Panasonic Connect Introduces the New PTZ Camera “AW-UE160W/K”

Panasonic Connect Co., Ltd. has announced that in the first quarter of CY2023, Panasonic Connect Co., Ltd. will release the AW-UE160W/K, a next-generation 4K integrated camera that achieves both high-quality shooting and video production efficiency, for customers involved in the broadcasting industry and the entertainment industry such as and live events, as well as video production.

This will be the new flagship model that pursues more unique and new visual expression by combining the flexibility of a PTZ Camera that can be freely set in position and angle with the functionality of a System Camera used in the broadcast industry. Panasonic Connect will also release the AW-SFU60, an optional software key to activate SMPTE ST2110 for the AW-UE160 series.

[Development Background]
With hybrid events increasing these days, the expansion of high-capacity and high-speed communications such as 5G, the increase in online communication due to the Covid-19, and the “popularization of video”, it has become possible for anyone to shoot, produce, distribute, and watch in any place, video experience, video content, and the situation surrounding it is changing drastically. Also, the demand for video continues to increase, and the video production industry, including the broadcasting industry, is always required to provide quality that exceeds the expectations of discerning viewers and to provide new video experiences, expressions, and effects that will not bore them with a limited budget. Under such circumstances, the shift to remote video production and operation using IP transmission is also accelerating, and it has become an issue to achieve both ensuring video quality and improving the efficiency of shooting sites.

To solve the on-site challenges in the video content market where such demand continues to expand, AW-UE160W/K is the industry’s first product, which combines the strengths of system cameras and PTZ cameras. It also has the industry’s highest level of shooting performance with unique video effects that can be expressed using a variety of shooting methods and a wealth of new functions provide viewers with new experiences, including immersive images from an unprecedented perspective.

With more than 60 years of experience in this industry, Panasonic Connect always listen to the voice of customers and will continue to innovate the future of video production.


1. Uncompromising shooting performance and operability.

In addition to the high sensitivity of F14 / 2,000 lx 4, equivalent to that of a studio camera, and the latest generation image processing found in LUMIX, the AW-UE160 is equipped with a newly developed phase detection autofocus (PDAF) that enables high-speed focusing and can also be used to shoot fast-moving subjects. The new PTZ is equipped with a variety of features that enable high-precision video production, including a new PTZ mechanism and hybrid image stabilization.

2. Realize next-generation video production with various shooting methods and functions.

The AW-UE160 is the first PTZ camera 2 to support the SMPTE ST2110 3, an IP transmission standard for the broadcasting industry, and wireless transmission with a 5G mobile router (via USB tethering). It also supports return input 5 and a rear tally lamp that can also be lit in yellow, which are essential for combined operation with system cameras. In addition, it is equipped with the cropping zoom function that can output multiple angle video with a single camera and 2x high-speed output (HD) from SDI/HDMI.

3. Ease of use and versatility reduces stress of shooting on-site.

Support for a variety of interfaces and protocols (SMPTE ST2110, Highbandwidth NDI® 6, NDI®|HX 6, SRT, FreeD, RTMP/RTMPS, etc.) reduces the burden of introducing the camera into existing systems. Even if output is performed from multiple video terminals at the same time, there is no restriction on video output, so simulcast operation in 4K is possible. Support for scene files, color matrix control and Panasonic’s free software and Remote Operation Panel (ROP) for batch management of multiple cameras makes mixed operation with system cameras even easier. In addition, the waveform display function and the horizontal level gauge display function reduce the burden of setting up and adjusting the video.

■Main Specifications

Product Name

4K Integrated Camera

Product No.



Pearl White(W) /Black(K)

Image Sensor

1-type (1″) 7 4K MOS×1

Optical Zoom


Horizontal Angle of View Range


Standard Sensitivity

F14/2,000 lx 4

Minimum Illumination

2 lx 8


HLG/BT.2020 support

Image Stabilization

Hybrid method of 2- axis Optical Image Stabilization (O.I.S.)
and roll direction Electrical Image Stabilization (E.I.S.)

Supported Protocols

SMPTE ST2110 3, SRT, High bandwidth NDI® 6, NDI®| HX 6, FreeD, RTMP/RTMPS etc.


