Welcome to the Panasonic press conference and thank you so much for attending it is my pleasure to welcome you to Hollywood and announce more great news from Panasonic LUMIX. So without further ado, I would like to welcome Yosuke Yamane, the Director of Panasonic Imaging Business Unit. Yamane san. Good morning, ladies and gentlemen. We announced the S1H in May, right here in Los Angeles and received a great deal of praise from the market. Today I have brought the final working sample with me and I am very excited to unveil all the features here. Ladies and gentlemen, this is S1H! In this compact body, there are many exciting professional features. I am standing here with a great expectation. That is, our S1H will consolidate its position in the cinema industry, and become a hero to be used by video creators all over the world. I believe, it can be. Because S1H has boundless creative possibilities. Let me chat about more concretely about this possibility. The 1st aspect is “the shooting style”. S1H has excellent mobility with very high-end specifications. So you can have the various types of shooting styles. We hope that you will shoot your own videos creating completely new works to fascinate people all over the world. 2nd is “the expansion of the user”. There are two major groups of videographers in the world; The big production with huge budget or the independent creator with limited budget. Our S1H will give both of them the opportunity to create professional work at a reasonable price with this compact body. How are we able to do this with the S1H? Panasonic has a long history and experience with cinema cameras such as VariCam and EVA1. The S1H has superb video performance grown from them and the excellent mobility and functionality developed from mirrorless cameras such as the GH5 and S1. We are sure that S1H will create a major change in the cinema industry and establish a new position. Now let me tell you about its main features. For cinema creation, high resolution and the high sensitivity are essential. We have already announced that our S1H can record 6K resolution which is equivalent to a high end production camera. Amazing. Thank you, Furthermore, I am happy to announce Dual native ISO is ready. The base sensitivity of V-LOG corresponds to ISO 640 at the bottom and up to ISO 4000. So even in low light situations you can create beautiful scenes without any worries. To realize that we decided to adapt a newly developed 24.2 Megapixel full-frame sensor with a low-pass filter, to ensure the best balance of resolution, sensitivity and speed performance. Resolution, sensitivity, gradation and color gamut are very important for cinema creation. Amazingly our S1H will support 14+ stop V-log/V-Gamut, which is an industry top level. You can use this 14+ stop camera even at a production site where the budget is limited. We are sure that many videographers are looking forward to create their own work using the S1H. A few minutes ago, I said our S1H can record 6K resolution. The advantage of 6K is not only high resolution, but also expandability of expression. When creating 4K video, you can obtain higher resolution data from 6K, and can also be useful when cropping. This is a valuable asset for video creators. When shooting a cinema production, you often connect the monitor and the recorder to the camera. You must feel comfortable that the data is simultaneously recorded on SD cards on the camera and external recorder. With S1H it is possible to simultaneously record 10bit Cinema4K 60p, that is DCI 4K 60p. Thereby you can realize high quality and efficient workflow. Let me share one more piece of information. The leading brand of external recorders is clearly ATOMOS. ATOMOS and Panasonic have a good relationship and we have been providing 4:2:2 10bit 4K HDMI output recording for the GH series. Today I can tell you that we are developing RAW output via HDMI with ATOMOS for the S1H. You can expect further upgrade information for S1H in the near future. Anamorphic was used as a method of widening the aspect, as well as the artistic expression with unique taste. And it is now widely used not only in cinema, but also commercials and video SNS. S1H will support 4K anamorphic shooting with desqueezing of various aspects. Later we will display some works shot with them. Image Stabilization is essential for active cinema creation. In cinema photography, lenses without image stabilization are often used. But you don’t need to worry, the S1H is equipped with body image stabilization and is reliable when shooting hand-held or shooting with a gimbal. In addition, when using our S series lenses, the “Dual I.S.2”, which combines stabilization of body and lens, you will feel confident when hand-held shooting in the field. When you want to shoot from high or low angle positions or in a narrow location, there may be a shot from various angles required. You can certainly make use of the characteristics of this small camera and shoot footage from various positions at high or low angles. The S1H is equipped with a newly developed tilting free-angle monitor on the back side, so you can realize free-angle