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This ATEM (mini) Tips” series of short video tutorials for your Blackmagic ATEM hardware includes tips for all users, from beginner to advanced. Scroll down to see more in the series!

This is a collection of all PhotoJoseph LIVE shows, now featured on the PhotoJoseph LIVE YouTube channel. Additional episodes are listed below!

LUMIX BS1H — a LUMIX S1H, but in a Box!

Photo Moment - October 07, 2021

The new Panasonic BS1H is the full frame S1H camera in a box-camera format, nearly identical in size to its little brother, the micro four thirds BGH1!

Watch the video above, and scroll down for press releases from Panasonic and ATOMOS.

Pre-order your BS1H today!

Table of Contents

  1. Featured gear in this video
  2. S1H vs BS1H vs BGH1 comparison chart
  3. LUMIX BS1H Overview
  4. Panasonic Lumix BS1H Press Release
  5. ATOMOS Ninja V & Ninja V+ for LUMIX BS1H Press Release
  6. Full Video Transcript

Featured gear in this video


S1H vs BS1H vs BGH1


LUMIX BS1H Overview

Compact and suitable for cine drones, remote setups, and expandable for cine work as well as multi-camera broadcast work, the Panasonic Lumix BS1H Full-Frame Box-Style Live & Cinema Camera is a modular digital cinema camera with a small form-factor that bellies its full-frame sensor. It features a 24.2MP sensor, a Leica L lens mount, and a wide 14+-stop dynamic range to accommodate extreme lighting changes when recording in V-Log. It records video with resolutions up to 5.9K as well as C4K (4096 x 2160) and UHD4K, and it incorporates VariCam Look workflows.

The camera features dual-native ISO using its Venus Engine, anamorphic support, advanced AF (autofocus), numerous remote and power options, and supports HLG (Hybrid Log-Gamma) color for vivid imagery to aid professional color grading. There are many features packed into this tiny camera that make it the go-to production camera in any mobile and multi-camera production environment.

The BS1H provides multiple ways to record your footage to high data rate files in the ALL-Intra LongGOP, MOV, and MP4 recording formats with H.264 and H.265/HEVC codecs. The camera supports unlimited recording time and allows you to record 10-bit 4:2:2 video using the camera's dual SD card slots. It can output up to 4K via the HDMI 2.0 output, or you can output up to 1080p resolution via SDI. The camera allows you to output via HDMI and SDI simultaneously, so you can use one signal for monitoring and the other for recording. It also supports recording at variable frame rates for high-quality, slow-motion video. Custom 3D LUTs can be uploaded into the camera, using the SD card slots.

The BS1H is also an ideal camera for multi-camera environments, not only because it's highly mobile, but it includes timecode and genlock BNC ports, so you can sync it with other cameras to make syncing in postproduction easy. Its RJ45 Gigabit LAN port allows you to sync with other networked BS1H cameras, manage the camera settings and functions, and even perform direct IP streaming with a future firmware update. Wi-Fi and Bluetooth functionality are also integrated for monitoring, configuration, and control via a smartphone or tablet, using the LUMIX Sync app. Another function integrated into the BS1H is a USB 3.1 Gen 1 Type-C input to control the camera with the LUMIX Tether app, which allows you to capture still images and control up to 12 BS1H cameras. Audio features include high-grade 48 kHz/24-bit LPCM format, an integrated stereo microphone, a 3.5mm mic/line-level input, and a 3.5mm headphone output. The optional DMW-XLR1 XLR adapter can be utilized, using the camera's integrated hot shoe, allowing you to record with professional microphones.

Its compact body measures less than 4” square and weighs only 1.3 lb, so it can be used on gimbals or drones for high-quality, stabilized footage. Its internal fan keeps the camera cool during long shoots, and its aluminum and magnesium housing provides protection and adds to the cooling factor. It also features 9 x accessory mounting threads for mounting onto a plate, cage, or tripod mount. There are four user-programmable function buttons around the housing as well as tally lights on the front and rear. You can power the BS1H using the included power adapter, with a separately available high-capacity VBR-type battery using its integrated mount, or by using PoE+ (Power-over-Ethernet) via the LAN port with compatible PoE equipment.

