![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2020\/08\/S1h.jpg\" "\\"The")
<\/p>\r\nTen years ago, cameras were dedicated still cameras with a video function thrown on the side, and the distinction between models and lines was found in the camera’s performance and what it could and couldn’t do. There was a clear distinction between the entry-level Canon 550D and the professional 5D Mk II.<\/p>\r\n
Moving forward, as video became such an integral part of the camera ecosystem, we saw most cameras become a decent hybrid \u2014 meaning that the camera was capable of both great photos and excellent video. However, camera users somewhat became fractured during this period. Even if a camera was more focused as a still shooter, if it wasn’t meeting the latest video specs, which would ramp up the value and be at the cost of another feature, the camera was met with a lukewarm response.<\/p>\r\n
Nonetheless, and perhaps as a response to this discourse, we’ve started to see manufacturers split their respective flagship models into three distinct variants \u2014 the dedicated still camera, the dedicated video camera, and the hybrid.<\/p>\r\n
We’ve seen this become established with Sony’s A7 line, which is split between the better video performance of the A7S III, the dedicated stills tool that is the A7R IV, and the hybrid A7 III.<\/p>\r\n
More recently, we’ve seen Panasonic adopt this method with the new Lumix S1 line, which pits the hybrid S1 against the photo-centric S1R or the Netflix-approved video tool S1H. As we advance, I wouldn’t be surprised to see Canon further implement this structure into the EOS R line.<\/p>\r\n
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The primary benefit of all this is that, if you were to jump from model to model, there’s no overall significant difference between the camera builds and, more importantly, the internal menu system. Of course, there will be slight variances, but not an overall discrepancy. In most circumstances, the cameras look identical.<\/p>\r\n
While we’re going to be using the S1 and S1H as visual examples throughout the article, let me first explain that this is not a direct review that truly pits the S1 against the S1H, even though we are indeed comparing the features of both cameras \u2014 wait, what?<\/p>\r\n
Hold on. Stick with me.<\/p>\r\n
Instead of a general review, this article serves as an introduction for new filmmakers who may be unfamiliar with the differences between a video-centric model and a hybrid model from the same series of cameras. Over the past few years, I’ve either owned or operated the entirety of Sony’s A7 series, and currently, I happen to have the S1 and S1H in hand.<\/p>\r\n
With that, let’s jump in and look at the S1 versus the S1H to see where a video-centric model takes precedence over a hybrid.<\/p>\r\n
The camera designs remain relatively the same, although the S1H is larger in length and heavier, which bodes well for shooters who don’t tend to use any form of support. Perhaps most notably, we can see one major design implementation that benefits video creators specifically: the prominent record button.<\/p>\r\n While there is a video record button awkwardly placed on the back of the S1, it’s perhaps one of the smallest buttons on the camera and not all that functional. (Although, it should be noted you could also record by just pressing the shutter button while in video mode.) Yet on the S1H, like cinema cameras, having the identifiable red button is a big help.<\/p>\r\n As noted, this design feature is always prominent in cinema cameras, and there’s a specific reason for that. When there are a dozen buttons positioned on the side of the machine, sometimes that split-second in trying to find the correct REC button can be costly, especially in a documentary environment when the camera doesn’t have cache recording. The large REC button is also featured on the Sony A7S III, Sony’s flagship video model for the A7 line, as seen below-right.<\/p>\r\n Like the A7S III (and unlike the A7 III or A7RIV), the S1H has an articulating screen that allows self-presenters to check their framing.<\/p>\r\n Whereas the S1 has a flip-out screen \u2014 great for photography and travel video, but not in the way of the S1H. It should also be noted that the S1H’s articulating screen also pushes out away from the body to avoid blocking the connection ports on the side. This has always been a big issue with hybrids that have an articulating screen.<\/p>\r\n One notable addition to the S1H is the heat dissipating fan. Why does the S1H need to dissipate heat? Well, let’s check out the internals.<\/p>\r\n The S1 can record 4K video up to 30p (or up to 60p with an APS-C crop). This is by no means a negative for a $2,500 camera given the camera’s array of other features. However, let’s look at the edge the S1H has.<\/p>\r\n Additionally, the S1H can be used with anamorphic lenses as it has several features designed to support shooting with anamorphic.<\/p>\r\n The S1H can record 10-bit internally in 4K and Cinema 4K up to 30p, and up to 60p with the HEVC codec. But, more recently, with a firmware upgrade, you can now film at 12-bit RAW when externally recorded to the Atomos Ninja, whereas the S1 will only initially be able to produce 4K (up to 60p) in 8-bit.<\/p>\r\n However, the S1 also has a firmware upgrade that’ll unlock 10-bit and V-log. But, this firmware upgrade costs $199. I don’t want to bog the article down with a Wikipedia list of recording modes, but if you were to compare the number of recording modes on the S1H<\/a> vs. the S1<\/a>, you can see the difference is enormous.<\/p>\r\n The native 10-bit 6K, and possible external 12-bit RAW, completely supersedes the native 8-bit 4K the S1 hosts. And, this is where you can see where the extra money on the price tag is going. In my recent film in which I used the S1H, many of the shots were filmed at dusk and dawn towards a gradient sky. If I were filming in 8-bit, as soon as I’d start to grade the sky, you’d see the colors crumble with banding.<\/p>\r\n![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2020\/09\/ergonomics_panasonic.jpg\" "\\"The")
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