shooting with a HDMI cable connected without any interference. An important criteria for a cinema camera is, that in a tough environment it is a buddy you can rely on. And furthermore, it should not stop, when you do continuous or long-time shootings, like no-cut-films or time lapse. Do you agree? Thank you. Thanks to a new heat management system, you don`t need to worry about overheating, so S1H provides unlimited video recording time and will be reliable at professional shooting sites. The S1H is also a very robust camera. Magnesium alloy is employed to ensure dust, splash and freeze resistance down to minus 10 degrees. You can use it without any reservations. So, What do you think? Can you feel the unlimited potential of the S1H? Are you excited? Thank you. I can’t wait to see your work shot with our S1H. And I believe you will want to touch and try our samples as soon as possible. But before moving to the touch & try session, give us a bit more time as my colleague Matt Frazer will cover some additional details. Thank you, Yamane san. When a camera aspires to change what is possible in the DSLM category of cameras, there are many new features that we would love to share with you however, today we will focus only on features
that impact video performance and reliability. For Video Performance we will focus on 8 key features of the S1H: The 24.2MP sensor, 6K Full Area Capture, 4K 60p in 10 bit, V-Log & V-Gamut, Anamorphic Mode. Our Dual IS system, Variable Frame Rate and High Frame Rate functionality. The S1H Features a 24.2 Megapixel MOS sensor with an included Optical Low-Pass Filter to reduce the chances of Moiré and produce a more filmic look. Dual Native ISO allows Directors of Photography to choose from 2 native Film Stocks that provide low noise and maximum dynamic range Typical sensors have 1 single “Sweet-Spot” ISO that gives you the lowest noise and the maximum Dynamic Range. Increase your ISO and you get noisy images, reduce the ISO and you lose dynamic range. Dual Native uses 2 Analog circuits, 1 for low ISO shooting and 1 for High ISO shooting that give you 2 ISO’s that deliver low noise and maximum dynamic range Each photo style of the S1H will have a different set of Native ISO’s V-LOG is Native 640 and HLG is Native 400 and 2500 Our Cine Like profiles are 200 and 1250, And most other profiles are 100 and 640. In addition, Dual Native works not only for video but also for stills capture and gives photographers a native 100 and 640 ISO. Full-Frame or Super 35, with the S1H you have both, including access to the entire canvas of the 3:2 aspect ratio sensor to capture video images. In Full Frame you have access to 6K 24p 10bit capture in 3:2 aspect ratio using the entire sensor height and width. This allows filmmakers tremendous resolution for post production cropping of the image and gives freedom to frame shots wider. For stunt work, you can now frame a shot wider, and not worry if the action leaves the 16×9 region of the frame, you will be able to crop and follow the stunt in post production. In addition, support for the use of Full-Frame Anamorphic lenses is now possible with this 6K 3:2 aspect ratio, a feature normally reserved for only the most expensive cinema cameras. For productions that require a 29.97 or 25p workflow, a slightly cropped 10bit 5.4K 3:2 aspect ratio is also available. Full-Frame that is in Television spec UHD 3840×2160 as well as cinema spec 4K 4096×2160 can be captured at up to 30p in 10 bit using the full sensor width. For Super 35 capture, Television spec UHD 3840×2160 and Cinema spec 4096×2160 can be captured at up to 60p in 10 bit Fitting perfectly within the image circle of a S35mm lens is our 4 Perf Anamorphic mode. This allows for the use of all the classic and modern Anamorphic lenses that have been in use for over 60 years with frame-rates up to 48 and 50p for gorgeous slow motion footage. As you can see, Panasonic is providing you with sensor size options that can work with virtually any cinema lens Thanks to the low noise and wide dynamic range of the S1H sensor, we can now offer the same V-LOG experience normally reserved for our VariCam and EVA1 cameras. This provides more than 14 stops of dynamic range and will work in all existing workflows currently used for EVA1 and VariCam. It’s important to know, this is not only V-Log, the S1H offers V-Gamut color that exceeds all current color standards for deliverable content. Since the S1H has full V-LOG and V-Gamut, you can now use the VariCam LUT library of 36 different looks and know that the S1H will match the VariCam and EVA1. In addition, for productions that will mix camera brands or for productions destined for the big screen, Panasonic has developed an Input Device Transform file or IDT for short this will allow the S1H to fit within the Academy Color Encoding Specification also known as ACES. ACES is designed to help filmmakers create the finest Archrivals of their footage, with the maximum color fidelity and allows for better matches between camera brands for easy post production color corrections. Now you can have 1 compact camera that will work with any cinema camera The S1H utilizes