Sensor and Processing Engine

  • 24.2 MP sensor with low-pass filter
  • Dual native ISO 100-51200 and 50 to 204,800
  • 10-bit C4K/4K 59.94/50 video (35mm)
  • 4:2:2 10-bit internal recording
  • VFR C4K/4K, 2 to 60 fps, FHD 2-180 fps

V-Log

  • 14+ stops of dynamic range with V-Log and V-Gamut
  • Compatible with the “Cinema VariCam Look”
  • Supports LUT files
  • LUT-applied images viewable on SDI and HDMI outputs

Resolution

  • Supports 6K, 5.9K, 5.4K, C4K, and 4K in full-frame mode
  • Supports C4K, 4K, Anamorphic 4K (4:3 aspect ratio), and FHD in S35mm mode

Recording and Output

  • The camera records internally at 4:2:2 10-Bit/8-bit as well as 4:2:0 10-bit/8-bit to dual UHS II SD card slots that support cards with speed ratings up to V90
  • The camera outputs Blackmagic RAW or ProRes RAW via the HDMI port for external monitoring and/or recording
  • You can simultaneously output RAW over HDMI and video over SDI
  • You can record internally, while simultaneously output FHD over SDI and up to 4K over HDMI
  • Using the LUMIX Tether app version 1.1 or higher or LUMIX sync, you can record internally, output over both HDMI and SDI, and output via wired LAN or Wi-Fi

Ethernet Compatible

The camera features an Ethernet port that allows you to remotely control up to 12 x BS1H cameras. You can power the camera via PoE+ protocol over a network that supports PoE+, and you can also stream directly from the camera using the RTP/TRSP protocols. The camera supports streaming UHD 4K and FHD as well as 1280 x 720p.

Supports Genlock and Timecode

The BS1H supports Genlock as well as Timecode in/out, providing synchronization of cameras for live sports or later postproduction.

Bluetooth and Wi-Fi

The camera supports both Bluetooth and Wi-Fi.

Functions

  • Frame Indicator (red outline surrounds frame indicating the camera is recording)
  • Frame Marker
  • Vertical Position Information
  • Streaming Blue Frame Indicator
  • Aspect Ratio masks
  • Face/Eye recognition for focus tracking
  • Low Light AF supports images with exposure levels down to -6EV

Panasonic Lumix BS1H Press Release

Panasonic Announces the LUMIX BS1H Full-Frame Box-Style Mirrorless Live and Cinema Camera Featuring A Compact Body with 6K 24p / 5.9K 30p 10-bit Unlimited Video Recording Capability

Newark, NJ (October 7, 2021) - Panasonic is proud to announce the release of the new full-frame box-style LUMIX Digital Single Lens Mirrorless Camera, the DC-BS1H. As its name suggests, the LUMIX BS1H is a versatile box-style camera that combines the cinema-quality video performance of the LUMIX S1H with an easy-to-deploy box-style profile. The LUMIX BS1H accommodates a 24-megapixel full-frame sensor with Dual Native ISO technology and includes features such as 6K full-area high resolution recording, impressive bokeh, excellent low-light performance, wide dynamic range of 14+ stops, V-Log and more.

The high connectivity and mobility of the BS1H enable users to flexibly use the camera to create their ideal camera system according to the scenario. In addition, consistency among their images minimizes post-production processing when used alongside other Panasonic LUMIX production cameras such as the BGH1 or the S1H.

Cinema production quality video with 35mm full-frame sensor

The BS1H contains a 24.2-megapixel 35mm full-frame CMOS sensor (35.6 mm x 23.8mm) that captures 6K resolution. With an active resolution of 6,024 x 4,016, the BS1H delivers approximately 24.2 million photosites. Adoption of an OLPF (Optical Low Pass Filter) suppresses moire and false color. The image sensor with Dual Native ISO in the BS1H minimizes noise generation by choosing an optimal circuit to use according to the sensitivity before gain processing. In combination with optimum signal processing by the Venus Engine, it assures maximum ISO 51200 high sensitivity recording with minimum noise.

Maximizing the use of the pixels in the full-frame image sensor, the LUMIX BS1H is capable of 6K/24p, 5.4K/30p (3:2 aspect ratio) or 5.9K/30p (16:9 aspect ratio) high-resolution, smooth video recording. It also provides 10-bit 60p 4K/C4K*1 HEVC video recording when using the image area equivalent to Super 35mm. The 4:2:2 10-bit 4K30p is recordable in H.264 at its full area. Its high-resolution data can also be used for creating 4K videos with higher image quality or for cropping images in 4K.

The LUMIX BS1H imports the renowned colorimetry of the VariCam lineup of Panasonic cinema cameras, enabling filmmakers to capture accurate colors and rich skin tones. The LUMIX BS1H delivers 14+ stops of Dynamic Range with a V-Log to precisely reproduce everything from dark to bright areas. V-Log/V-Gamut delivers a high dynamic range and broad colors and creates a greater level of play for the images in post-production processes. The LUMIX BS1H’s CMOS sensor achieves a wide color gamut known as V-Gamut, which is the camera’s optimum color space and achieves a color space that is wider than BT.2020. V-Log has log curve characteristics reminiscent of negative film and V-Gamut delivers a color space even larger than film.

