USB C I/O ports. The S1/R can be charged and powered via the latter.

Panasonic Lumix DC S1 and S1R: What you need to know

The Panasonic Lumix DC-S1 and S1R will be available in April for $ 2499 and $ 3699 respectively. The optional video firmware upgrade for the S1 will be available at a later date, price still TBD.

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What you need to know about Panasonic’s LX100 Mark II

23 Aug

Hands-on with the Panasonic DC-LX100 II

Up until now, the Panasonic LX100 has been one of those cameras for which people have been long awaiting a successor – the Ricoh GR II is another example. While a GR III has yet to arrive, the LX100 II is here.

Panasonic hasn’t messed with success here, keeping the design, lens and trademark multi-aspect feature the same, while improving image quality and usability via a new sensor and touchscreen LCD, respectively.

Here’s a look at what’s changed – and what hasn’t – on Panasonic’s LX100 II enthusiast compact.

17MP from a 20MP Four Thirds sensor

The biggest improvement on the LX100 II is its new Four Thirds sensor, borrowed from the GX9 mirrorless camera. On the GX9 you get an effective resolution of 20.3MP, but on the LX100 II you only ever get to use a cropped region, giving you up to 17MP.

That’s because the LX100 II retains the hallmark feature that traces back to the DMC-LX3: the ability to shoot at multiple aspect ratios without changing the diagonal field of view. Whether you’re at 3:2, 16:9 or 4:3 ratio, the wide end of the lens will always be 24mm equiv. The aspect ratio can be quickly changed using a switch just behind the lens control ring, which makes it more likely that people will use this feature.

While we’re yet to test the LX100 II, you can get a feel for what its sensor can do by viewing the GX9 studio scene. Besides the increased resolution, Panasonic says that the LX100 II’s JPEG color rendering is improved, and based on some samples we’ve seen and our experience with the company’s recent models, that appears to be the case.

24-75mm equiv. F1.7-2.8 lens

Keeping with the ‘why mess with success’ theme, the lens on the LX100 II is the same as on its predecessor, and that’s good news. This is one of the fastest lenses on an enthusiast compact, with a maximum aperture range of F1.7-2.8 through its 24-75mm equiv. focal range. The lens has a total of 11 elements, including two aspherical ED and five ‘regular’ aspherical.

The advantage of having a large sensor and fast lens means that the LX100’s equivalent aperture is consistently 1/2 to 2/3-stop faster than its competitors. The benefits of that are more control over depth-of-field and less need to increase the ISO, since more light is reaching the sensor, helping to keep noise levels lower.

Direct controls

If you want a camera with traditional controls, the LX100 II is it. No more pressing buttons to change the aperture, shutter speed or exposure compensation – as with the original LX100, there are dedicated dials for each of those on the camera. The control ring around the lens can be used for adjusting other things besides focus, including zoom, ISO and white balance.

Panasonic has added more customizable buttons on the LX100 II, with a total of five physical and five on-screen. If you can think of the setting, you can probably assign to one of those buttons.

LCD and EVF

The electronic viewfinder on the LX100 II is the same as the one on the original model. It has an equivalent resolution of 2.76 million dots, which sounds high, but it isn’t really any better than a typical 2.36M-dot EVF, since it uses a field sequential system. Some people find field sequential displays irritating due to color tearing, which creates a ‘rainbow effect’ when you blink or pan the camera. The EVF has an equivalent magnification of 0.70x, which is quite large for an enthusiast compact.

The 3″ LCD has received some notable improvements. First, the resolution has been bumped from 0.92 million to 1.24 million dots. More importantly, it’s now a touchscreen, and Panasonic’s touch features are some of the best. They include touch-to-focus, menu navigation, image review, pinch-to-zoom and Touchpad AF. This last feature lets you use your thumb to adjust the focus point with your eye to the finder. A tab on the side of the screen holds five additional customizable ‘soft’ buttons.

