Is the Panasonic S1R the best 6K 10bit camera, even better than the S1H?

Panasonic S1R camera

Why does nobody write about the Panasonic S1R 6K 10bit h265 with 200mb/sec at max. 30fps? Everyone writes and tests the S1 and S1H!
Do the manufacturers think we're stupid or are we really stupid? 
We should buy, purchase or even better change the system because the S1H is the best DSLM!

What does the best DSLM mean: That's not enough for me, why isn't there a leaderboard where all cameras are listed? Then there will probably be a difference between the No. 1 and the No. 22? Of course, consumers always want to see a test winner. So instead of one category, we'll have 10 categories on the same topic and we'll have 10 test winners! 

The best cinema cameras have been coming from ARRI for decades. All other brands are good too: Canon c500 mark2 or Sony fx9, or Red Monstro. These are all top devices, but they are not perfect, because something is always missing. 

If you were in charge of choosing the camera for a feature film and only not be dismissed if something goes wrong when you take ARRI! So what are we talking about? Of course the money shouldn't be an issue...

Back to the S1R camera. 
Is 6K, 10bit H265 with max. 30fps enough for you?
Where do your films end up: YouTube, TV or cinema?
Who pays you: private individuals, companies, TV stations or cinema viewers?
No log, no RAW output, only 420 instead of 422, max. clip length 10min.
If you need more, get the SL2 camera from Leica. 
About 3.000 € more, all extremely expensive, especially the batteries and lenses, but she films with log and has 422 10Bit HDMI DCI output! Everything else is pretty much the same as with the S1R.
The disadvantages with the SL2 are: Only a fixed screen, good but unique menu, the Profoto flashes do not work. 

Let's talk RAW and log for mere mortals. 
RAW with log is good, but leaves a huge rate tail in post production. 
If you expose accurately, choose the right WB, have a good sound and perfect lut, you'll get there super fast, and above all, it's affordable for customers.
The difference to the very elaborate RAW setup on location as well as in post remains disproportionately large, and is not visible in the finished film for rental! Clearly, with 400% magnification and a calibrated monitor that can display more color than the eye can detect, we will see differences. Of course, if someone is filming for his ego and especially cool making-off's are shooting in parallel, he won't get along with my minimalist but affordable workflow at all. 

What I still miss on the S1R: Define the guide line on the monitor, vectorscopes and parade, manual focus magnifier on Record, HDMI out 10bit 422, shutter speed in degrees and seconds. You can get a lot of this and much more for only 625€ with Atomos Ninja V. 
What I dream of, not only for the S1R, but for all interchangeable lens cameras is an electric Vario ND filter adapter for all DSLR and DSLM.

There's something I need to get off my chest: With me, you don't have to click on Subscribe or the Like button. 😂

But I am very happy about comments or other opinions. Actually I am not a film maker, but a master photographer. My company takes care of large hotels with online marketing, especially with SEO, optimization of OTAs and Metasearch machines. So if I am completely wrong somewhere, please don't be too angry...Thanks!


Everyone wants a drone

Me too, but not just one. It's just awesome to fly. To have the possibility to film or photograph, simply a dream. To watch a landscape in real time on a mobile phone or a fixed display that no one has ever seen from this height. Who does not wish for that?

The drones have become very small in the meantime. Only two years ago we flew around with a diameter of 1.36 m and 15 kg. Every time again cold sweat on our foreheads and wet hands during take-off. It's a huge responsibility if this thing goes down. AUSTRO CONTROL Approval took over 6 months. Sure, you could fly into densely populated areas with that, but who'd dare? Once again: If 15 kg fly around at 80 km/h, everyone is in danger. Especially the pilot who's flying the drone. Today we are flying the DJI Phantom Pro IV: Small, fine, easy to take off and land, perfect picture quality, 60 frames per second. The Austro Control approval is now in about 2 weeks. The insurance has also become cheaper (approx. 150€ per year).

Just follow a few basic rules and be happy: Fly max. 120 m, always fly max. 45° above persons, never leave the display, always be with one eye on the drone, stay on the ground without GPS support and as always: DO NOT EXCEED.


Has the medium format already arrived?

No, definitely not. It's coming in big steps, but still far from the general public.

Who needs medium format at all, if you can get over 50MP with 35mm cameras? No one needs more resolution. Yes, that's true, but the optical impression that a professional with Medium format camera is simply not to be overlooked. Often you do not know what is different, but it is just a horny picture. I love it... Not just the depth of field, but more the soft look that enchants the observer with many details that would otherwise be overlooked. One must not forget that at the moment the medium format is only consumed by absolute professionals and therefore the perfect results are not only due to medium format sensors. The cheapest ones are already available for less than 5000€, so it won't be long now.

All major manufacturers are already introducing something along these lines. At the latest in 2-3 years it will be so far: The first medium format under 2000€. Dream or wish, the future will give us the answer...


Sensor in comparison: Which one is really worthwhile?

Which is better: large sensor with a lot of data, difficult to focus or small sensor, no depth of field, no cinematic look?

That's for everyone to decide. I think everything up to 4/3 of an inch can still be considered small. From APS-C over full format to medium format counts as large, professional and expensive. Usually good lenses and expensive storage media with fast storage rates are added.
Good, even pointed results are already achieved with smartphones. If you want more, you should dig deep into your pockets. But if the cash register is not so full, there are other ways:

Simply invest a lot of time in a video editing program and get the maximum out of average material afterwards. For films this is best done with the free version of DaVinci Resolve 15. For photos there is the ADOBE Lightroom no alternative.


DJI again the No. 1 on the market

RATKO | Radomir Gabric

I love it when DJI launches a new product. Not only is it better than its predecessor, but often - as with the OSMO Pocket - it opens up new possibilities that greatly expand your creative scope.