In addition to HDR (High Dynamic Range) video recording, the camera records video with a designated gamma curve compatible with ITU-R BT.2100, and the user can now choose Hybrid Log Gamma (HLG) in Photo Style.

The LUMIX BS1H also provides real-time subject detection with an advanced deep learning technology to set precise focus on the target subjects such as humans and animals even moving at fast speeds.

A wide variety of recording formats, frame rates and resolutions in maximum 6K

The LUMIX BS1H is capable of 4:2:2 10-bit 4K 60p/50p HDMI output. Designed to satisfy wide-ranging creative needs, the LUMIX BS1H adopts a new heat dispersion structure which achieves unlimited video recording in a variety of recording formats, including 4:3 Anamorphic mode, and provides two alternatives for RAW workflow. [5.9K] / [4K] / [Anamorphic (4:3) 3.5K] 12-bit RAW video data can be output over HDMI to save Apple ProRes RAW on the Atomos Ninja V or save Blackmagic RAW on the Blackmagic Video Assist 12G HDR.

AreaResolutionFrame RateAspect RatioHDMI Output
Full-frame5.9K (5888x3312)29.97p/25p/23.98p16:912-bit
Super 35mm4K (4128x2176)59.94p/50p/29.97p/25p/23.98p17:912-bit
Super 35mm Anamorphic3.5K (3536x2656)50p/29.97p/25p/23.98p4:312-bit
  • V-Log or V709 is selectable on the external monitor through SDI during RAW output.
  • Shooting assist functions including V-Log View Assist, Luminance Spot Meter and Zebra Pattern can be used during RAW output

Apple ProRes RAW

– Selectable recording mode depends on the firmware version of Atomos Ninja V.
– Please refer to the Atomos website for the information on the corresponding firmware version of Atomos Ninja V.
– Software that supports Apple ProRes RAW is required to edit RAW video recorded with NINJA V. Apply the LUT (Look up table) available on the following customer supports site to make the same color grading as V-Log/V-Gamut https://panasonic.jp/support/global/cs/dsc/download/lut/s1h_raw_lut/
– All functions may not be available depending on the situation.

Blackmagic RAW

– Selectable recording mode depends on the firmware version of Blackmagic Video Assist 12G HDR.
– Please refer to the Blackmagic Design website for the information on the corresponding firmware version of Blackmagic Video Assist 12G HDR.
– DaVinci Resolve or DaVinci Resolve Studio is required to play back and edit Blackmagic RAW data. DaVinci Resolve Studio is required to deliver projects using Blackmagic RAW data in resolutions over 3840x2160.
– All functions may not be available depending on the situation.

The VFR (Variable Frame Rate) lets users record over cranked / under cranked video in C4K/4K (60 fps, maximum 2.5x slower in 24p) and FHD (180 fps, maximum 7.5x slower in 24p). The minimum frame rate for quick motion video is 2 fps. In addition, HFR (High Frame Rate) video with sound is recordable even when using auto focus. Further, a variety of effects are available for producing a slow-motion video through the postproduction process.

To support a growing need for live streaming, the BS1H provides an IP streaming function that enables distant, high-quality image transmission to the social streaming platform online with PC connection over wired LAN. Notably, the LUMIX BS1H can stream 4K 60p (50p) video in H.265. The H.265 realizes half the bitrate while keeping the image quality the same as H.264, which means it can provide 2x higher image quality at the same bitrate as H.264. Streaming in ultra-high definition 4K at low bitrate is possible even in the cases where the bandwidth is not broad enough.

A wide range of connections for unlimited possibilities

Composed of aluminum and magnesium alloy, the LUMIX BS1H body frame enables a compact and lightweight, yet durable, box-style camera, and provides a variety of practical ports. In addition to a USB 3.1 Type-C, a 3G-SDI (BNC) and an HDMI Type-A terminal are equipped, which can be used for simultaneous output. Moreover, Genlock IN (BNC) and Timecode IN/OUT (BNC) functions which enable multi-angle synchronized video recording are available to build a scalable system with manufacturer-agnostic external monitors, rigs and gimbals. When connected to LAN, Power over Ethernet+ (PoE+) makes it is easy to install both physically and electrically. Control over maximum 12 sets of LUMIX BS1H cameras*2 is available using Panasonic PC software LUMIX Tether for Multicam. The LUMIX BS1H is also equipped with a double SD Card slot for backup recording or relay recording.

