Camera
Panasonic to bring Blackmagic Raw recording and more to the S1H, S1 in forthcoming firmware updates
![Panasonic to bring Blackmagic Raw recording and more to the S1H, S1 in forthcoming firmware updates Panasonic to bring Blackmagic Raw recording and more to the S1H, S1 in forthcoming firmware updates](https://2.img-dpreview.com/files/p/E~TS940x788~articles/1509469257/S1_BGH1_S1H.jpeg)
Panasonic has announced the release of new firmware updates for three of its Lumix S Series full-frame mirrorless cameras as well as its BGH1 box-style camera, bringing 5.9K Blackmagic RAW recording and more.
Since each camera will be receiving slightly different features with each of the updates, we’ve broken down the improvements, updates and fixes by camera model.
Panasonic Lumix S1H
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Firmware version 2.4 for the Panasonic S1H will be released, for free, on March 31. The new firmware update will add 5.9K Blackmagic RAW recording capabilities when the S1H is connected via HDMI to a Blackmagic Video Assist 12G HDR. This is an addition to the Apple ProRes RAW recording capabilities of the S1H when connected to an Atomos Ninja V monitor/recorder.
Below is a full chart of the Blackmagic RAW recording modes:
Area | Resolution | Frame Rate | Aspect | HDMI Output |
---|---|---|---|---|
Full-frame | 5.9K (5888 x 3312) | 29.97p/25p/23.98p | 16:9 | 12-bit |
Super 35mm | 4K (4128 x 2176) | 59.94p/50p/29.97p/25p/23.98p | 17:9 | 12-bit |
Super 35mm Anamorphic | 3.5K (3536 x 2656) | 50p/29/97p/25p/23.98p | 4:3 | 12-bit |
Other changes in firmware version 2.4 include the ability to choose whether or not you want to include camera orientation information into the file and a new ‘Power Save Mode’ has been added for when the camera is plugged in via an optional AC adapter.
Panasonic Lumix S1
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First and foremost, it’s worth noting firmware version 2.0 for the S1, due on out April 6, will offer exclusive features for S1 owners who have purchased the Filmmaker Upgrade Software Key (DMW-SFU2) for their camera bodies. But before we discuss the exclusive features, let’s cover what all S1 users will receive with the 2.0 firmware update.
In addition to adding the same ‘Power Save Mode’ function and camera orientation setting it included in the S1H update, Panasonic has also added a ‘Dual Native ISO Setting’ to the S1.
If you have the Filmmaker Upgrade, the update will include a number of new and improved shooting modes, including 6K / 24p 4:2:0 10-bit recording at 200Mbps in the MOV format (with a maximum record time of 15 minutes). If dropped to 5.9K, you can get the same footage at 30 frames per second (fps). Below is a chart of the supported recording modes:
Resolution | Frame rate | Bit-depth | Chroma | Bitrate | Format |
---|---|---|---|---|---|
6K (5952 x 3968) |
24p | 10-bit | 4:2:0 | 200Mbps | Long GOP .MOV Linear PCM Audio |
5.9K (5888 x 3312) |
30/25/24p | ||||
5.4K (5376 x 3584) |
30/25p | ||||
DCI 4K (4096 x 2160) |
60/50p | ||||
60/50p | 8-bit | 150Mbps | |||
30/25/24p | 10-bit | 4:2:2 | |||
UHD 4K (3840 x 2160) |
60/50p | 4:2:0 | 200Mbps | ||
Anamorph. 4K (3328 x 2496) |
50p | ||||
50p | 8-bit | 150Mbps | |||
30/25/24p | 10-bit | 4:2:2 |
Panasonic Lumix S1R and S5
Firmware version 1.8 for the S1R and firmware version 2.2 for the S5 are both minor updates, with the only changes being the inclusion of the new camera orientation function and ‘Power Save Mode’ function added to both the S1H and S1. Both of these updates should be out by April 6.
Panasonic Lumix BGH1
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Firmware version 2.0 for the box-style Panasonic LUMIX BGH1 will be released on March 24 and include a number of new IP streaming options and the addition of Apple ProRes RAW recording.
Specifically, Panasonic says IP streaming with the PC port can now be done at a maximum 4K / 60p (3840 x 2160 pixels) in the H.265 codec at 25MBps, with additional options for 4K / 30p, FHD / 60p and FHD / 30p. Panasonic has also enabled Apple ProRes RAW recording over HDMI when paired with Atomos’ Ninja V monitor/recorder. ProRes RAW capture modes include 4K (4096 x 2160 pixels) 12-bit recording at up to 59.94 fps at a 17:9 aspect ratio and a 3.7K (3680 x 2760 pixels) 12-bit recording at up to 59.94 fps at a 4:3 aspect ratio.
Other improvements in firmware version 2.0 include V-Log or Rec.709 selection options on the Live View monitor during Raw video output, new shooting assist functions and a LUT designed exclusively for BGH1 footage recorded on Atomos Ninja V monitor/recorder units that will match the color grading to V-Log/V-Gamut. It’s now also possible to show the Genlocking status display and format SD memory cards over the PC connection.
Camera
Pentax K-1 and K-1 II firmware updates include astrophotography features (depending on where you live)
![Pentax K-1 and K-1 II firmware updates include astrophotography features (depending on where you live) Pentax K-1 and K-1 II firmware updates include astrophotography features (depending on where you live)](https://2.img-dpreview.com/files/p/E~TS590x0~articles/0154890027/Pentax-K1-II.jpeg)
Yesterday, Ricoh quietly released firmware 2.50 for its Pentax K-1 and K-1 II DSLRs. However, the features you can expect to gain from this update may depend on your geography.