Panasonic’s legendary Dual IS system that provides class leading stability of up to 6.5 stops of correction for photography and near gimbal like smoothness for video capture. Special attention has been paid to optimize the stabilization for use with anamorphic lenses so you can now hand-hold the camera and still have a stabilized look. For Anamorphic productions, it’s very important to be able to “Desqueeze” the image on your monitor so that you can properly frame your subject. The S1H will desqueeze 1.3x, 1.33x, 1.5x, 1.8x and 2x lenses using the inbuilt monitor or viewfinder of the camera. In addition, thanks to our In Body Image Stabilization, it is now possible to stabilize your anamorphic lens without a gimbal or steadicam rig. Our stabilization system provides optimizations for all desqueezed functions of the camera. Here today to talk about anamorphic lenses is Dan Kanes, CEO of Atlas Lens Company. Thank you, Dan. Thanks so much, Matt Hi everyone, I’m Dan Kanes from Atlas Lens Co., and we’re thrilled to be a part of the Panasonic S1H launch today. Our lenses were used on a couple of the films that we’re going to see shortly from some of the great content creators who got to use the S1H at the early stages. So when most of us watch a film, typically what we think of as a cinematic experience often comes from the beauty of anamorphic lenses, which is a tradition beginning as far back as the mid 1950s. What’s amazing is that today, that anamorphic format and style still holds weight in our minds as a creative choice and an artistic form of expression. It also allows you to expand your vision. So one of the beautiful things about the S1H is its multi-format sensor and multi-format recording capabilities, bringing an unprecedented amount of creative choice and tools and techniques to filmmakers, really allowing people to expand their vision not just on the small screen if you have a lower budget, but all the way up to the big screen and really give you a Hollywood-level look, as we’ll see shortly with these new films. So, thank you to Panasonic for continuing the legacy of offering more and more capabilities to filmmakers and content creators everywhere. I’m really excited to see these anamorphic films that we’ll see shortly. Thanks so much and back to Matt. Thank you Dan, I appreciate it. So, popular in the GH5, is our Variable Frame Rate mode, also known VFR for short, can allow for slow motion capture can allow for slow motion capture at up to 60fps in 4K and 180fps in 1080p and delivers the file already slowed so you can inspect the shot and see if you like the result. New to the S1H are native frame-rate CODECs of 48p and 120p. These allow you to capture sound and also use auto-focus during capture. In addition, you can view the content from your editing software in it’s native form or slow it down for beautiful slow motion footage. One design goal for the S1H is to provide unlimited recording time in all frame-rates and resolutions without fear of shutdown due to overheating. To achieve this goal, our engineers have designed a fan based cooling system that is extremely quiet and yet effective to
allow the camera to record without fear of overheating within the rated ambient temperature limit. Normally a fan means you can no longer use the camera in damp adverse weather conditions without serious protective measures but the S1H maintains the same levels of Dust, Splash and Freeze resistance as the S1, S1R, GH5 and GH5S so shoot with confidence. The Dual UHS-II card slots are designed to be used with V90 spec SD cards to ensure all CODEC’s can record without stopping. Tremendous customization of file allocation is possible with this dual card array you can choose to record your image and a cloned backup to the second card. You can assign files to different slots, for example, Photos to card 1 and video to card 2 or photos in RAW to card 1 and JPEG to card 2 just to name a few customizations. The system is also hot-swapable, so when 1 card is full an the other is recording, you can change the first card and keep rolling. So when we say unlimited… we mean unlimited. And finally, to demonstrate just one attention to detail feature of the S1H, tally Lamps are included on the front and back of the camera so that you and your talent know when camera is rolling. So, now that you have seen the features of the S1H, let’s hear little bit about what it is like to use it. Here today we have five film makers to discuss their experiences. Let’s start with our UK representative, Director Peter Hamblin. Hi, Peter. I got very choked up, I’m so excited to see you. Nice to see you. Good to see you, too. Is this on? It’s not on, we’ll wait just a second. Ah, it’s the button. Gotta push the button. it wouldn’t it wouldn’t be something I’m
working on without at least one mistake. So, alright. So, Peter I know you’re