4K video

As you might expect from a Panasonic, the LX100 II offers 4K video capture. This comes in the popular 16:9 UHD aspect ratio and shoots at up to 30 frames per second. A 43mm filter thread on the front of the lens allows the use of screw-on ND filters.

Sadly, the use of the processor from the GX9 means this footage is taken from a native 3840 x 2160 pixel crop of the sensor. This not only narrows the camera’s field-of-view to give a roughly 32-100mm equiv lens range, but also means using a slightly smaller sensor region than the 1″-type sensor found in rivals such as the RX100 V. Video quality, particularly in low light, will be reduced accordingly.

Video is limited to 15 minutes per clip to protect against overheating.

Special effects

The original LX100 has received the latest Photo Styles added on other modern Panasonic cameras. The one that stands out is L.Monochrome D, which is a high contrast black and white mode. If you wish, you can add a film grain effect that is quite convincing, as it uses a pseudo random pattern.

The 4K Photo feature has also been updated with the Auto Marking, Sequence Composition, Post Focus and Focus Stacking features.

For the first two, the camera captures a short video clip which is broken up into 8MP stills. Auto Marking looks for areas with a lot of motion, which it considers the interesting part of the burst. You can jump to those moments quickly using the touchscreen or dials. Sequence Composition lets you select stills from the 4K Photo burst and combine them into a single image, like so.

Post Focus and Focus Stacking work in a slightly different way. The camera again takes a short 4K video, this time scanning the entire focus range. Post Focus lets you pick the area that you want in focus, while Focus Stacking combines frames to bring the entire image into focus.

However, since these modes all come from the camera’s 4K capability, they’re all subject to the same significant crop (and consequent loss in quality).

Performance and Ports

Panasonic has provided the LX100 II with additional buffer memory, allowing it to take up to 33 Raws in a row, compared to 9 shots on the LX100. The burst rate remains the same: 11 fps with AE and AF locked, and 5.5 fps with continuous autofocus.

The LX100 II continues to use Depth from Defocus contrast-detect autofocus, which has proven itself to be responsive and reliable. We’ll see how it perform when we review the camera.

Despite having 4K video capability, the only two ports on the camera are for USB and HDMI. No external mic socket here, much less a headphone socket for monitoring audio.

Bluetooth and Batteries

The LX100 had Wi-Fi and the LX100 II offers Bluetooth as well, for a constant connection between smartphone and camera. The Panasonic Image App has an ‘Easy Remote Control’ which will wake up the camera for you, and it can also take advantage of Bluetooth to automatically transfer photos you’ve taken.

The DMW-BLG10 battery is the same on both the LX100 I/II. Battery life is up by about 10% compared to the original model to 340 shots/charge, which is good for an enthusiast compact.

Included external flash

There’s absolutely no room on the LX100 II for a built-in flash, so Panasonic includes a compact external flash. The flash has a guide number of 10 meters (33 feet) at the camera’s base ISO of 200 but cannot be redirected or bounced. If you want a more powerful or flexible flash, Panasonic has a couple of options available.

Wrap-up

The Panasonic DC-LX100 Mark II’s impressive combination of a large sensor and fast, 24-75mm equiv. lens makes it an appealing enthusiast compact. It’s not pocket-sized like the RX100 V and Canon PowerShot G7 X Mark II, but that’s the trade-off for the sensor and lens.

The LX100 II will be available in October at a price of $ 999. That’s the same price as the Sony RX100 V and $ 100 more than the MSRP of the original LX100, by the way.

Look for a full review of the LX100 II in the not-too-distant future.

Articles: Digital Photography Review (dpreview.com)

 
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‘That article was more like gossip’ Panasonic’s head of cameras talks downsizing, GH5 and the 8K era

08 May
 Yosuke Yamane: Division President, Imagine Network Business Division

Yosuke Yamane, the Director of Panasonic’s imaging business visited DPReview on a recent trip to the United States. He spoke to us about the GH5, the promise of 8K, reports of downsizing and why we haven’t seen on-sensor phase detection in one of the company’s cameras.