Use of LUMIX S Series lenses with BS1H provides further advantages. The Boost I.S.(Video) function (Image Stabilizer) can be used and superior AF/AE control is available when the LUMIX S Series lens with O.I.S. (Optical Image Stabilizer) is mounted.

Other practical features

  • Tally lamps (front 1 and rear 1), a network connection lamp
  • Operation Lock switch and 5 function buttons
  • Φ3.5 Audio (in/out) jack and compatibility with XLR microphone DMW-XLR1 (sold separately)
  • Generic remote control unit φ2.5mm
  • 2.4GHz Wi-Fi connectivity and Bluetooth 4.2 (BLE)
  • Remote camera control using application software (LUMIX Tether for Multicam and LUMIX Sync)
  • Tethered photo shooting with LUMIX Tether for Multicam software
  • A SDK*3 (Software Development Kit) for camera control via USB/LAN will be provided for free.

*1 Corresponding to 4K (4096×2160) as defined by Digital Cinema Initiatives (DCI).
*2 Operation may be unstable depending on the connection environment and performance of the connected PC.
*3 The SDK for BS1H will be available at following site. https://panasonic.jp/support/global/cs/soft/tool/sdk.html

– Apple and ProRes are trademarks or registered trademarks of Apple Inc. in the United States and/or other countries.
ATOMOS / Ninja V are registered trademarks of ATOMOS Limited.
– ‘Blackmagic Design’, ‘Blackmagic RAW’ and ‘DaVinci Resolve’ are registered trademarks of Blackmagic Design Pty. Ltd.
– Other trademarks and trade names are those of their respective owners.
– Some accessories are not available in some countries.
– Design and specifications are subject to change without notice.

The LUMIX BS1H will be available in November for $3,499.99.

About Panasonic Consumer Electronics Company
Newark, NJ-based Panasonic Corporation of North America is committed to creating a better life and a better world serving consumers and also by enabling its business-to-business customers through innovations in Sustainable Energy, Immersive Entertainment, Integrated Supply Chain and Smart Mobility Solutions. The company is the principal North American subsidiary of Osaka, Japan-based Panasonic Corporation. One of Interbrand’s Top 100 Best Global Brands of 2020, Panasonic is a leading technology partner and integrator to businesses, government agencies and consumers across the region. Learn more about Panasonic’s ideas and innovations at www.na.panasonic.com.

Follow Press Updates for Panasonic Lumix:
Internet http://us.panasonic.com/news
Facebook http://www.facebook.com/lumix
Instagram http://www.instagram.com/lumixusa

Press Resource Contacts:

Dan Unger dan.unger@us.panasonic.com
Lauren Camdzic (Porter Novelli) lauren.camdzic@porternovelli.com


ATOMOS Ninja V & Ninja V+ for LUMIX BS1H Press Release

Panasonic LUMIX BS1H 5.9K Apple ProRes RAW support coming soon for Ninja V & Ninja V+

Melbourne, Australia – 7th October 2021 – Atomos is delighted to announce another addition to the LUMIX and Apple ProRes RAW eco-system; the newly announced Panasonic LUMIX BS1H. When combined with either the Atomos Ninja V or Ninja V+ the LUMIX BS1H will be capable of recording up to 5.9Kp30, 4.1Kp60 and 3.5Kp50 anamorphic ProRes RAW.

Ninja V or Ninja V+ & the Panasonic LUMIX BS1H

The Panasonic LUMIX BS1H is the most recent camera released by Panasonic and is a versatile box style camera. It combines stunning cinema-quality video performance of the full-frame LUMIX S1H including impressive bokeh, low-light performance, wide dynamic range of 14+ stops V-Log and network connectivity. All in an the easy-to-deploy box-style profile with comprehensive professional I/O and many mounting options.

The camera’s consistent look of images minimizes post-production processing when used with other Panasonic LUMIX production cameras such as BGH1, a Micro Four Thirds box-style camera, or S1H, a full-frame mirrorless cinema camera, are used together. A great addition to the LUMIX BS1H is the renowned colorimetry of the VariCam line-up of cinema cameras.

The small and compact size makes it perfect for gimbal and drone shooting, plus flexible broadcast, cinema and multicamera production. Its full-frame 24.2 MP image sensor provides anamorphic capture and dual native ISO provide the next level of production utilising the power of ProRes RAW across the range.

The Ninja V or Ninja V+ and the LUMIX BS1H combination for multicamera productions, is facilitated by the camera’s LTC and Genlock inputs perfectly complemented with the Atomos UltraSync One wireless sync system* which works alongside the AtomX SYNC module for Ninja V and Ninja V+.