12G-SDI, 3G-SDI x 2, HDMI, Optical Fiber 9,
USB3.0 HOST (5G mobile router with USB tethering) 10


G/L IN, XLR pins x 2


LAN terminal (RJ-45), RS-422, SFP+



Controller Supported

AW-RP150, AW-RP60, AW-RM50AG

Remote Operation Panel Supported

AK-HRP1010, AK-HRP1015, AK-HRP250

Dimensions (W x H x D) 11

213.0 mm x 277.0 mm x 240.0 mm (8.39 inches × 10.91 inches × 9.45 inches)

Mass 12

Approx. 4.6 kg (Approx. 10.14lbs)


* This specification is under development and is subject to change at the time of release.
1 As of October 2022.
2 As of October 2022. According to our research.
3 To use the SMPTE ST2110 function, activation with the optional software key AW-SFU60, which is sold separately, is required.
4 When normal mode is selected, F11/2,000 lx.
5 To build a system using the return video function, it is necessary to use the SMPTE ST2110 function.
6 NDI® is a new protocol developed by NewTek, Inc. that supports IP video production workflow. NDI® is a registered trademark of NewTek, Inc. in the United States and other countries. In this instance, NDI® is used to indicate low latency with high bandwidth NDI®, NDI®|HX is used to indicate high efficiency low bandwidth NDI®|HX.
7 Effective size
8 Conditions: F2.8, 59.94p, 50IRE, +42 dB, without accumulation
9 SFP+ standard (Single Fiber). This unit does not support input by optical signals.
10 Compatible with recommended products only.
11 Excluding protrusions, direct ceiling mount bracket.
12 Excluding mount bracket.

Two new camcorders from Panasonic

Panasonic is pleased to announce two professional 4K camcorders which offer the rich features and performance demanded by videographers, coupled with an integrated lens design that makes them ideal for news, interviews, weddings/events and single operator/small scale TV productions.

The new HC-X2 and HC-X20 models offer impressive optical capabilities and stunning 4K video capture as well as functions and customisable controls that streamline video production and workflow.

For excellent results whatever the shooting situation, the camcorders include features such as a 20x optical zoom, 24.5mm[i] wide angle for both UHD and FHD, 4K high-precision AF with face detection, 5-Axis HYBRID O.I.S.+, high brightness LCD, and more.

To deliver stunning content, the new models support 4:2:2 10-bit internal video recording up to 4K 30p and the high-efficiency HEVC codec. A wide variety of recording formats are available, while super slow motion (120/100 fps) and VFR (2 to 60 fps) allow for a wider range of video expression.


There is an array of features to satisfy professional video production needs, including simultaneous display on the LCD monitor and EVF, triple manual rings, 2-Channel XLR audio input terminals, ND filter, dual SD card slots, unlimited shooting time, built-in Wi-Fi, and more. The HC-X2 also includes direct connection to Ethernet terminals, simultaneous SDI/HDMI output, has HD live streaming capabilities and supports a variety of streaming protocols.

Aaron Waters, Product Marketing Manager, Imaging, Panasonic, said: “Our new camcorders ensure ultra-sharp 4K video up to 50/60 frames per second in 10-bit. The 20x optical zoom lens incorporates powerful image stabilsation and built-in neutral density filters, supporting a variety of professional shooting requirements.”

The professional camcorders are available in late October from leading photographic specialists.

HC-X20: RRP $4,499

HC-X2: RRP $5,499

Key Capabilities

1-inch type 4K Sensor for superb image quality

The 1-inch type MOS sensor (approximately 15.03 effective megapixels) is capable of recording at UHD (3840 x 2160) without cropping and offers a moderate depth of field and an excellent balance between image quality and sensitivity.

High-quality recording with versatile modes

The camcorders support a variety of bit rates and formats to meet professional needs. Internal recording of UHD up to 29.98p/25p and FHD up to 59.94p/50p in 4:2:2 10-bit quality is available. In 10-bit recording, the camcorders deliver 4K 60p 4:2:2 10-bit HDMI output, enabling high image quality capture with an external recorder. HEVC recording (LongGOP/10-bit 4:2:0/MOV) is also supported for recording 59.94p at a high bit rate of 200 Mbps.

Powerful 20x Optical Zoom

The integrated lens has a powerful optical 20x zoom ranging from 24.5mm* wide angle to 490mm* tele. i.ZOOM achieves 24x at 4K resolution, and 32x at FHD.

*35mm camera equivalent.

5-Axis HYBRID O.I.S.+ for stable image acquisition

In both UHD and FHD modes – in addition to OIS (Optical Image Stabilisation) – Electronic Image Stabilisation operates to detect and correct handshake in 5 axes, including rotational blurring, to produce stable images at 20x optical zoom. This provides strong correction in unstable conditions, from low-angle to high-angle shooting. A Ball O.I.S. System reduces friction on the drive section, achieving delicate correction even for small-amplitude handshake.