working on a feature actually with the S1H right now. so I’m hoping you can let some folks know what you’re working on, and really we want to hear some of your experiences with the camera and why you chose it for your feature. Cool, well I’ve actually been working with Panasonic for a few years on different projects in the UK, and they approached me to do some test footage recently on the S1H. And it just so happened that we were in pre-production on a short film, and well short film, I call it a short film, it could be a short long or a long short at the moment, it’s going either way. A four-hour short. Yeah. And I just thought it was a perfect opportunity, a perfect merriment to really throw the camera into the situation, where the different scenes or different opportunities to really test it out. And if it lived up to everything it said it lived up to, it’d be awesome right? So, we are making a film that’s kind of close to me and it’s close to the brothers that we’re talking to. It’s called “In Hope of Nothing,” and it derives from being an independent filmmaker, and living in this world and trying to get things greenlit. It’s my first fiction feature as well, fiction short, whatever you want to call it, and it’s really about two brothers who three years ago, they tried to make a space odyssey film. It’s very tongue in cheek, very kind of like a fun lighthearted film, and they tried to make a space odyssey film, and it all fell apart because they couldn’t agree on the lead character, the characterization of the lead character. And the funding got pulled. And then through some unique circumstances, they get the funding back, and this sets them off on this journey of trying to make this film. And to me, there’s two elements to it. There’s an emotional sibling relationship, but it’s also about being an independent filmmaker, and the turmoil that we go through in trying to make these a success. Like, part of my process when I make films, the first thing I ever do is I make a poster, because it feels right, and you feel like you’ve made a film, that you’ve got something solid and you can visualize it. You like to start from the end. Totally, and I’ve got like, my ratio of finished posters to finished films is a bit off at the moment, So putting the SH1 into play, I think the most exciting thing for me, and I think one thing to watch in here is that I love the language of film. I love vintage film. I love the romance of film. We’ve always seen these cinematic films in the past, and when I started out, making films, it was on iMovie, and shooting on basic DSLRs, and I used to mess my footage up, I used to put black bars top and bottom, and I used to put grain in, and I used to put these horrible soft layers in, because that was the cinematic language. I didn’t know I was talking Anamorphic. And that was an exciting thing about this for me. It was like bringing these anamorphic lenses and putting them onto this camera that was a relatively cost effective price point. And also, with Anamorphic lenses, we’re not talking about just basic, we’re talking about the old school 1970s Cinevision lenses, and so in this feature, if you could just watch, look at how beautiful the flares bleed in and out, the character within that, that that lens brings to this kind of cinematic feel. I think as well we shot in a lot of low-light circumstance as well, and man, it was amazing. I was with Dado who’s a colorist here in Hollywood yesterday, and we were just looking through the footage, and it was just incredible how much detail was held there. There’s no noise. And the tones, it was really incredible. Yeah I think our goal ultimately was to democratize Anamorphic workflows, make it more cost effective. Also, a bit lighter weight and easier to handle. It sounds like we delivered on that, at least from your preliminaries, so I’m very excited to see the full project when it’s completed. Totally, and the fact that it’s lightweight, I’m very demanding on my steadicam operator. Steadicam operators are notorious, they can be grumpy because they’re holding the camera the whole time, and we had this guy rushing around the whole time. And because it’s a smaller rig, it’s so much easier and it’s just a great weight for it. Well, it’s very important that we put smiles on the faces of steadicam operators, so I can thank you very much Peter. Thank you guys so much, and thanks so much for Panasonic for having me, I appreciate it. Thank you. All right, coming to us from New York City is director of photography, Nick Dabas. That’s you. That’s me. How’s it going Nick? What’s going on? All right so Nick, we got… Just so everyone knows, we got involved earlier. Nick’s been a VariCam shooter for a number of years. I’ve known Nick from working with him at NAB, I consider him a friend. I consider all of these filmmakers as my friend. They probably don’t consider me their friend, but that’s a question for them. But in Nick’s case, we got him pretty involved early and I loved his basic concept. His basic concept here was to take and make a lightweight camera rig that he could effectively use photographic lenses on and get a high-end look, so I didn’t want to steal too much from you. Why don’t you go through and explain what you’re working on. So the mix-up was really we wanted to show off like how portable this camera is, so we didn’t use big gimbals or any cranes. We wanted to use products that people would afford