Initial response to the GH5

Given it’s the company’s latest product and that Yamane arrived after visiting the video-focused NAB Show in Las Vegas, we started off asking about the GH5.

Early response has been positive, he says, pointing out that it immediately topped the sales chart at one of the US’s largest dealers. ‘The sales were more than we’d originally planned for,’ he says: ‘It depends on the region: some regions sold three times more than we planned and others it was one-point-five times. We’re very satisfied with the result.’

‘Based on our survey, the first customers are mainly videographers,’ he says. But he expects this mix to change: ‘The GH5 provides the best still picture as well as the best moving picture quality ever in any Lumix, so we expect hybrid photographers and videographers to be 50:50.’

‘For video users, the specifications of the video are very important whereas the stills photographers tend to want to evaluate the image quality, based on pictures taken with the camera. In that sense, more and more photographers will come to the GH5. That’s what we expect.’

Who is buying the GH5?

We pressed Yamane on whether he thought the GH5 was selling beyond existing GH4 owners. ‘We don’t have any specific numbers,’ he says: ‘but my gut feeling is that many GH4 users are upgrading to the GH5, this is a decent portion of our first buyers. But, beside GH4 users, maybe it’ll be Canon EOS 5D III and IV users, or Alpha 7S Mark II users. Especially, my feeling was that EOS 5D Mark III users are very much interested in GH5.’

‘The majority of GH5 sales have been body only: that means lots of GH4 users are buying GH5. But also, at the introduction of the Sony a7S, it took share from the Canon EOS 5D Mark II because of the size. I think the same tendency is happening here: Canon EOS 5D Mark III customers are coming to the GH5 because of the compact size and the quality.’

‘The professional camcorder users coming to the GH5 because of the 4:2:2 10-bit video. 4:2:2 10-bit capable cameras are usually very expensive. It’s a feature mainly incorporated in cameras costing over $ 10,000 but we realized these functions for the GH5, so it can easily become part of their workflow at a very affordable price.’

Stumbling over Log?

On the topic of high-end video users buying the camera, we asked about the popularity of the paid upgrade to add V-Log. ‘We started selling V-Log as an upgrade with the GH4,’ explains Yamane: ‘We don’t know the exact attachment ratio but I know we sold more V-Log packages than we expected. When it comes to the GH5, because the stills side is improved, we don’t know if the attachment rate will be higher or not.’

Yamane was very open about the reasoning behind selling the V-Log feature as a paid upgrade: ‘If we incorporated it into the camera, we would have to charge a higher price for the GH5. As of now we believe it’s appropriate to offer V-Log as an option.’

‘It’s not a cost issue, it’s that Log is recognized as having a certain value in the market. If we want to add that value into this camera, we need to keep the value of Log video to the industry.’

Improvements to be made

With the GH5, Panasonic took the unusual decision to launch the camera with the promise of more features that would come after a few months. Yamane confirmed that the delay to introducing 4:2:2 All-Intra recording was simply because it wasn’t ready in time for the planned launch, though it’s noticeable that the V60 cards guaranteed to support its 400mbps write speed aren’t widely available yet. However, he confirms the engineering team is working on more than just delivering the promised features: there will be an update to improve movie autofocus.

‘Now we are brushing up the smoothness of DFD for video. We don’t know when we can announce it but there will be firmware.’

‘The most important part of video autofocus is not just speed but also the smoothness. We need to find a concession point for the smoothness of autofocus and the speed of autofocus. First we realized fast AF on the stills side using depth-from-defocus (DFD). Now we are brushing up the smoothness of the DFD for the video category. We are working on it right now. We still don’t know when we can announce it but there will be firmware.’

Why not adopt the phase detection approach used by many of its rivals, we asked. ‘On-sensor phase detection doesn’t work any darker than F8, [which can be a problem in video]. It’s not necessarily true that phase detection is better than DFD plus contrast detection.’

‘We think our DFD is going to be better than [the best of our rivals]. That’s our target.’