Super slow motion and variable frame rate (2 to 60 fps)

The Super Slow Motion function records HD images at a high speed of 120 fps (59.94 Hz) and 100 fps (50 Hz). The HC-X2/X20 are also equipped with a VFR (variable frame rate) recording function that can be set in ten steps from 2 to 60 fps. This lets the user produce creative and expressive videos using techniques such as overcranking for a slow-motion effect and undercranking for a quick-motion effect.

HLG (Hybrid Log Gamma) /V-log for HDR video production (HC-X2 only)

The HC-X2 is equipped with HLG (Hybrid Log Gamma) which allows for high dynamic range video shooting with minimal need for editing, thanks to its broadcast-ready colour gamut format. In addition, it supports V-Log, providing 13 stops of latitude. Designed with consistent colour management and an easier post production workflow in mind, the recorded footage is easily matched with both V-Log L and V-Log footage from LUMIX and Varicam cameras.

High-speed, high-precision AF including Face Detection AF/AE

Superior focusing speed, stability and tracking performance for both 4K and Full-HD is achieved thanks to Face Detection AF/AE together with the focus lens drive. In addition, precise subject tracking with skin tone recognition to distinguish between faces and backgrounds can be activated by touching the LCD panel.

Features to streamline professional camera work

Versatile network functions expand user workflow

A Wi-Fi module is built-in, so there is no need for a separate wireless LAN module. The HC-ROP tablet/smartphone app enables wireless remote control, including camera settings and lens control. The HC-X2 is equipped with Ethernet for more stable live streaming, and USB tethering for streaming using 5G smartphones. The HC-X20 can also be connected to a wired LAN by using an USB Ethernet adapter (sold separately).

RTSP/RTP/RTMP/RTMPS-compatible FHD streaming enables direct connection and streaming of content such as live concerts, sporting events, and breaking news to Facebook, YouTube, etc. It is also now possible to record while streaming.

Enhanced viewing and monitoring

The 3.5-inch LCD monitor has a high resolution of approximately 2,760k dots, providing enhanced viewing in bright sunlight. The electrostatic touch panel also improves operability when selecting menu items.

The 2,360K-dot tiltable viewfinder and LCD output simultaneously, offering faster image confirmation to improve work efficiency. Also, to support fast, accurate manual focusing, Focus Assist functions include Expand, Peaking and Area Mode. For shooting in very dark conditions, commercially available infrared (IR) lights[ii] are supported. When capturing video outdoors or in bright light, the ND filter has Clear, 1/4, 1/16 or 1/64 settings. Gain and White Balance can be changed in camera.

The lens barrel features triple manual rings for quick zoom, focus and iris operations. There are 14 customisable buttons, nine on the body and five on the LCD touch panel, which can be assigned to different functions to improve workflow.

The included battery does not protrude when attached and can provide around 3 hours and 50 minutes (HC-X2)/4 hours and 25 minutes (HC-X20) of continuous shooting.

Dual SD Card Slots and UHD/FHD Dual Codec recording

There are two SD memory card slots to suit various recording scenarios, depending on the user’s workflow or project requirements. Benefits available include:

  • Unlimited[iii] Relay Recording: Video can be continuously recorded by hot swapping SD cards. When the SD card in one slot reaches capacity, the camcorder will automatically switch to the other card, allowing users to exchange the full card with a new one while continuing to shoot.
  • Simultaneous Recording: The same data is recorded simultaneously onto two cards as backup against data loss.
  • Background Recording: The SD card in Slot 2 can be set to record continuously, while the SD card in Slot 1 will only record when the REC button is pressed.
  • Dual Codec Recording[iv](HC-X2 only): Records images simultaneously to separate cards in two different formats, such as Main (UHD/FHD) and Sub (FHD), etc. This improves workflow for users who want to edit videos quickly or want to use the same video for different applications.

48-kHz/24-bit high resolution Linear PCM audio recording

The camcorders offer +48V Phantom Power Supply/MIC/LINE Selectable XLR Audio Input with manual volume controls, available for each of the 2 channels. Also supported are a 24-bit linear PCM system (MOV), 16-bit AAC (MP4), or Dolby Audio system (AVCHD) high-quality 2-channel audio recording.

