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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, from the PhotoJoseph 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


  • 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


  • 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.


  • 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
– 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.

– 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

Follow Press Updates for Panasonic Lumix:

Press Resource Contacts:

Dan Unger
Lauren Camdzic (Porter Novelli)

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

Denise Williams, Bubble Agency

Full Video Transcript

Leave a comment on YouTube

Comments from YouTube

I own 3 of these cameras. Love shooting with them but they DO NOT GENLOCK @ 23.98 or 24 FPS….. while this may not seem like a big deal to most videographer types but for my use case it precludes me from using them as on set reference cameras on VFX shoots. Truly a bummer:(. If you have pull with Panasonic can we get a firmware update that would allow 23.98 and 24 FPS genlock?
I’m looking into this. What genlock generator are you using?
I have little issues, I have set external raw output and want to access menus.
But can't.
So I want to reset setting.
Q.Menu, F2, F3. Does not reset it, am I messing something?
You need to program toggling RAW on/off to one of the Fn buttons (it's not on by default). This feature was added in firmware v.2.3 in Nov 2021; make sure you are on at least that version of firmware. You can't access the menus over HDMI when RAW is enabled, so either a) you can toggle RAW off, make your changes, and toggle RAW back on, b) monitor over SDI for menus while shooting RAW, or c) control the camera over USB/Ethernet while shooting RAW.
Hey Dude, my name is Stephan from The Netherlands, thank you for your awesome Gear review Viddies, its my No 1 goto on youtube, I recently bought my own setup, Bluntly i copied your setup in this video , I got the BGH1 with the 8 sinn cage The leica 1.7 10-25 the swit batterie combined with the tilta nucleus n and the NinjaV+ , mayn , its a monster, 1 question is ther any way to utilize the record button on the Nucleus ? is it possible to use that as the main record button? I probably need a cable for that if its possible at all? since you are panasonic ambasador you might provide the answer. Keep up the awesome work &thank you so much for the work you put in this .
Yeah they make a cable that will work, for sure. Make sure to tell them it’s for BGH1 (LANC protocol) and not the classic Panasonic protocol. The plug is 2.5mm standard.
Heard that if you connect it to the atomic or Blackmagic video assist and want to shoot raw then you can't access the monitor without having another screen connected. Can you configure one of the FN buttons to be a preset for say raw and another FN button for vlog so that if you want to shoot raw but just quickly need to change a setting, you can click the FN1 button which changes it to prores, therefore opening up the menu and then when you're done changing the settings, just click the FN2 button to go back to raw?
so why does netflix accept this but not the black magic 6k camera
Netflix has specific requirements — here's the web page; I don't know what is missing from the BMPCC 6K
@PhotoJoseph thanks
dislike for clickbait
that's fine… it's clickbaity but it's 100% accurate. Tongue in cheek… if you gotta dislike for the playful title that's actually true, then you do you!
like your video and content but that rig looks like the tower of Pisa. there's some esthetically ugly about it
Wow what a comment. The rig wasn’t design to be pretty, but functional.