when they buy this kind of camera. Right, so sort of the wheelhouse of the lower level creators right, with a budget… Not that LEICA lenses are affordable, but you know they’re you know, that’s what I had access to from my own, but yeah I, you know, the fact that you can actually put this whole camera on a Ronin-S, you know and just like shoot 4K full-frame and 4K Super 35 was very useful. Now, you had an interesting experience because you were, you’re used to shooting Super 35, and you almost experienced like an epiphany with the whole switching from 4 frames to 35. Yeah, that’s the cool part. So the codec doesn’t change, the color doesn’t change, so effectively you get like two focal lengths without losing any sort of resolution quality. Yeah, so effectively your 50 becomes a 75, and you can just kind of flip back and forth. Yeah, you can flip back and forth, and that’s what we did. We use three main lenses, 28, 35 and 50 for the entire project. The only other thing that I want to point out is like extreme heat is like one thing that I was surprised. I thought the camera was going to melt, so the sound devices got like shut down that day. Yeah, so he, just so everybody knows, Nick was sort of out crash test dummy on this particular production. We ended up, he got thrown into a heat wave in New York City, it was 105 degrees that week, and the camera I guess performed flawlessly. And then we threw him into like a horrible rainstorm too. Yeah, with lightning and I didn’t get electrocuted so. Yeah, and again the camera had no problems so, yeah I think we’re good. Awesome, Nick. Were there anything else you wanted to share? Um, no, I think that the tilt screen is amazing, I use that a lot. Especially when you’re on a gimbal, the fact that you can pull it out and tilt it even if you’re shooting up high helps, but other than that… Awesome, well we can’t wait to see your piece, so thank you very much. Thank you. All right so our first Los Angeles based director of photography is Carissa Dorson. Hi Carissa, how are you? Hi, good. How are you? Oh, so I’m super excited to have everybody see your piece because it’s pretty amazing. So, Carissa, why don’t you briefly touch base on what your piece is, and what you were trying to accomplish with the camera, and ultimately how it worked for you. Yeah, so I’m really inspired by dance and movement, and I took this as a great opportunity to shoot and direct a dance film, and just put a little, put an Anamorphic lens on a tiny camera and just move. And that along with the dual native ISO gave me a ton of flexibility in these practical locations because I love using natural light, and it really gave me that flexibility. So, should I talk more about what I made? The dance film? Yeah, absolutely, So, just to tip you guys off, we’re going to see a little sneak preview of all the work together, but why don’t you give us some, just some cues of what it was we’re seeing. Yeah, so it’s called “Alive,” it’s about a woman who wants more out of her life and she imagines herself dancing in empty spaces. Her work and her home and a bar that she goes to after work, and they empty out and she just dances and shows who she truly wants to be. Yeah so I know that with your piece in particular, there were some scenes that you actually shot in 6K for Anamorphic, and then there were other times where I think you were switching to Super 35 for more of the faster moving objects or subjects that you were shooting. How did it work out for you? That was really great. It was nice to be able to swap between Super 35 and the 6K full-frame, and I did use the 6K mainly for the static shots and it was really beautiful. I loved the separation and the depth of field for those shots, and then for pretty much all the gimbal shots I went to Super 35 and for some better movement. And this was the Academy kind of Super 35 range, so it was the 4×3 and then you just squeezed in post. So, and then in terms of the color and how it finally rendered, I’m pretty happy with the overall results. I want to point something out, this is important. So there’s a scene that Carissa and I have, we had a difference in opinion on how it should be graded, and she’s the artist and I’m an idiot so we went with her move. So ultimately, we have a scene where the artist, the dancer is behind a window, and we had an initial grade done, and you see all this blue tonality in the sky, and you’re able to see the tree in the background, and what was it that you said about it? Oh, I said it was too perfect. Yeah, so we end up blowing out all the highlights in order to be able to isolate, not completely, but ultimately it’s fun because you have this level of flexibility in this… Yeah, the dynamic range was really impressive, and I was, and I saw that in the color grade. Yeah, and I think it’s important to understand that artists make decisions. We have to make specific decisions about what’s happening, and on a budget like what you were, you know, saddled with, which I’m going to say, you can’t close the city street down, you can’t remove cars off of the street, and so sometimes a creative decision has to be made just to