Panasonic adds to popular LUMIX S F1.8 Lens line-up: Compact, lightweight LUMIX S 18mm F1.8 (S-S18)

8 September 2022 – Panasonic is pleased to introduce a new large-aperture wide fixed focal length LUMIX S Series lens, the 18mm F1.8 (S-S18). Following the 85mm, 50mm, 35mm and 24mm models, it is the fifth in the series of F1.8 large-aperture lenses based on the L-Mount system.

At a compact 340g, the LUMIX S-S18 is highly mobile and can be paired with the S5, LUMIX’s smallest full-frame model. The rugged dust/splash-resistant[v] design ensures reliable field use in challenging conditions and temperatures down to -10 degrees Celsius.

This large-aperture lens delivers high optical performance for professional shooting, despite its compact size. The ultra-wide 18mm perspective offers impressive versatility at different shooting distances. The focal length supports landscapes, astrophotography and architecture shots and the lens can also be used for close-ups thanks to the 0.18m minimum focusing distance.

The five-strong LUMIX F1.8 lens series has a common positioning of controls for ease of use and a common barrel diameter that provides the convenience of using the same filters across lenses. Using lenses of a similar size, diameter and centre of gravity also makes it easy to switch between them when an S Series camera is mounted on a gimbal, for example. Covering virtually any framing and composition, use of these fixed focal length lenses ensures filmmaking with streamlined workflow and post-production.

The LUMIX S-S18 lens is comprised of thirteen lens elements in twelve groups including three aspherical lenses, three ED (Extra-Low Dispersion) lenses, one UED (Ultra Extra-Low Dispersion) lens and one UHR (Ultra High Refractive Index) lens. The use of three aspherical lenses realises beautiful bokeh, a common advantage across the series, while the ED lenses effectively suppress chromatic aberration. The filter diameter is 67 mm, with a 9-blade circular aperture diaphragm.

The LUMIX S-S18 lens is compatible with the LUMIX sensor drive at 240fps to take advantage of high-speed, high-precision auto focusing. For the non-linear setting, focus is shifted with a variable amount according to the rotation speed of the focus ring; while for linear setting focus is shifted with a designated amount according to the rotational quantum of the focus ring. Sensitivity (the amount of focus shift per rotational quantum) can be selected from 90 to 360 degrees by 30-degree increments[vi].

The lens will be available in late October from leading photographic specialists.

LUMIX S 18mm F1.8 (S-S18) lens: RRP $1549

The Panasonic and L-Mount system alliance is committed to the development of L-Mount lenses for the further expansion of its line-up, fulfilling the needs of customers.


For further information, please visit or call 132 600.

[i] 35mm camera equivalent.

[ii] Recommended: 850-nm wavelength light

[iii] Maximum file size that can be recorded over multiple SD cards is 96 GB. Recording will not stop even when the data size exceeds 96 GB.

[iv] Only MOV format is supported

[v] Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water. To avoid damage when using the camera under these conditions, it must be used in accordance with associated instructions in the manual.

[vi] The maximum sensitivity differs by camera model, from 1080 degrees on BS1H (as of September 2022) .


If I was a buying a new camcorder today, what would I get?

Australian Videocamera has been going for 15 years and over that time, as well as in the preceding years when I was the Managing Editor of Videocamera magazine, I have road tested many, many camcorders and cameras.

Some were memorable such as the Canon XHA1, Panasonic HC-WFX1M and the Sony Z1, others not so and they will remain nameless.

But let’s use the Sony Z1 as a sort of benchmark here. I choose the Z1 as, for me at least, it was a ground breaker at the time in terms of the jump from SD to HD, and also allowing DVCAM.

It was also Sony’s first attempt at making a pro level camcorder that appealed to the consumer. “New” features at the time offered a 3CCD system giving 30, 25 and 24fps and there was a special CineFrame mode that “replicated the look of film production” according to Sony.

Recording was to the venerable MiniDV cassette which meant you needed a Firewire (IEEE1394 or iLink) port on your computer to ingest footage, but back then, circa 2005, this was not an issue and indeed, on many Macs it was standard.

Sure it had a fixed lens and cost over $7K in Australia, but nothing else even came close on the market at the time.

I never owned a Z1 although I did use one on one of my many east-west-west driving crossings of Australia at the time. But I knew a lot of people who bought Z1s and some like Australian Videocamera’s senior writer Dr David Smith still use theirs as they were then, and still are now, that good.

It took a while to dig out the specs of the Z1 (mainly because there were two versions, the Z1U and Z1E for USA and “Europe”), but if you are interested, I found them, and a review here.