ProRes RAW - the new standard for RAW

ProRes RAW continues to build momentum in 2021 with over 30 cameras supported by Atomos, cementing its position as the industry standard for RAW video capture. ProRes RAW combines the visual and workflow benefits of RAW video with the incredible real-time performance of ProRes. The format gives filmmakers enormous latitude when adjusting the look of their images and extending brightness and shadow detail, making it ideal for HDR workflows. Manageable file sizes speed up and simplify file transfer, media management, and archiving. ProRes RAW is fully supported in Final Cut Pro, Adobe Premiere Pro and Avid Media Composer, along with a collection of other applications including ASSIMILATE SCRATCH, Colorfront, FilmLight Baselight and Grass Valley Edius.

*When configuring the UltraSync One Genlock mode, please set output type to 1080i-PSF mode regardless of camera resolution setting.

About Atomos

Atomos exists to help creative professionals cut through technology barriers by creating easy to use, cutting-edge 4K and HD Apple ProRes monitor/recorders. These products give video professionals a faster, higher quality and more affordable production system, whether they create for social media, YouTube, TV or cinema. Atomos continues to demonstrate its commitment to putting users first through continual innovation at amazing price points. The company developed the AtomOS operating system dedicated to video recording with an elegant and intuitive touchscreen user interface and was also the first to implement the professional Apple ProRes RAW format for recording with cinema cameras. Atomos is based in Australia with offices in the USA, Japan, China, UK and Germany and has a worldwide distribution partner network.

Contact Atomos PR
Press information and image requests

Email: press@atomos.com
Denise Williams, Bubble Agency
denisew@bubbleagency.com
503-806-0755


Full Video Transcript

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Comments from YouTube

I love it when people ignore the fact that these cameras are a shamefull replicate of the Red Komodo! at least externally
Thanks, I don't know when I'll be using one of these, but I find them fascinating.
So..... 4K60 FF x1.6 anamorphic footage... Can it be done with an S1R? Love to see the options for the Sirui 50mmT2.9 now that they finally made an L-mount.
Is it possible to remote control the follow focus?
I dont know if the Blackmagic recorder can grab anything above 4K. I could be wrong. There site says 4k.
I didn't quite understand why the ethernet port would make such a difference. Wouldn't WiFi provide about the same bandwidth as Ethernet but without the bother of having a trailing wire? That is of course if they put in an up to date 5.8GHz WiFi module and not just some ancient 2.4GHz module they had lying around.
WiFi is utterly unreliable.
@axebox True, if one uses crappy outdated equipment. Far from true if using decent 5.8GHz equipment.
3 yrs of video school, no one ever explained gen lock in a way I could understand it before. We always made sure it was working, but I never knew why. Thanks
I knew about genlock and used it in the past but mistakenly thought it existed only in the realm of analog cameras. Had no idea it was still a thing in today's digital world.
This camera body shooting open gate with the new suiri full frame anamorphic
LOVE the clickbait Joseph! Too funny :) You still doing the podcast? :)
👍🏻👍🏻👍🏻🤌🏻🤌🏻🤌🏻
Btw when are we going to hear more news of GH6?!
I'm looking forward to seeing your 5 camera use case. I'm intrigued by these box cams.
We know you hate Panasonic. So?
Sorry but Audio in this video is BS
Yes, I had issues, but I hope you can forgive me and find it in your heart to say one good thing out this video that I put so much hard work into for your free education and enjoyment. That’d be nice. Or, just criticize it. That works too. I’m here for you either way.
@PhotoJoseph That is fine sorry for my comment, but I would expect better quality from you. anyhow, because of your love for Panasonic cameras I will let it slide this time. and appreciate you took time to respond good video otherwise
You clickbaited and it worked, great video :)
hehehe, who me? 😁 It's not clickbait if it's true!! haha glad you liked the video!
What is the video out latency over HDMI and SDI? Would it be suitable for IMAG?
sorry, don't know what that is… what's IMAG?
@PhotoJoseph IMAG stands for Image Magnification, it's when the video feed from a live event is shown on a big screen. Obviously, latency is very important in those scenarios as much more than a quarter second delay becomes distracting to those in the audience.
Oh I see. It’s either 3 or 4 frames at 23.98. I don’t recall which. That’s HDMI; I’ve not measured SDI which may be lower. If it’s important I can test next week.
@PhotoJoseph I am actually more interested in the BGH1, I've heard people say the latency feels is lower out of SDI on that camera, but I haven't been able to find anyone who has actually measured it on either Panasonic box camera.
Awesome review for an awesome camera!
thank you kind sir!
Love your videos Joe....keep em coming...
Thank you kindly, and I shall!
The sound is terrible
Wow. There’s an interference buzz I could not remove. But I’m glad that that’s what you took away from this video, thanks.
Two holes on the bottom with this camera is great!

