6K Panasonic Lumix DC-S1H Targets Cinematographers

The Panasonic Lumix DC-S1H, teased earlier this year, is now official. It's a full-frame mirrorless camera with a video-centric toolkit, and is the first we've seen with full-frame, 6K resolution. It's also adept as a stills shooter, with 24MP of resolution, Raw capture, and a stabilized image sensor.

We've seen this body design before; Panasonic released a 24MP full-frame model this past year, the S1. The S1H shares the same basic design, though there are some differences here and there—the S1H has dual SDXC card slots, for example, instead of the XQD/SDXC configuration used by the S1 and S1R, and the S1H's rear LCD has a brighter backlight for better visibility when shooting on location.

24MP Sensor for 6K Video

The S1H boasts similar resolution to the S1, but the two cameras use different image sensors. The S1H's imager is tuned for video, and reads out quickly enough to capture 6K video at 24fps using the 3:2 aspect ratio—essentially, the entirety of the sensor. Video is compressed using HEVC (H.265) with 200Mbps 10-bit 4:2:0 LongGOP quality. If you want to push to 30fps, you can do so with a slight sensor crop and reduction in resolution to 5.4K.

Video is more typically captured at 16:9, and the S1H has a load of different resolution options there. You can go full frame width at 5.9K, 4K DCI, or 4K UHD, with 24 and 30fps capture options available. The camera can also push 4K to 60fps, but does crop the sensor down to a Super35mm area to do so. There's also 1080p capture, at up to 120fps, using either the full-frame or Super35mm width.

There are a number of color profiles available, including the flat V-Log/V-Gamma look, and HLG for easier HDR grading. You'll have about 14 stops of dynamic range to work with. The sensor also sports a Dual Native ISO design to reduce noise when recording at higher sensitivity.

New Lenses

The S1H works with L-mount lenses, currently sold by Leica, Sigma, as well as Panasonic itself. Along with the S1H, Panasonic is announcing a pro-grade zoom, the Lumix S Pro 24-70mm F2.8. It sports an all-weather build, just like the S1H body, dual-drive autofocus, and a manual focus clutch. It will ship in October for $2,199.99.

Panasonic also continues to supports its Micro Four Thirds system. It's announced an update to an older lens, with an improved build and faster, quieter focus motor. The Panasonic Leica DG Summilux 25mm F1.4 II ASPH. isn't compatible with the S1H and other L-mount cameras, but is a welcome option for Micro Four Thirds owners. It will go on sale in October for $699.99.

Does Stills, Too

The camera also promises to be as capable as the S1 for still capture. It captures images in 14-bit Raw quality and supports multi-shot capture for 96MP output. Burst capture is available at 9fps with locked focus, or at 6fps when tracking subjects. The autofocus system is contrast based, though, so it's not our top recommendation for action photography.

The S1H is priced at a premium in the world of still imaging, $3,999.99 as a body only. It's a relative bargain compared with high-end cinema cameras, though. It will start to ship at the end of September.

About Our Expert

Jim Fisher

Principal Writer, Cameras

My Experience

Images, and the devices that capture them, are my focus. I've covered cameras at PCMag for the past 14 years, which has given me a front row seat for the changeover from DSLRs to mirrorless cameras, the smartphone camera revolution, and the emergence of drones for aerial imaging. I have extensive experience with every major mirrorless and SLR system, and am also comfortable using point-and-shoot and action cameras. As a Part 107 Certified drone pilot, I’m licensed to fly unmanned aircraft systems (UAS) for commercial and editorial purposes, and am knowledgeable about federal rules and regulations regarding drones.

The Technology I Use

I use all of the major camera systems on a regular basis, swapping between Canon, Fujifilm, L-Mount, Micro Four Thirds, Nikon, and Sony systems. I still find time to use Leica M rangefinders and Pentax SLRs on occasion, too. I keep an iPhone 13 in my pocket for the rare occasions I'm not carrying a camera.

I'm not a brand-specific photographer. For product review photos, I swap between a Canon EOS R5 and a Sony a7R IV. I use Flashpoint and Godox TTL lights and Peak Design tripods, and I most often reach for a Think Tank or Peak Design backpack to carry equipment.

When it comes to computers, I'm an unapologetic Mac person and have been for the past 20 years. I write in Pages and use Numbers for spreadsheets. I currently swap between an Intel i9 MacBook Pro and an Apple Silicon Mac Studio for writing and use a calibrated BenQ 32.5-inch with the Studio for photo and video editing. I rely on a LaCie 6big RAID for media storage. I also keep a PC around for gaming, but please don't tell my Macs about it; they'll get jealous.

I split time between several different software apps depending on the type of editing I'm doing. For Raw image processing, Adobe Photoshop Lightroom Classic is my standard. I pair it with a LoupeDeck CT console to supplement my keyboard and trackpad, and I lean on RNI All Films 5 presets when I want to give an image a film look. I use Apple Final Cut Pro for video editing.

My first digital camera was the Canon PowerShot Elph S200, and my first DSLR was the Pentax *ist DL. I have a soft spot for antique film gear. I still use a 1950 vintage Rolleiflex Automat TLR and love trying mid-century Leica lenses on film and digital alike. I mainly use whatever's in front of me for review for digital snaps, but I pick up either my Leica M Typ 240 or Pentax K-3 III Monochrome when I want to step away from review work. In my downtime, I enjoy bird watching, reading, video games, and both good and bad movies, especially in the sci-fi and horror genres.

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