On the one hand, the Mavic 2 Zoom an image quality that is simply incredible. In addition, the size and battery life make this drone a must-have. So if you can live without 4K/60FPS, there's nothing better on the market right now. The OSMO Pocket I just ordered, but it hasn't arrived yet. However, various reviews show what the Chinese conjure up for us. Besides the GoPRO 7, this is the best action camera. Smaller and with a 3-axis gimbal is not possible anymore. The photo quality is not exactly top-notch, but the video function is incredibly good.


Depth of field in the picture - HUAWEI Mate20 Pro

Or rather a iPhone XS? Something that previously only the best and brightest lenses could do in combination with large camera sensors is now simply done by software or three lenses.

With the iPhone XS this does not yet work perfectly, but with the HUAWEI Mate 20 Pro you get fantastic results with 3 Leica lenses. I myself am impressed by the technology HUAWEI uses in this smartphone. No matter if portrait or aperture mode: Both deliver results that are perfect for direct instagram-postings. You simply select with your finger which area should be in focus. The other two lenses do the rest with extreme blur. The image result looks almost perfect on your smartphone. Unfortunately you can see the partly unclean processor work on the big screen. In return, the 40MP photo mode of the Mate 20 Pro, including night mode, make it a clear winner.

Sorry iPhone XS, you can't win them all...


Snow should always be white and the sky blue


Camera sensors also reach their limits at some point. Of course they always try to get the best out of it, but it doesn't always work out to 100%. The problem is that the snow is just too white. So the sensor reacts and makes it grey. But nobody wants grey snow.

There are two alternatives: In automatic mode turn the camera (mobile phone) in a direction where it is not so bright and save this exposure or switch to manual mode, turn the camera, back to snow and release! The same happens with the sky. Often you have to decide what to expose correctly: Either the sky or the mountains. Also in this case, you have to find a compromise in exposure where both look good. And then again the same thing: Either exposure lock or M mode. Afterwards on the PC you have enough leeway to correct lights and white on one side and shadows and black on the other side so that the picture looks perfect.

Meanwhile, these functions are also mastered by many modern smartphones, if someone wants to do image editing directly on the mobile phone. Night, sunrise and sunset are high-end situations that need to be mastered. It is worthwhile in any case - if the camera supports it - to RAW to take pictures and to get the maximum amount of leeway in image processing!


360° Panorama self-made


It works so easily, you just need to know how...

360° degrees panorama is a bit exaggerated, because only professional devices support it, but 270° degrees are a gift. Almost every smartphone supports this function.

Unfortunately one sees with little light - which is very often the case in the gastronomy - very fast Image noise and blurriness. You can help yourself with external light sources, but the result still remains unsatisfactory. At certain times of the day with a lot of light in the room, you could certainly achieve acceptable results with a smartphone. Maybe then not shoot 270° right away, but twice 150° or less. These images are more reminiscent of a wide-angle shot from a professional camera. Especially different exposure times in backlight and shadow in larger panoramas can be compensated much better by mobile phones at a smaller angle. The resolution (megapixels) is significantly higher than a native camera sensor in standard format has.

Maybe two more important points: Do not forget to focus manually and try to move the phone vertically to to turn the own sensor axis!


The best hotel photographer

We are, RATKO PHOTOGRAPHY! Fun aside, we're really good. Maybe we are not the very best, but we know exactly what the customers in our region want and when they are satisfied.

Nowadays you can also take photos yourself. Your guests will surely have great cameras with them and feel honoured to be allowed to take photos of your accommodation (inn or hotel). But be honest: Doesn't it show on the homepage and in brochures which photos are taken by professional photographers and which by yourself?

Also among photographers there are very big differences. To photograph only one room (whether room or restaurant, with or without models), you can invest a whole day with a lot of effort and attention to detail. The result is then not only good, but excellent! In the same way you can use the post-processing in Lightroom and "overdo" it in Photoshop. Award-winning photos are edited between 15-30 hours, sometimes with teams that all know their craft perfectly!

Of course, this also costs a lot of money, but you can work it out for yourself: If such a suite in a Nobelskigebit in a 5***** hotel costs over 1.000,-€ per night, what are 10.000,-€ worth for such a photo? An architect often has a photo of a room visually displayed in 3D programs for a fabulous €4,000 before a conversion. Crazy, right? But when a room conversion costs 70.000,-€, it somehow represents that, especially for a hotelier who knows exactly what his rooms will look like even before the conversion. On the other hand, a private room landlord from the Lechtal, who rents out his rooms for 27,-€ including breakfast, is not allowed to pay more than 10,-€ per photo, otherwise the whole year's profit is gone... 😩


Experience with Profoto A1 and B10 lighting system


Rarely has a lightning system caused such a revolution as Profoto with the A1 and B10 system. A1 has dwarfed the system flashes of renowned manufacturers such as Canon, Nikon, Panasonic, Olympus and Sony to such an extent that I can well imagine that they will have to switch to such systems in the long term.

The advantages are obvious: A built-in rechargeable battery, fast flash sequence, more power, various light shapes can be easily mounted by magnet, etc. A studio flash that can be used in nature in this size is simply amazing. Imagine you are in a beautiful landscape, photo models are there, the sun is shining from behind, snow-covered mountains and a bright blue sky as a background - simply fantastic. Now take unleashed photos with a flash system as big as a system flash, but with a result like a studio flash! You couldn't wish for anything else for exclusive wedding photo shoots or family portraits. With minimum weight for maximum results! A must for all nature and event photographers! It can also be used very well as a permanent light for short clips by videographers.