Wonder why almost no consumer cameras are designed to be properly/securely attached to quick release plate or cage. (Conspiracy corner: It is almost like gear manufacturers have some upside to consumers having their gear more accident prone)
I wouldn’t go that far :-) Those holes take up space, and most consumer tripod plates have just one screw and no post. So then do most consumer cameras. This is a pro camera! The 1H has an anti-spin hole, too. It’s fantastic.
@PhotoJoseph would want it moved from “pro” level to “prosumer” level :)

I’m in the 501 camp that is built for multi screw so maybe I’m biased. 501P/PL variants often come with either two screws, or a plastic anti spin (which many probably throws away since it looks like some garbage), or a metal anti spin. It is a bit confusing because I think manfrotto have changed what they ship over the years, plus everyone buys knockoffs and extra screws.

I have had spins when using a 70-200/2.8, nothing fatal but scary. Just wanting the prosumer stuff to step up their game…, is a camera costs > $1000 it ought to be built to stick well to its tripod.

Sorry if it got long and “arguing”! Just one of those small gripes / annoyances that gotten stuck in my brain, needed to vent into cyberspace :)
I totally get it, and I love it when a camera (and a tripod) has it!!
Look at those cameras 😩🙆🥰... Can you please gift me with one 😃
Panasonic and Canon are now fully embracing the broadcast video look. ☹
Do you mean the camera itself or the look of the image? THere’s a ton of camera body styles available right now from both manufacturers.
Amazing camera and great review
Much appreciated, Danni
GR8 vid as always!
Thank you kindly!
Thats the beauty of having job in something that you love. You can even buy 5 of the things you love, without feeling bad 👏
true 'dat!!
MP4 vs AVCHD on S1H : from Lumix S1H Handbook PDF, p.64

[MP4 / FHD]
Create a new file and CONTINUE SHOOTING with the following conditions.
- When the continuous recording time exceeds 30 minutes.
- When the file size exceeds 4GB.

Alternative Method: Can shoot for an unlimited time with AVCHD.
when in doubt, RTFM! haha
Did I miss a mention of the NDI? Shame there's no step up to 444 colour sampling with this body.
Tak's are a great compact lens, the K/KM/KA SMC's are better, but the Tak's have something special to the overall look. Have you tried a P67 Takumar in front of the BS1H ?
No NDI or 4444, sorry. NDI would certainly be interesting, and while I'm sure it'd add to the cost (quite sure that NDI requires a licensing fee), it probably wouldn't be too bad. 4444 though is likely different story. You can do RAW though, so there's that. And yeah I love my Takumar lenses. I have not tried a P67. I do own a Mamiya 645 lens and an adapter for L mount that I adore. So much fun. You might want to watch this if you haven't seen it… https://youtu.be/DFpgJ-_U3Ro
@PhotoJoseph Yep, NDI does need a license - basically doubles the price of the Exvist HDMI-to-IP encoders,.. Still, surprised it's not there as Panasonic have already added it to some of their camcorders and vision mixers, and both of the FF and M4/3 bodies would make great studio crane cameras.
It would be cool. I wonder if that’s something that can technically be added via firmware? Hmm
i've been considering picking up videography as of recently and this camera looks really cool and i love the specs of it and how it took footage in your clip! I was wondering would it be possible to find work with only one of these? I saw in the item description that its best used as a support camera for other lumix cameras however this would be my only camera if i bought it.
How many cameras, or what camera(s) you own do not dictate the work you can do. You can always rent more cameras if the job demands it. However I would not recommend this as a FIRST camera for video. If you aren't used to shooting video on a camera like this, don't make this your first. If it's in your budget and you want this type of camera, get the S1H first. You'll be happy you have the LCD.
PhotoJoseph i appreciate it ^w^ thank you
buzzing sound
yep
buying 5 bs1h os bgh1s would be great for live streaming concert combined with OBS

