Technology is what drives your LUMIX to its maximum performance.
Learn which technologies make your LUMIX a powerful tool.
Framerates are an important concept to be understood even before choosing your project settings. LUMIX Ambassador, Steven Clarey, explains the differences of PAL-, NTSC- and Cinema-settings. In addition to the classic 24 frames per seconds for Cinema or 50/60 Hertz settings for broadcasting, the LUMIX S1H comes packed with Variable Frame Rate settings and even High Speed Frame rates up to 180 fps (while offering Audio recording and Autofocus) for speeding up or slowing down your sequences.
Timecode is a clock, that counts in frames and is natively integrated into the LUMIX S1H and GH5S. It is the industry standard way to sync material coming from different sources. This can for example be a Multi-Camera-Setup or simply one camera and externally recorded audio. Syncing it automatically via a common timecode saves time and money. LUMIX Ambassador Nick Driftwood explains about different Timecode settings available, shows you how to sync with Timecode and also how to tie in non-Timecode devices (such as the LUMIX S1 or LUMIX GH5) via external Timecode generators, such as the Tentacle Sync-System.
External Recording Options
There are times, when you wish to also record externally to create a second file for backup purposes or for having one in another resolution. The LUMIX S1H has several options via its full-size HDMI-output. LUMIX Ambassador Steven Clarey takes you through these options and explaining examples, such as capturing 4K/60p footage in 10 Bit on an Atomos Recorder Monitor – also to give you access to other codecs, such as ProRes HQ
Photographers and filmmakers traditionally have different ways to determine the exposure of images, which results in having different terminology and handling. LUMIX Ambassador Steven Clarey explains the differences of setting your exposure in increments of seconds or degrees as well as giving you insight on how shutter speed and framerate interact. He will also introduce the Synchro Scan tool, which ensurs that capturing footage with flickering is minimised.
(What is) Dual Native ISO
Having Dual Native ISO translates into having a camera with a better low light quality. To get this higher sensitivity, the camera’s sensor has a sensitivity switching circuit for each pixel. Sounds complicated? Follow the explanation from LUMIX Ambassador Steven Clarey about Dual Native ISO and see, how the great Low Light sensitivity in LUMIX S1H and GH5S are achieved.
What is Hybrid Log Gamma?
Filmmaker and LUMIX Ambassador Nick Driftwood shows and explains the difference between Standard Dynamic Range and High Dynamic Range (HDR) and how to get the best quality output for Standard and HDR-Displays. Learn about Gamut and how SDR’s Rec.709 differs from BT2020/Rec.2020. What is BT2100, “Hybrid Log Gamma” (HLG) and how to get the best image quality in HDR out of your LUMIX camera for any use.
Understanding (V-Log and) LUTs
V-Log is a flat format and needs interpretation and adjustment to get the final colour appearance. Lookup tables (LUTs) are files that modify an image into another image through a mathematical formula. By this, LUTs do the job of translating V-Log footage into the final look for your project. In this video, LUMIX Ambassador Jacob James will explain monitoring, transformation and creative LUTs and how to use them.
Why Shoot Anamorphic
LUMIX Ambassadors Jacob James and Steven Clarey explain the differences between spherical and anamorphic lenses and how the lens choice affects the look of the footage. They will show you the in-camera settings for working with anamorphic lenses, how to adapt the Image Stabiliser for anamorphic shooting and how to de-squeeze the footage in-camera to give you a preview of the final appearance of your shots.
Audio for video Introduction
Let LUMIX Ambassador Nick Driftwood and John McGregor of the Sennheiser SoundAcademy take you into the world of Audio for Video creators. Experience, the difference in perceiving a visual with either good or bad sound complementing it. On the side, you can learn a little bit about the history of Sennheiser
LUMIX Ambassador Nick Driftwood and John McGregor of the Sennheiser SoundAcademy explain the ways of feeding audio into the LUMIX range of cameras – either via the microphone socket or via the LUMIX DMW-XLR1 adapter. They also touch upon different types of microphones and their benefits, such as obtaining directional sound and capturing more or less ambient noise depending on your choice of mic.
Join LUMIX Ambassador Nick Driftwood and Sennheiser SoundAcademy Trainer John McGregor on a tutorial about different types of microphones. They will introduce you to handheld microphones, shotguns and lavaliers. Wired versus wireless solutions and what the advantages of each are.
Join LUMIX Ambassador Nick Driftwood and Sennheiser SoundAcademy Trainer John McGregor on a tutorial about choosing the correct microphone for your shooting environment. Nick and John will discuss practical application scenarios for the different types of microphones, such as interviews, documentary shooting, news shooting, narrative filmmaking or studio-based voiceovers.
Dynamic or Condenser
What is a microphone? LUMIX Ambassador Nick Driftwood and John McGregor of the Sennheiser SoundAcademy will explain the basic technology and introduce you to the most common types of microphones. You will understand the difference of dynamic and condensor type mics and when to choose which one. Furthermore, they will give you an insight on polar patterns, which is the characteristic a microphone picks up sound from a given situation. It is either omnidirectional – meaning it pics up everything around it equally – or it is directional and will pick up audio depending on its position towards the mic. They will then apply this knowledge to the different types of microphones: Lavaliers, Shotguns and tell you, how to choose a mic for which application.
Polar Patterns Explained
John McGregor of Sennheiser SoundAcademy explains what a polar pattern is and how the polar pattern influences what the microphone picks up. He demonstrates the different polar patterns of cardioid, supercardioid, omnidirectional and shotgun microphones in a practical way to show clearly what the mic picks up depending on the positioning of mic to sound source.
LUMIX Ambassador Nick Driftwood and John McGregor of the Sennheiser SoundAcademy talk about the importance of monitoring audio in every recording. Be it in an environment with lots of ambient sounds to consider, in a wireless environment when you need to listen carefully for interference sounds or simply to set your audio levels correctly to avoid digital clipping. A set of speakers in a studio or a pair of headphones will help to improve your audio recording.
External Audio Recording
LUMIX Ambassador Nick Driftwood and John McGregor of the Sennheiser SoundAcademy talk about external recording devices. They are essential, when you want to record more than two audio inputs, which the DMW-XLR1 provides. You will also gain insight about the benefits of having a staff member dedicated for sound in your crew and what else you can do with an external sound recorder.