honestly i really don't like idea that DPR instead of reviewing more lenses and making more detailed cameras' reviews spending their time to review clearly VIDEOCAMERAS which using MILC format, bayonets and bodies. i'd prefer to Digital PHOTOGRAPHY Review magazine to keep being about photography exclusively. Not really fan of mixing photography and videography, completely different fields, you literally can't cater one without compromising other. I remeber when DPR was about photography ONLY and it's needed to say tthat quality of their arcticles what much higher (from the point of professional photography) than now.

more than half of current most desirable by public lenses still ain't reviewed by DPR and they reviewing videocameras (yes a7s3 nothing but videocamera) instead

sigma 135 1.8
sigma 85 1.4 dg dn
tamron 24-70 2.8
sigma 24-70 2.8 fe
tamron 70-180 2.8
canon rf 28-70 f2
sony 135 1.8
sony 85 1.4
nikon 24-70 2.8 z
nikon 70-200 2.8 z
canon 70-200 2.8 RF

and it's 1/10 of them

Both of those cameras are great still photo cameras, but neither of them can compete when it comes to shooting video. The S1H is on a whole other level when it comes to producing video.

@LingoDingo- That's amazing man! It's video is really great, too bad you didn't read the comment you're responding to.

There's nothing sarcastic about what I said.
Just because Canon has good build quality does not preclude Panasonic from having better build quality. You might not agree with it, but your incredulity is mostly fueled by illogic. Here, someone is offering you their rating of build quality and you, outside of any experience of your own, are trying to explain it away as if it couldn't possibly be true.

It's much easier than "maybe the authors aren't strict" or "maybe they are video centric". How about maybe Panasonic built this camera better than the Canons you mention. Given no contradictory evidence you just sound like a Canon fan-boy.

You're right, I apologize for the fan boy comment.

This whole"hard to believe" does not make sense to me though. It's like you're implying other companies can't figure out how to put something together well that they all have been making for decades...

I'll try to make the time to process the Raws and upload them soon. Sorry, it's been a busier week than I anticipated.

Richard, thanks in advance hopefully very soon?

@LingoDingo, do you film for Netflix? Tell me why I should care?

The body size is necessary to deal with the heat generated when shooting video with no time limit. You can literally shoot all day in almost any format with this camera.

The larger lenses enable high performance at full aperture , and feature minimal "breathing" when shooting video.

@jkokich well don't ask stupid questions then.

I don't think the word 'tolerate' necessarily had the pejorative connotations you seem to imply with your question.

In its usage you are quoting it connotes more 'tolerances' than not being intollerant or any kind of value judgement.

@jkokich I also think you got some connotations from Richard Butler's comment that weren't actually there. He wasn't talking down to you by explaining what they meant in the article, the thing you asked about. He was simply clarifying what they meant as tolerance. No need to be so hostile and to see so much hostility in other people's text.

S1H has a strong LPF to reduce moire. https://i.imgur.com/YzG95QT.png
The high data rate (400Mbps) is used for dynamic scene. It has no advantage in static scene.

Neither the Z6 or Z7 are able to shoot 10-bit 4:2:2 footage internally, where the S1H can shoot 5.9K / 4K DCI / 4K UHD / 1080p formats in 10-bit internally with no time limit.

It’s a good question. Maybe they can do it bc it’s good enough for a lot of things and also bc many pros don’t rely on autofocus when making movies. What you want in a camera isn’t what they want.

Because AF usually looks unpleasant and soulless in video. Ergonomic MF is very important for this and sometimes maybe scripted focusing, if it can be fine tuned enough.

Panasonic gets a mulligan because working AF is still considered a bonus, not a necessity by most shooters.

Video camera not made for bloggers - the intended audience won't use AF at all in most situations.

Well thanks so much!

Not for the length of time it took me to write this review. I wouldn't be at all well, if I had been.

I'll try to track down all those typos and fix them. Thanks for bringing them to my attention.

You are welcome.
Thanks for the great job.