i am not sleeping on these devices
The removal of the IBIS makes this not an option for me. Or, they should have made two versions. The IBIS and the anamorphic options are the most unique part of the Lumix cameras. I'm already shooting with really heavy 2x anamorphic lenses. Saving a fraction in size and weight won't matter to my gimbal when the lens is massive and front-heavy already. Also, I leave the IBIS on with the gimbal.
honestly I don't think IBIS would fit in this box… I doubt there's any room to spare! But if IBIS is necessary, and the savings of size and weight aren't important, then definitely the S1H is the camera for you. Thanks for watching!
@PhotoJoseph Thanks for the reply. Yes, the S1H is a beast!
@PhotoJoseph Oh, and this is a fantastic car and crash camera.
I know you’re right… but hearing “crash” and “BS1H” makes me sad 😂
You tricky...
no I don't mean the title ;)
everything looks beautiful with a super Takumar :D
It's a gorgeous look, for sure!
fantastic
Thanks Alvaro!
So! Is it wrong to have lustful, unnatural feelings for a camera? To bad. Guilty as charged. One major "score!"... bnc connectivity. As for genlock... it's key feature was (pre frame syncs built into most production switchers today) black burst (on bars) input share to all cameras to allow for smooth, unshifting, unrolling transitions (i.e. smooth dissolves with no shift or glitch). In some production setups, multi-cam might need a genlock signal for a live switched show. These cams? Got it. The tally light is a dead giveaway that the plan for this product included a multi camera (probably studio) configuration/use. As with every PhotoJoseph review -- nicely done. Thanks1
👆🏻 this guy gets it! Thanks David. It’s an exciting camera for sure!
a camera should be rigged flat imho
Elaborate please?
Wow
I agree!
This camera BS1H is better than the Panasonic EVA1 or is a different camera ? This camera has ND filter and Varicam cinema tone?
@PhotoJoseph Thanks for your answer, appreciate!!
@PhotoJoseph Most of the time, a video camera from Panasonic has better quality image and compression than the same photo camera line, for example GH5, I can not believe that Panasonic do a photocamera with the same codec quality compression and exact video image than a Video Professional camera. and cheaper. I think there must be some difference.
Regarding the codecs and avchd it is just a god damn mess.

MOV and MP4 are container file formats (the latter usually containing standard MPEG-4 H.264). So basically any codec and configuration of that codec could be implied, billions of variants.

AVCHD is a trademark specifying sets of container file formats AND codecs (MPEG4 H.264 variants mostly).

So you could either argue AVCHD is a crappy trademark that adds nothing, or you could argue that it is good to have a few locked down codecs configurations that are checked for cross-device compatibility; you can be pretty sure your AVCHD compatible media player can playback shots from your AVCHD compatible camera.

If you shoot to editing instead of shooting for direct AVCHD media player playback, that becomes much less interesting.