‘We are also aware of other brands’ excellent [phase detection-based] autofocus: we really respect the quality of their sensors and their technology. But if we wanted to do the same; to make our own sensors [using a comparable technology], we’d have to apply those sensors to all of our cameras. The development costs for this kind of sensor would be huge.’

‘Our DFD system is not dependent on a specific sensor, so from the viewpoint of expandability, we should probably go with DFD technology.’

‘But,’ he says: ‘we think our DFD is going to be better than [the best phase-based AF]. That’s our target and we want to realize that accurate autofocus.’

Engine of change

This bold claim is likely to stem from Yamane’s confidence in the GH5’s underlying hardware. This was the most difficult aspect to develop, he says. ‘Really at the core of the camera is its performance, which comes from the LSI’s development: the new processing engine. I truly believe this is the most special engine in the entire industry. This is not only for DSC but also for consumer and professional camcorders.’

He gave examples of all the things that are asked of the processor: ‘4:2:2 10-bit codec is 64x as much data as before. 4:2:0 8-bit at 60p. Also the DFD system’s speed, Dual IS stabilization, the best image quality for Lumix all need to be calculated in a very short time.’

The challenge extended beyond simply making a powerful processor, he says: the chip has to be efficient so that it allows good battery life and doesn’t generate excessive heat. ‘The heating issue was very tough to overcome. How to make the most efficient engine and how to dissipate heat was the most difficult part of the product development.’

Lenses for a hybrid camera

The Leica DG Vario-Elmarit 12-60mm / F2.8-4.0 ASPH. / POWER O.I.S. is the first in a range of F2.8-4.0 zooms for the Micro Four Thirds system

Moving on from the GH5, we expressed our surprise that the company would introduce a range of variable aperture zooms alongside such a capable video camera.

‘We are not just targeting GH5 customers,’ he explains: ‘we’re targeting all the other Micro Four Thirds cameras users. We’ve also taken other cameras’ sizing into account, and it also fits on the G85 and the GX85 and some other Micro Four Thirds cameras.’

‘The benefit of Micro Four Thirds style is that it can be smaller and lighter. If we made constant aperture F2.8 lenses, they’d be more expensive and bigger. Considering the benefit we can provide stills photographers we decided to go with F2.8-4 and give rather smaller lenses at reasonable prices.’

The lenses include stepless apertures, to minimize any impact on video while zooming, and, he suggests, for anyone concerned about changes in exposure while video shooting, there are workarounds: ‘Videographers can use them as a constant F4: I think we can also give videographers a solution in that way. I agree that in the future we need to offer lenses that best suit videographers but this camera is targeting hybrid users, both videographers and stills shooters, so we decided with this direction for the next three or four lenses.’

Ambitions and focus

It’s unusual for camera makers to talk much about the future, but during our discussion, Yamane set out some pretty bullish ambitions. ‘For Lumix, the United States is a very strategic market. Our target is to double the business volume by 2020.’

We asked him how this would be achieved.The current business in the United States is 30% mirrorless and 70% compact camera,’ he says: ‘though nearer to 50:50 if you count interchangeable lenses as well.’

‘For the future, to double the business, we’re going to focus on high end product: mirrorless cameras and high-end compacts. We expect a decent increase of the compact market to be sustainable.’

In addition to this, he says: ‘We’re also going to strengthen our product for the high-end video market.’

But, initially at least, this is going to be through cameras like the GH5: ‘firstly we’ll focus on the hybrid form factor. Also help photographers interested in making additional income from providing video. I think this camera will help this kind of photographer.’

In terms of compacts, we’ll focus on the ZS (TZ) series, such as the ZS100. Then the LX series, we’d like to strengthen. In this category the Sony RX100 series is very important, we have to directly compete with that. Our strength comes from ZS series. We’ll focus on that strength and FZ series long zoom.’