Some might take offense about the nit picky corrections. BUT... you obvious read every word of the review... :-)

My point being that how much better quality is the video over a GH5? Wouldn't someone be better off buying a 10-25 F1.7 lens for the GH5 for $1800? You still cannot view more than 4K on many TV/computer screens still. This camera, after all is aimed at the videographer

I did not say that the GX80 is a better camera than the s1H.
I said the the comparison of normal 4K is more or less the same (see comparison page.)

LOL,no way...

Okay, so the quote,

"...Key takeaways
- The S1's Depth from Defocus system performs well, though it doesn't track moving subjects as well as competitors with Hybrid AF systems
- Face detection is effective for eyes, faces, bodies and pets, with a provision to use a button press to cycle through the detected subjects
- The face detection can still result in false-positives, and sometimes 'loses' subjects just as you want to switch to them, making it hard to use with more than one person
- The 'flutter' during continuous autofocus is distracting and makes it difficult to see if your subject is actually in focus..."

And still gets the "Gold" because it's video oriented?

Yes, it still gets the gold for overall performance. AF is only one aspect of a camera and actually the Panasonic S series does very well except with fast moving subjects.

WRT video, serious videographers usually use manual focus no matter what. So AF is not as important. And this is a serious video tool. Anyone buying the S1H is buying it with video in mind.

But the best endorsement is this: DPR is using this camera to make a lot of their videos.

The "Metering and focus accuracy" bar in the Conclusions reflects my idea how good the AF of these cameras is.

There are a lot of people just repeating the same things they have read from the internet or seen in the YouTube. This is how things get out of proportion.

Very different cameras...

- Not a Full Frame camera
- No world class EVF
- Not weather sealed
- Can't shoot for 2 hours on one internal battery
- No IBIS, so can't smooth out handheld shots
- No 14 stops of dynamic range
- No Varicam color space
- Not as good in low-light
- No real C-AF ability
- Not certified for Netflix 4K feature film production

RAW recording is coming for the S1H this Spring, and knowing Panasonic it's going to be good. ( I'm expecting a NAB 2020 release time-frame for external RAW recording )

BMPCC6K is no where near as robust/reliable as the SH1 but the sheer IQ for it's price is unmatched. In the right lighting situation you are basically matching an ARRI.

In what universe would that be? A huge amount of work still gets done at 8-bit 4:2:0.

... and it surely looks great.
but it must be no surprise that many will only accept equipment that works 10-bit.
422 or 420 is less relevant as the chroma resolution is less critical, I think.
8-bit affects how LUTs affect the final result and strong grading will degrade results.
Most specifically it makes more difficult to match diff cameras

I have to agree with Ed here. The microphones on most of Panasonic's video-focused cameras are OK, but I wouldn't rely on any of them for much more than being able to sync to another source of audio. Even an inexpensive shotgun mic mounted on the flash shoe will deliver noticeably better on-camera sound.

Most people criticizing this camera and its AF have never used it; they just repeat what they think is the smart thing to say.

And notice also something we see far too often on the internet: this kind of a black and white perspective, where AF that works in most situations is somehow re-translated into AF that doesn't work at all.

I rented a s1h for 4 days, and plan to buy one soon (hoping the r5 and xt4 will drop the price so waiting). The AF tracking is unusable. Ignore the link lingodingo keeps posting all the time. The s1h is made to be run and gun (tho obviously equally usable on set), in real world usage you simply cannot rely on autofocus in video. Even on a set I'd argue it's unusable unless you go out of your way to create a situation where Pana AF won't mess up.

I'm not sure 10-bit Raw (if linear) would be much use to anyone, so you can't really compare linear and gamma-encoded bit-depths.

But on the ProRes RAW side of things: it's coming to the S1H too. And the S1H still has more video tools and longer capture times.

@Duncan M, play with the codec coming out of this camera and see if you need that 12 bit raw after that. The image out of this camera has a hard time breaking from what I've played with so far.

Well, Jordan says it "can make a fair amount of noise", and after having decades of professional experience in the broadcast TV / Film post production industry, I can assure you it can be a very, very big deal.

The example from our episode was captured by the internal mic after recording 5.9K in a warm room for several minutes. If you use an external mic, I doubt you'll ever run into issues.

@its_a_knife

It doesn't really matter what you say, I'm right.

Whoa, someone needs to grow up.

Congratulations on your new-found self-awareness!