So the question I wanted to ponder– and in fact answer – is what camcorder I would get today that I consider at the top of its game, the same way the Z1 was in 2005?

As I say in the opening paragraph, over the years I have been privileged to review many, many camcorders and cameras. The only major manufacturer no longer represented here in Australia is JVC, more the pity as they made some fine camcorders in my opinion, but we do have of course Sony, Canon and Panasonic as the staples with Red on the sidelines as a more niche manufacturer.

Blurring the lines though is the fact most dSLRs and mirrorless cameras from the likes of Fujitsu, Nikon etc operate quite nicely as camcorders with inbuilt 4K capability.

So you’d think I’d pick one of these? Well no.

My pick having had an extensive play with it over the last 6 months or so is a Blackmagic Pocket Cinema Camera 6K Pro (BPCC6K)

As the BPCC6K has a standard EF mount I can use my 70-200mm zoom and nifty 50mm from my Canon 5DS and of course, there is a HUGE range of EF mount lenses from a number of manufacturers, not just Canon.

And the bang for buck you get from the BPCC6K for your $4K is enormous.

Firstly there is a Super 35 high resolution sensor giving an image up to 6144 x 3456, dual native ISO and whilst you can record to either SD or Compact Flash cards, with one of the recommended units, you can record direct to portable SSD drives (I use a Sandisk Extreme Pro Portable 1TB.

You get an adjustable 1500 nits HDR touchscreen, built in ND filters, 13 stops of dynamic range and a monstrous number of shooting resolutions along with associated metadata such as project, scene number, take and special notes. A 3D LUT can also be embedded in metadata of Blackmagic RAW files.

Another feature I love is the ability to control the camera from my Blackmagic Design ATEM Mini Pro and the associated software.

Ergonomically everything is in the right place and easily accessible. I found the whole camera easy to come to grips with and if there is something that stumps you, the 150-odd page manual covers every aspect in detail.

If there was one thing that is a minor negative, it is that the “pocket” part of the model’s name is a little misleading. Unless you have a bloody big pocket. And this camera is not light at 1.2Kg (without lens) as I discovered shooting fireworks on Australia Day.

But everything else to my mind ticks every box in what makes a great camcorder and I suggest if you are in the market for one, go and have a look and a play if you can.

If the 4K price tag is just beyond reach, there is also the “standard” 6K version for a tad over $3K or the 2K model for $2K, so all bases are covered.

Oh and did you know that Blackmagic Design is an Australian company? That also accounts for something in my book.

You can get all the info and specs etc at

LUMIX GH6: Next-generation mirrorless camera

Panasonic has announced the LUMIX GH6 – the latest flagship model in the LUMIX G Series digital mirrorless camera range.

Aaron Waters, Product Marketing Manager, Imaging, Panasonic said: “In 2009, Panasonic pioneered the photo/video hybrid category with the first model in the GH Series, the DMC-GH1. Since then, each subsequent model has driven innovation, putting technology and features normally reserved for high end cinema cameras in the hands of aspiring creators worldwide.  Today, it is renowned as a first-choice tool thanks to its performance, mobility and rugged design. Like the legendary GH5, the LUMIX GH6 again breaks boundaries in the category.”

In a Micro Four Thirds category first, the GH6 sports a newly developed 25.2-megapixel Live MOS Sensor. In addition to high resolution imaging and high-speed signal readout, the sensor’s single exposure HDR technology is a significant leap forward in dynamic range performance. The next-generation Venus Engine powers not only advanced image processing and computational photography, it also unlocks a new world of video codec options and framerates to enhance workflow and versatility for professional or aspiring videographers. The GH6 offers V-Log/V-Gamut and provides an amazing 13+ stops of wide dynamic range[i].

Streamlining workflow for creators, the GH6 now includes Apple ProRes 422 HQ, 5.7K 30p internal video recording. This saves time in the editing stage of production by avoiding the time-consuming step of transcoding media from common compressed codecs into ProRes or proxy formats, as is often done by mirrorless hybrid camera users. Today, creators are also demanding high framerate recording options in higher resolutions. The GH6 delivers on this with outstanding C4K 120p in 10-bit 4:2:0, all without a crop or the image quality compromises that are often encountered in the hybrid camera segment. LUMIX users have always enjoyed reliably long recording times, and the GH6 is no exception with unlimited recording assisted by Panasonic’s latest heat management technology, including in intensive recording modes such as C4K 60p 10-bit 4:2:2[ii].