I am not aware of AVCHD adding any other benefit than this possible compatibility improvement. I have a tiny suspicion there might be more commercial/business reasons for it other than just improved compatibility (royalties or such).
That's a great explanation. Right, if you don't intend to edit, AVCHD can be good for playback, but yeah I've heard editing it is a mess. Thanks for the info!
@PhotoJoseph you are welcome :) not much real world experience of these codecs myself. Also I have no clue why I posted this here, I thought/intended to post it under the main video :-)
I absolutely Love the Panasonic S1H's beautiful 6K image ! However, these new cube cameras look identical to the Z-Cams and look to be an absolute rip off copy of them (??) How does Panasonic get away with this ?
@Mark Job good grief. Why are you so concerned that this black box looks like another black box? How about Panasonic’s ROI cameras? That’s another black box. You really need to relax. It’s a camera. Some look alike. Canon has an old box camera that looks like… wait for it… a black cube. Paint some red stripes on it if you are concerned you’ll get them confused. And seriously… please… chill. It’s a camera.
@PhotoJoseph It's an identical copy of some other mnufacturer's camera. Period. Anyone can plainly see that.
@Mark Job ok, whatever you say.
@PhotoJoseph You're just a biased "Influencer," who's clearly owned by the company you're representing. Lot's of free "perks" to defend the brand eh ? ;) I think the Panasonic S1H is a wonderful camera, but I think this new camera is clearly a cynical move on Panasonic's part.
@Mark Job 🤷🏼‍♂️
Great video - 23.98 is a framerate for broadcast. It was originally created to deal with sound sync issues. Unless you are shooting for exhibition on broadcast TV, there is no reason to use it.
Thanks. Why the comment on framerate though; are you criticizing me for using 23.98 in this video?
@PhotoJoseph not at all! It just an FYI 😀
Fair enough ;-) Definitely well aware of the framerates and standard use cases. A lot of you tubers do 24p, and while I usually don't, in this case I did because the sample footage in 6K is 24p, and I wanted to match that frame rate for the whole video.
It’s a lame knock off of the Z-Cam e2s6.
By that logic, every single camera on the market is lame knock-off. Box cameras are hardly new — ever seen a Red? Or an Arri? All box cameras.
@PhotoJoseph Of course, the Komodo & Arri are "box" cameras yet look nothing like the Z-Cam. Visually, from a distance, I wouldn't be able to tell the difference between the Pansonic and a Z-Cam e2. The Z-Cams at least have a menu monitor on the deck. Additionally, they offer ProRes internal recording. I suspect Panasonic could offer ProRes in a later firmware update but you literally can't see what you're doing without an external monitor on the BS1H.
Well then, you’ve just successfully countered your own argument. It’s obviously not a knock off. How different do you want the shape to be… it’s a box for a reason. It’s black because all cameras are black. Almost all cameras look roughly the same from a distance. So what? I’m so confused.
@PhotoJoseph This is a pointless discussion. Use the camera you like. All I was trying to say is that the folks at Panasonic may as well have Xeroxed the Z-Cam look and form factor while arriving at, IMHO, a less impressive camera – hence, "a lame knockoff." Anyone with eyes can look at the two cameras, side by side and know exactly what I'm talking about.
Hey
Joseph How are you
i want to know that if i switch my all camera setup into BGH1 right now i am using Canon 5D Mark IV I record video all in the cameras internal and I edit in post process it take alot of time.
The video link is below this is my Channel
https://www.youtube.com/watch?v=81JVNb-FeJo
if I switch to Lumix BGH1 all and take out SDI output in my ATEM Switcher and real time Switching then can I get this quality from BGH1 SDI Output. one more thing simultaneously output Ethernet for only camera setting SDI for my Switcher HDMI with on camera Monitor for Cameraman who can see camera view.
Hi Adeel, I think I understand your questions… first off, the SDI output from the BS1H and BGH1 are unfortunately only 1080p, so if you want to do 4K, then you need to use HDMI. Fortunately though you can get really long HDMI fiber cables for quite cheap now, so the short cable run of HDMI is no longer an issue. I just did a video on that recently: https://youtu.be/ilnQfGbGmYE. The ethernet connection is for camera control and for RTP/RTSP streaming, and then quality of RTSP is very high however you would need to have converters on the receiving end, so that may not be practical. If I were setting up a Multicam live streaming setup using BS1H cameras, I would run HDMI to the switcher, and use SDI for local monitors.
@PhotoJoseph Thank You for your replay tell me if i Take out SDI output to My ATEM Blackmagic Television Studio HD which have 4 SDI input and Switch 4 BGH1 Cameras at same then then can i get a good Video Quality? and also it will work if i take out SDI HDMI and Ethernet simultaneously. Ethnernet is for only Camera Setting if Camer will move to audiance then i can bright my camera take enhance my ISO etc and HDMI for Cameraman SDI for Switcher>? it will work LIKE this>>? Because i have Canare L5 Wires Already i use Sony Z150 Cameras for only Large Screen Display final Content record in 5D mark IV that deliver to my clients.
yes that should work
Info packed video. Not the camera for me, but a capable and flexible one for many professionals. Great progress.
Thanks for watching, Edward!
Hey Joseph, thanks for a very insightful video, as always!
What's the quickrelease used to hold the FF knob? Looks very slick and handy.
@PhotoJoseph Many thanks!
👍🏻
Oh man. Whats with the clickbait tittle? We still watch you regardless. No need for clickbait titles.
It was too good of an opportunity to pass up. And while it’s clickbaity, it’s also 100% accurate! It’s total B (box) S (S series)!
So... there is no "L" sound or letter on the Japanese language. How do they pronounce "Lumix"? Since they always swap L's and R's, do the Japanese say "Rumix"? The BS1H is then a Rumix Cube?
Rumix Cube! Omg that's perfect 😂😂😂
00:46 - look at how Joe just casually picks up a Lumix S1H from a shelf of at least 3 other S1 cameras! 
Joseph, you sir are living your best life! What I would give to have a camera and gear collection like that ;)
😁
Great title! You made me click and now it will help me to remember the name of the new BS1H. It looks great. Thanks!
Haha awesome
Preaching about gadgetry!
It’s my religion
i'd like to buy 3 of these for a project. how would i genlock them up together?
AJA makes a genlock generator. It’s just a box that you plug each camera into so they are locked in sync.
does bs1h compatible with wooden camera cage kit(v-mount)?
I don’t know; you will need to check with them. The only one I have now is that SmallRig one.
Hi PJ, now that you are in love with the BS1H, will you be selling your S1H's?
@PhotoJoseph How many cameras can one use?
@Fritzroy Smith “yes”
@PhotoJoseph Ok Sir, PJ I am thinking of buying the Atomos Shogun 7 but the Ninja 5+ looks like a better bet, it's more future proof. Which one would you buy for now and future?
@Fritzroy Smith V or V+ for sure
@PhotoJoseph Thanks PJ
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