Awesome video, but major heads up!! I do a lot of live streaming sports and I highly recommend if you are going to power a camera, do not use that same power into the Ninja or wireless transmitter. Both should have their own power source. Having one power source that is powering the camera and the device the signal is being sent to can damage the camera or both components. It is much safer for those two things to have their own power source.
Almost gave this a wide berth…….glad I didn’t, as a former film cameraman I need this translation of information👍
I'm glad you didn't either ;-)
there is no word heighth.
Great video! Any Chance you can point me in the direction of the "telescoping" top handle to work together with the XLR1? I can't seem to find something that definitely lets you use the xlr while having a handle attached...
Telescoping? You mean so it collapses when not in use? Never seen that. But SmallRig makes lots of accessories. I’d start there
@PhotoJoseph you're mentioning something at 13:16 :D a handle that's usable while having the XLR1 attached at the same time.
@Mapache ah ok, it’s not telescoping, it’s just tall. Search smallrig for “XLR1”
@PhotoJoseph Found it, works for me! Thank's a lot!! :)
Please do comparison of BS1H vs A7SIII vs FX3
I’m a Lumix ambassador, so I don’t compare to other brands, sorry. Not what I do on this channel
S1H is the best dlsr sized cine quality camera. This one is an excellent addition to the family.
You get no argument from me!
First time seeing this channel. I dont think you have enough camera stuff :-)
Finally!! Someone who gets it!! 😂😂
How much did your total system cost at the end?
“Total system”? Depends on what’s in use. Links below to all the gear.
Hi, how rich are you? that's a lot of equipment.
“ *This*… Is the longest intro”…. “ *This*… Is not getting to the point”…. “ *This*… had me lose interest”….
this comment made me lose faith in humanity
Is this one limited to 1080/3G output over SDI as well 😢
Sadly, yes. Please tell Panasonic that you want 12G SDI. We all need to tell them.
so much tech and yet the sound is weird
I know
I would rate the Nikon D850 as the biggest pile of Fecal Matter.
As a non-Nikon shooter, I refuse to disagree
Wait so these are basically POE cameras 🤣
That’s like calling a Tesla “basically a golf cart”. I mean…
Borderline clickbait.
Borderline, yes… yet it’s 100% accurate 😊
I like your vids. I'd still pick BGH1 camera -especially for those who already have a speedbooster for mft
Both are great choices!
I'd go for the Boxy styled camera body anyday.
I'm really loving the format
This video is BS.
Just like this comment
@PhotoJoseph That's a matter of opinion. I don't care for click bait..
@jenny mcdonough think it through. It sounds like clickbait. But it’s not. Read the title and thumbnail carefully. It’s very carefully worded.
@PhotoJoseph My apologies, I was having a Karen moment. LOL
@jenny mcdonough LOL thanks 😊
It's a shame they limited the internal output so much.
@PhotoJoseph I mean internal, if they had a usb-c port with usb 3.2 and could save raw to a HDD. Also the limitation to 4:2:0 to get decent resolution. Sacrificing data that is used in colour correction. (if you are not pushing your colours then this will probably not make a huge difference)
@Slip Och That would violate one of RED’s patents.
no it wouldn't, USB is a standardised connection method and standardised communication protocol that RED has no patent on, which is why red lock down their SSD system with a custom serial identifier (this is the bit with a patent) to disallow using other ssds on their systems to the full extent (even though the ones they use are rubbish).

