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LUMIX Academy S1H | 21 Autofocus and Cinema Lens Options


Jacob James: I’m Jacob James, photographer,
filmmaker and Panasonic LUMIX Ambassador. Lens choice is one of the most critical
creative decisions we take as filmmakers. In this video, I want to do a quick rundown
of the differences between autofocus lenses and manual cine primes on the S1H. I’ll also dive into a few example situations
of where you might want to use this one over this one or vice versa. Here, I have two lenses. The Panasonic LUMIX Pro 50 mm
and the Schneider Xenon FF 50mm cine prime. These lenses are both 50mm.
Why would you choose one over the other? Let’s start at the back of the lenses. The first thing you’ll notice is the lens mount. The Lumix Pro comes with an L-mount. This means it can connect to any of the S-series
cameras without an adapter. Meaning you get full electronic control
for both image stabilisation, auto-focus and aperture control. On the other hand,
the cine lens has a PL mount. One of the most common mounts
found on cinema lenses. In order to mount this lens onto the S1H,
we’ll need to use an adapter such as this one from C7. This allows you to adapt a PL
mount to an L mount. After the lens mount,
we also have iris control. Now as you can see on the cine lens, you get smooth movement between
all the various T-stops without any set stops. The aperture ring is also geared
to ensure you can control it with a motor for remote aperture control. On the Panasonic lens,
we have an electronic stepped aperture ring. You also notice we have F-stops
and not T-stops. What is the difference? Well, F-stops are theoretical measurements
most commonly found on stills lenses, whereas cine lenses tend to use T-stops,
which are the actual measurement of light transmission through the lens. This means that a T2 lens like this
will always be T2 no matter the brand. An F2 lens might not always be the same
as an F2 lens from another brand. On the Panasonic lens, the aperture control can either be done
electronically by setting it to the A position or it can be controlled manually using
the stepped ring on the lens. Next on the lens, we have what’s probably
the most important part of the lens, the focus ring. The Panasonic lens is autofocus,
giving you the ability to allow the camera to control the focus. The benefit for stills photography is clear,
but also now more and more people are finding autofocus useful when
shooting run and gun video work. For controlling the focus of
L-mount lenses manually, there are system functions available
such as the focus transition mode. This uses the autofocus system
to smoothly move between two or three set points without
needing manual control, replicating hard to achieve focus
pulls quickly and easily. To set this mode, simply go to the other
sub-menu under the video menu, down to focus transition.
Here you can select two focus points, a focus transition speed,
and then you simply click start. Then you click between the two focus
points and the camera will do the rest, creating a smooth focus pulls. The focus ring on the Panasonic
lens also has a manual clutch, allowing manual focus with stops. You can also customise the focus
throw of all the L-mount lenses on the S1H, the S1, the S1R,
either linear or nonlinear and also adjust the focus rotation
from 90 degrees to 360. On the Cine lens,
the focus ring is very different. Here we have a geared dampened ring
with hard stops at each end. This is essential for ensuring repeatable
focus when you using a follow focus. Cine lenses always tend to have long
focus throw for fine adjustment. As you can see, I can go nearly
all the way round the barrel, from near to far focus, giving you really nice fine control over
exactly where you want the focus to be. To help with manual focus in the S1H, there’s also nifty functions such as
magnification, allowing enlargement up to 20 times, a focus peaking option, which can be changing sensitivity and colour
as well as the punch in to enlarge the decisive area to adjust
focus on the spot. The other thing that Cine lens tends
to have by design is consistent sizes and weights across different focal lengths. They also tend to have consistent
front diameters for using matte boxes. This makes swapping lenses out on shoots,
even if mounted with a matte box or on a gimbal, much quicker and easier. Stills lenses aren’t designed
with these same requirements in mind, so they’re often made
much smaller and lighter. Cinema lenses by design are also made
to have much less focus breathing. Focus breathing is a change in the actual
focal length of the lens while focusing. Many stills lenses perform poorly
when it comes to focus breathing. The latest L -ount lenses from Lumix
have been designed to ensure minimal focus breathing, making them ideal for hybrid shooter
shooting both stills and video. So when would I choose one over the other. AF style lenses are perfect for video
work where you’re solo shooting or needing to travel a long way over
rough terrain or with a light kit. The AF can make accurate focus pulls
much simpler and the lighter weight and smaller size makes using
these lenses while traveling or on a smaller camera setup a huge benefit. Cinema lenses on the other hand,
are designed for all-out use on set. Ergonomically, they’re much easier to work with
when you have a first AC pulling focus, or where you need to swap out
a lens on a gimbal very quickly. They’re also much simpler to use with matte
boxes and follow focuses in general. As with all creative tools, neither one
of these is necessarily better than the other. They’re suited to different jobs
and as a creative, you should always select
the right tool for the job at hand. These are the lens options
for the new Lumix S1H. Broadcast: Panasonic

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