deal with things that were going on in the background that you weren’t exactly happy with in the result, right? Mm hmm, yeah. Seeing out the window and just seeing, you know, Hollywood out the window, it presented some problems, but I’m really proud of what came out of this. Right, so I just want to make sure we went through the entire creative process, or not all of it, but at least the creative process of making decisions when you’re shooting and I appreciate the work you did. It really is an awesome piece and I can’t wait for everybody to see it. Thanks so much. Thank you, Carissa, Now also from Los Angeles is director of photography David C. Smith. Hey Matt. Hi David, how are you doing? Doing good. I see we got the memo this morning. Yeah, we went, well you have nicer jeans than I do. Yeah, okay that was not rehearsed by the way, that’s just us ranting. Anyways, so David, you and I have actually known each other for quite a while on through Driving Plates and through Third Law Productions, and you’ve done a lot of major Hollywood production, but you know that’s a little bit different wheelhouse for the camera. I wanted to get your perspective on how you see using the camera, and ultimately why it worked for your production. Sure. It’s funny, right before coming up I was talking to a friend of mine over here in the wings, and he summed up my thoughts on the S1H perfectly when he said, “Is this it? This is the camera we’ve been waiting for?” And truthfully, I think the S1H is. We’ve had a long experience using LUMIX cameras in a variety of strange scenarios. I do a lot of vehicle work, a lot of putting the camera on moving platforms. The piece that I shot, it’s called “Live Your Play,” and it’s a film about a young woman that we get to see grow up to become the person that she always dreamed of being when she was playing as a child. And that really was an opportunity for me to be able to put the camera into a variety of scenarios really around camera movement. So we went on a variety of different camera mounts, we did vehicle work shooting a motorcycle from a vehicle-mounted crane called the motor crane, and really the ability to use a small format camera that has all of the image quality that you come to expect from the VariCam line, I actually started calling it the VariCam micro because it truly has all of the things that I’m used to seeing in VariCam, but now is presented in a form factor that I can put in every scenario you can imagine. Having full-frame is something that’s new to me, I’m usually used to Super 35, so having the options to be able to go from a small format to a large format as this shoot requires truly was a revelation, and is something that we’ve been looking forward to in a camera in this form factor for a long time. So obviously you sat through a lot of the color sessions that we worked on, and you know, ultimately were you satisfied with what you were seeing from that V-Log Envy gamut and how far we were able to push the files? Yeah I was really stunned to be honest. Once we started getting all of, we also worked on putting together the compilation piece that you’re about to see, so we got to see the films from all of the different filmmakers and seeing such a variety of scenarios really having the ability to manipulate the footage in ways that you wouldn’t expect from a camera in this form factor. The dynamic range, we were shooting in the middle of Alabama Hills, which is a very harsh environment in Central California, we were shooting at noon, and completely uncontrolled circumstances, and we’re holding highlights in wispy white clouds while I’m shooting a motorcyclist wearing black clothes with a black mode with black bike. We had detail at both ends of the spectrum. We could choose to pull it up or pull it down really with impunity, so it far exceeded my expectations. Terrific. Well, I’m going to cut you off before anything bad comes out, so I appreciate you spending the time. Thank you David. And finally, from the beautiful state of Utah, director Jacob Schwarz. Hey Jacob. How’s it going? Well, I’m feeling pretty short right now to be honest with you. I’m feeling a little better than that picture of me. Just so everybody knows, the full disclosure, Jacob and I have worked on projects in the past. Jacob was actually responsible for one of our launch videos for the GH5S called “Horizons.” After seeing the results of that and kind of knowing what we were working on, I immediately had Jacob in mind for this project, so I broke some non-disclosure rules and I got a hold of him, and we started planning this not too long ago, or quite a while ago really. So ultimately we just want to know what you did for the piece and what’s your thoughts on the camera? Yeah, so we decided to shoot a short film. We just decided we’re going to just go full-out and just make a little short film, and it ended up being seven minutes, I’m sorry. Originally it was supposed to be like two to three minutes, Matt was telling me but it ended up being seven, but that was how long it took to tell the story I guess. But what we really wanted to do is, I’ve always been shooting in full-frame