Ricoh’s English-language firmware pages for the K-1 and K-1 II state that firmware 2.50 delivers “Improved stability for general performance.”
However, astute Pentax users noted that Ricoh’s Japanese-language firmware pages (translation) indicate that the update also includes a limited feature called “Astronomical Photo Assist,” a collection of three new features designed for astrophotography: Star AF, remote control focus fine adjustment, and astronomical image processing.
Star AF is intended to automate focusing on stars when using autofocus lenses. Rather than manually focusing on a bright star and changing your composition, it promises to let you compose your shot and let the camera focus.
Remote control fine adjustment allows users to adjust focus without touching the lens and requires Pentax’s optional O-RC1 remote. Astronomical image processing will enable users to make in-camera adjustments to astrophotography images, including shading correction, fogging correction, background darkness, star brightness, celestial clarity, and fringe correction.
According to Ricoh, Astronomical Photo Assist is a premium feature that must be purchased and costs ¥11,000 for an activation key (about $70 at current exchange rates).
Although these astrophotography features appear to be Japan-only for now, a Ricoh representative tells us, “Ricoh Imaging Americas confirmed that the premium firmware features for the PENTAX K-1 and PENTAX K-1 Mark II will eventually be available to US customers.”
Firmware update 2.50 for both the K-1 and K-1 II is available for download from Ricoh’s website.
Camera
On this day 2017: Nikon launches D850
![On this day 2017: Nikon launches D850 On this day 2017: Nikon launches D850](https://2.img-dpreview.com/files/p/E~TS590x0~articles/3742168247/Nikon_D850_lead.jpeg)
As part of our twenty fifth anniversary, we’re looking back at some of the most significant cameras launched and reviewed during that period. Today’s pick was launched seven years ago today* and yet we’re only quite recently stepping out of its shadow.
The Nikon D850 is likely to be remembered as the high watermark of DSLR technology. We may yet still see impressive developments from Ricoh in the future (we’d love to see a significantly upgraded Pentax K-1 III), but the D850 was perhaps the green flash as the sun set on the DSLR as the dominant technology in the market.
Click here to read our Nikon D850 review
Why do we think it was such a big deal? Because it got just about everything right. Its 45MP sensor brought dual conversion gain to high pixel count sensors, meaning excellent dynamic range at base ISO and lower noise at high ISOs. Its autofocus system was one of the best we’ve ever seen on a DSLR: easy to use and highly dependable, with a good level of coverage. And then there was a body and user interface honed by years of iterative refinement, that made it easy to get the most out of the camera.
None of this is meant as a slight towards the other late-period DSLRs but the likes of Canon’s EOS 5DS and 5DSR didn’t present quite such a complete package of AF tracking, daylight DR and low-light quality as the Nikon did. With its ability to shoot at up to 9fps (if you used the optional battery grip), the D850 started to chip away at the idea that high megapixel cameras were specialized landscape and studio tools that would struggle with movement or less-than-perfect lighting. And that’s without even considering its 4K video capabilities.
In the seven years since the D850 was launched, mirrorless cameras have eclipsed most areas in which DSLRs once held the advantage. For example, the Z8 can shoot faster, autofocus more with more accuracy and precision, across a wider area of the frame and do so while shooting at much faster rates.
But, even though it outshines the D850 in most regards, the Z8 is still based around what we believe is a (significant) evolution of the same sensor, and its reputation still looms large enough for Nikon to explicitly market the Z8 as its “true successor.”
Nikon D850 sample gallery
*Actually seven years ago yesterday: we had to delay this article for a day to focus on the publishing the Z6III studio scene: the latest cameras taking precedence over our anniversary content.
Camera
Nikon Z6III added to studio scene, making image quality clear
![Nikon Z6III added to studio scene, making image quality clear Nikon Z6III added to studio scene, making image quality clear](https://2.img-dpreview.com/files/p/E~TS590x0~articles/9570948051/Nikon_z6iii_sensor_main.jpeg)
Photo: Richard Butler |
We’ve just received a production Nikon Z6III and took it into our studio immediately to get a sense for how the sensor really performs.
Dynamic range tests have already been conducted, but these only give a limited insight into the image quality as a whole. As expected, our Exposure Latitude test – which mimics the effect of reducing exposure to capture a bright sunrise or sunset, then making use of the deep shadows – shows a difference if you use the very deepest shadows, just as the numerical DR tests imply.
Likewise, our ISO Invariance test shows there’s more of a benefit to be had from applying more amplification by raising the ISO setting to overcome the read noise, than there was in the Z6 II. This means there’s a bigger improvement when you move up to the higher gain step of the dual conversion gain sensor but, as with the Z6 II, little more to be gained beyond that.
These are pushing at the extreme of the sensor’s performance though. For most everyday photography, you don’t use the deepest shadows of the Raw files, so differences in read noise between sensors don’t play much of a role. In most of the tones of an image, sensor size plays a huge role, along with any (pretty rare) differences in light capturing efficiency.
As expected, the standard exposures look identical to those of the Z6 II. There are similar (or better) levels of detail at low ISO, in both JPEG and Raw. At higher ISO, the Z6III still looks essentially the same as the Z6II. Its fractionally higher level of read noise finally comes back to have an impact at very, very high ISO settings.
Overall, then, there is a read noise price to be paid for the camera’s faster sensor, in a way that slightly blunts the ultimate flexibility of the Raw files at low ISO and that results in fractionally more noise at ultra-high ISOs. But we suspect most people will more than happily pay this small price in return for a big boost in performance.
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