Look at ARRI and Blackmagic, both of which can write directly through USB connections.
@Slip Och USB, SD, NVMe, and USB are all common standards. Using any of them directly with the camera to storage raw footage would be inviting a lawsuit from RED.

U.S. Patent No. 9,245,314 already covers the loophole you’re trying to use.

“Additionally, in some embodiments, the storage device 24 can be mounted to an exterior of the housing 12 and connected to the remaining portions of the system 14 through any type of known connector or cable. Additionally, the storage device 24 can be connected to the housing 12 with a flexible cable, thus allowing the storage device 24 to be moved somewhat independently from the housing 12.”
@David Manouchehri Yeah the US patent system is a joke (as it is in Australia).
Sevreral issues with the wording of the patent - 1. It is too broad a scope and general in language, this would disallow ANY device from recording to media via any connector or cable.
2. It is an attempt to patent already existing technology covered under other patents (such as the USB standards, ssd controller standards etc.) - This is WHY they had to add custom features such as identity/serial detection to the SSD/device 24, the customised chassis connector etc.
3. This has not stopped anyone else, as mentioned above Blackmagic are already doing this and have done for years without using that patent , also that patent was lodged AFTER pcs could already do this (record to a drive via a cable), as long as storage device 24 is not copied (as it is the point where proprietary stuff is used) it could be argued that it is not in breach of patent.
Click bait title .. .... anyone that posts a fake headline .. is untrustworthy ..
Dude, relax. It’s a clever title that feels like clickbait but is actually 100% true. Think about it. And… relax. “Untrustworthy” is the last word anyone watching this channel would call me.
That buzzing is really fucking distracting
Imagine how I feel
@PhotoJoseph good point haha
All I want from Pana is a global shutter MFT
🤣 actual click bait I really enjoyed.
Nice lipstick...oh, it's Panasonic :D
Thanks Joseph! Very comprehensive and excellent review! Fooled me good with the title, hehe! Subscribed! I love my Panasonics. Best Wishes ✅
How is it in the heat under the sun that's where most of my work is done
YOU! ohhhh You!
Heheh meeee?? 😇
Am I seeing things? There appears to be a heck of a lot of noise in that sample footage and it aint pretty
I don’t know how you’re watching this but the sample footage looks very clean to me. Are you playing in full resolution?
​@PhotoJoseph Yes, 4k. Checked on a couple of machines and it's very noisy. The ramp/steps at 12:20 shows it and the floor by the flames at 12:24 but it's in all the shots
@deaniweenie I just looked at this on a 6K monitor… what you are seeing is just the YouTube compression. I'm not claiming it's noiseless, but it's also all very dark-environment imagery. I think it looks extremely clean.
@PhotoJoseph Fair enough. Always good to question things especially for those thinking of buying. Keep up the good work!
haha! The video title totally got me! That earned a sub 👍
haha awesome. That makes up for the one who just unsubbed because of the title 😂
Am I the only one that heard that weird background noise?
no, you're not. Check the comments, tons of people complaining about it. There was a ground interference that I didn't catch until the very end of the process. I wasn't about to reshoot the entire thing.
Video might be great but I could not get over the slightly to clickbait title once I saw your joke with the tape. Keep making awesome videos but this one is a thumbs down for me sir.
Sorry to hear that. Sometimes a guy’s gotta throw in a joke or two. And while the title may be clickbaity, it’s actually true. The camera is 100% “B” (box) “S” (S-Series) 😁
Stop saying let’s get into it. Please!
Wow. First complaint on that. What, dear sir, would you prefer I say?
What's that buzzing noise?
An audio problem
As a hardcore Sony nerd its really strange watching a Panasonic nerd. It's like being a parallel universe where Panasonic is better than Sony hahahahahaha
Different cameras for different people. I’ve owned both LUMIX and Sony. Always went back to LUMIX.
Oh dear 🎉🤣🎉
Panasonic is an excellent camera, how can the entire crew of the deadliest catch be so wrong.
Sir: I grew up in the 80s, so I remember the brands you mentioned. But there is only one capture device for adults (21+) at this time: the Arri LF line. All the rest are made for casual use. Fine -I buy them also. But to have a loyalty to one brand based on tech is unfathomable for me...I just don't get it! btw, I like his BGH1 camera -especially for those who already have a speedbooster. Have a great day!
The title is BS...🤭
🤫 don’t tell anyone!
This has to fix my cars transmission
It’ll feed your cat and water your houseplants, too
I can't tell if it's the takumar lens but the footage seems... a bit soft. like it seems software soft if that makes sense.
The lens is tack sharp with a creaminess to it. We’re you watching in 4K on a 4K screen?
@PhotoJoseph yes. On my calibrated ips 42 inch 4k monitor that i sit less than a meter from. It looks good but something about it seems like there is some software processing that is happening between sensor and storage
@Joshua Szeto Ah. We call that… YouTube.
I really like that set up with the Bs1h. It's clean and practical.
Thank you Mr. Taco!
Yeah, you got me. I clicked because I was curious how bad that camera is.
Haha sorry, had to do it!!
Dang. Same.
Looks like a cool camera, but I can’t disrespect my S1H.
Definitely not! S1H is epic.
And I thought I had Gear Acquisition Syndrome Bad... 😂
LOL yeah yeah
Does the SDI out have delay?? My #1 issue with the S1H and that series of cameras is the significant delay when outputting to a monitor.
Sorry for the late reply; I needed to check it. Unfortunately yes, the SDI delay appears to be the same as the HDMI delay.
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