for a while on different various cameras and I just absolutely love the look and feel that the full-frame gives people, and so when Matt was telling me that they have a camera now that can shoot video full-frame 6K 10-bit, we were just ecstatic. We fell in love when we did the GH5S with the color science, the profiles, all that kind of stuff, and then now having a camera that offers us multiple sensor croppings, resolutions, codecs, all that other stuff is just phenomenal for the price point that I think you guys are aiming for. So our little short film is about a story about a girl who’s trying to give her… she’s an astronaut and she’s trying to give her blind father the best gift she could give her, which is a view of her new world, and so it’s kind of like a little short piece and the camera performed flawlessly for us. Perfect. And then you know we talked a little bit about this whole ACES workflow and camera matching, I know I’m catching you on the spot here a little bit with this, because you shoot with a lot of different camera brands. You don’t just stick within a wheelhouse of our brand. Do you think that this camera is going to work well with other camera brands, and match well as people do productions? Absolutely. I think, that’s the thing I was most impressed with with this camera, I mean the dynamic range on this is phenomenal. I think one thing that we always run into as filmmakers is like, what can I do, what are my limitations, what wheelhouse do I have to work in, and this camera, like I would match any of the other cameras I’ve shot with hands-down, flawlessly. And yeah, I mean and the fact that it’s in a smaller form factor, and… It is incredible. Yeah, I think it’s a B or C camera for really high-end productions. It’s going to match really well with what people are trying to do. Oh perfectly, it’s going to match perfectly. Yeah, awesome. Thank you Jacob, I appreciate it. Good seeing you. All right, so Jacob thank you again for coming down, and now let’s take a sneak peak at the projects that all of you have been working on. so one final note we select some time-lapse unity macro shots into there for you I want to send a special thanks
to Scott porting Gale. He’s a photographer that we worked with to do those time lapses out of Canada, And I think he did a brilliant job on those
time lapses, so I just wanna make sure we give him proper credit for the work he has done. So, WIth that, Yamane san, I think it is time to reveal some more S Series information. Thank you very much. Thank you, Matt. Today, there is one more thing I would like to talk about. I want to introduce a new S Pro full-frame lens, which you can use with S1H. This is the new constant F2.8 zoom lens for L-Mount, the LUMIX S PRO 24-70mm F2.8. Besides high resolution, high contrast and beautiful bokeh, which are the features of a LUMIX PRO lens, this lens incorporates focus and aperture designed also for video shooting and realizes high speed and high precision Auto Focus. I really would like all of you to utilize this new lens, which shows a high performance not only for still images, but also for video shooting. Here are some examples. Here you can feel the beauty of nature and see the details in the trees. This image shows the cool and clean water and the fresh green vegetation. Please take note of the beautiful bokeh in this picture. Please look at the video shot with this new lens. For the last part of my presentation, let me touch upon our lens strategy once again. We formed the L-Mount Alliance with Leica and Sigma to provide creators with a wide variety of lenses. What’s 46 ? That’s is the number of L Mount native lenses which will be introduced by the end of fiscal year 2020. Last month, Sigma introduced 3 new L Mount lenses, and I will also introduce ours today. More and more high quality and unique L-Mount lenses will be introduced. Stay tuned. On top of 46 L -Mount lenses, 50 cine lenses from LEITZ and SIGMA are available, and all of them can be used with L-PL mount adaptor. So, in total, approximately 100 lenses will be available for cinema creation by the end of the next fiscal year. We will continuously fuel videographers, cinematographers, and photographers creative vision. This is our latest L-Mount lens roadmap. At Cinegear, I said I would develop 10 lenses by the end of the next fiscal year. I’m happy to say “Now it is 11″. This year, on top of current 3 lenses, we will launch 3 lenses including 2 constant F2.8 lenses. I will officially announce one of them today. Next year, we will develop another 5 lenses such as Macro, Prime, Telephoto, Wide, and Standard. Please expect a wide variety of LUMIX lenses. “Changing Photography” is our LUMIX business philosophy. Based on this philosophy, I want to continuously develop products, which are responding and exceeding your current and future expectations. Stay tuned to Panasonic. Thank you very much. Ladies and gentleman thank you very much for being part of these exciting announcements. We realize your time is valuable, we appreciate your attention today. We look forward to many, more exciting announcements in near future. Thank you very much.