One camera he didn’t mention was the LX100, which we know to have an avid following. Should we expect a successor, we asked. ‘As I said, RX100 competes directly with LX10 but LX100 is one step higher. So as the customer expects LX200 we will also strengthen the successor of LX100. How will we answer to the passionate customers of the LX100? We will study how we’re going to answer these customers.’

Trickle-down of technology?

Yamane (center) was accompanied on his visit by Terry Takabayashi (left), General Manager, Merchandising Department and Kazuki Sugahara (right), Manager, Americas Section, Imaging Marketing Group.

One method for refreshing models might be through the trickle-down of technology, Yamane suggested: ‘After we introduced the GH4, which was the world’s first 4K mirrorless camera, this 4K technology has been applied in models like G7, G8 and LX100. For the development roadmap, the new technology will first appear in the flagship and then, looking at price and value for money, we will expand the range.’

‘we would like to expand the [GH5’s] technology to other models’

The rationale is pretty straightforward, he says: ‘R&D development of technology requires a lot of investment. So to amortize that investment we have to apply that technology to other models to expand the volume and realize a return on our investment. After we get a return on that investment we have to reinvest that return in new technology: we have to continue that kind of cycle to evolve our product.’

This means using the GH5 technology more widely, without under-selling it, he says: ‘With GH5 also we would like to expand the technology to other models, looking at striking a balance between offering good value for money and at the price zone at which a customer can expect that technology.’

All of this comes back to a phrase that recurred throughout our talk: the use of features such as 4K and 6K Photo modes to ‘create a new photo culture.’

Nikkei, restructuring and gossip

This all sounds very ambitious for a company reported to be considering scaling back its camera business. Yamane says customers shouldn’t worry too much about what the Nikkei, which published the story, said.

‘That article was more like gossip, saying the business may be moving towards the smaller side in the restructuring,’ he says, before explaining what’s happened.

‘Panasonic has four companies. The camera division used to be in the AVC Networks business but, as of the first of April, we moved Digital Camera and Camcorders to the Appliances company.’

‘I’m really proud of the engineering groups that made this camera available to the market’

Moving cameras and camcorders away from the pro video division and into the same company as refrigerators may seem odd, but Yamane explains the logic: ‘The Appliances business is much more consumer focused than the AVC group, which has a significant business-to-business component.’

‘The move will bring our marketing, manufacturing and R&D departments together in one place, so we gain better integration [by moving]. We’ll still co-ordinate across with the AVC business on advanced technologies but [the restructuring] means our R&D and marketing efforts are together.’

The coming of the 8K era

Along with its ambitious targets for US sales, Yamane says the company has ambitious targets for hardware, too. ‘Towards the year 2020, 4K will evolve to 8K. Panasonic has supported the Olympic Games for a long time and in 2020, when the games are in Tokyo, the era of 8K will start, [and] we will develop the hardware to develop the 8K picture.’

This doesn’t necessarily mean 8K video, though: ‘As far as for the customer category, we don’t know if we will be able to record all of the output from 8K video. So the question is how we utilize 8K information and create a new photographic culture’

‘In 2020, when the [Olympics] are in Tokyo, the era of 8K will start: we will develop the hardware to develop the 8K picture’

‘8K Photo will completely change the photo shooting style with 33MP resolution. Whether that’s a 4K crop from 8K or 2K cropping from 8K or it’s 33MP images on the stills side.’

But Yamane makes clear that he’s not just interested in the technology: he’s interested in its photographic benefits to users: ‘Based on the customer voice and the customer opinion, we will make the maximum effort to develop strong products to answer the needs of the customers.’

A team effort

Yamane is immediately clear about what’s going to enable the company to achieve these ambitions: when asked what he was most proud of, he was quick to give credit. ‘The engineers who make the product: my team. As the director of the imaging group I’m really proud of the engineering groups that made this camera available to the market. I am proud of every single feature and I respect the engineers who made each function. As long as those talented and reliable engineers are with me, I believe we can make even more innovative products.’

Articles: Digital Photography Review (dpreview.com)

 
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