Building on our legacy of incredible stabilisation for hybrid shooters, the GH6 achieves 7.5 stops of powerful image stabilisation in both wide and telephoto focal lengths. Dual I.S.2 gives users the freedom to choose between using tripods, gimbals or totally handheld, all while delivering smooth and professional images. The GH6 has adopted a new super high-precision 5-axis gyro sensor with a new algorithm to achieve 7.5 stops of Body I.S.[iii] and Dual I.S.2[iv].  

Panasonic is excited to see the GH6 released to the market and looks forward to the new creative dimension it will offer professionals worldwide.

Aaron Waters added: “In tandem with the GH6 launch, Panasonic Australia is excited to introduce LUMIX Professional Services (LPS). We understand the requirement for high reliability in the challenging shooting situations that professionals often face. LPS is a dedicated support service, designed to provide an even greater level of service and support for professionals who rely on their LUMIX equipment every day. This program provides peace of mind so creators can spend more time focusing on their creative projects. The LPS program delivers a range of benefits including fast turnaround for repairs, complimentary access to loan equipment and dedicated support services. Members get exclusive access to extra perks such as free sensor cleans and the ability to trial some of the latest product releases.”

Key Capabilities

Sensor and processor technologies

Panasonic has developed a new 25.2-megapixel Live MOS Sensor without LPF (Low-pass Filter) with a high resolution, high-speed signal readout that reduces rolling shutter and achieves wide dynamic range.

 Utilising the powerful image stabilisation system, 100-megapixel high resolution images can be captured in camera using the High Resolution mode both with a tripod or handheld. Eight consecutive images are automatically shot while shifting the sensor using the Body I.S. The result is a 100-megapixel (11552 x 8672-pixel) stunning image that faithfully reproduces precise details and can be saved in both RAW and JPEG. To provide users with the greatest shooting flexibility, multiple modes are available to shoot a variety of scenes, including those with motion.

 Professional-quality video performance for unlimited expression

The GH6 achieves an impressive C4K 60p 10-bit 4:2:2 unlimited video recording. In addition, high frame rate video recording has been enhanced to include 4K 120p 10-bit 4:2:0, and FHD 240p 10-bit 4:2:2 (with audio recording) to enable impressive expression such as speed ramping. VFR (Variable Frame Rate) is available up to 300fps in Full HD 10-bit for dynamic slow motion.

For creators desiring wide screen anamorphic content, the GH6 supports full-sensor 5.8K 30p 10-bit recording when utilising dedicated anamorphic lenses or filters. It is possible to display de-squeezed footage to monitor in real time.

The LUMIX GH6 also achieves 4:2:2 10-bit C4K 60p both internally and externally over HDMI simultaneously.  The inclusion of HDMI 2.1 will support C4K 120p HDMI video output with a future firmware update. C4K 120p 12-bit RAW output to the Atomos Ninja V+ monitor recorder will also be available via a planned firmware update.

In response to requests from professional users, Panasonic has included video assist functions such as Waveform Monitor, Zebra Pattern, Luminance Spot Meter, Frame Marker, Anamorphic Desqueeze Display, Red REC Frame Indicator and Tally lamps. Some of the new enhanced features include Safety Zone Marker, which shows a guide of 95%, 90% or 80% recording area; while Centre Marker now allows you to choose the type of marker. In Colour Temperature Setting, the kelvin values can now be displayed on the user interface while recording.

High resolution audio recording is now possible supporting up to 24-bit 96kHz[vii]. By using the optional XLR Microphone Adaptor DMW-XLR1 and the 3.5mm input jack/built-in microphone, users can capture four channels of audio, reducing the need for external audio recording devices. Combinations of external microphones can be used to best fit the recording situation – such as outdoor interviews where voices and ambient sound both need to be captured. The headphone channel can be switched during video recording and audio menus can be directly accessed with the Fn1 button on top of the camera for easy sound level checks during 4-channel audio recording.

 4K 60p Time Lapse video can also be produced inside the camera. With the Exposure Levelling function, the exposure is automatically adjusted to prevent large changes in brightness between adjacent frames, allowing daytime to nighttime ‘holy grail’ time lapses to be created in camera. The internal time lapse calculator allows users to understand the required settings without the use of external apps/intervalometers.

Agile and smart operation for professional use

Taking advantage of the new sensor and image processing engine, the auto focus performance of the LUMIX GH6 has been improved. With higher speed signal processing by the new image processor and an improved AF algorithm, subject detection performance has been dramatically enhanced to achieve higher precision AF.

To support high precision focusing, the LUMIX GH6 provides practical options for manual focusing such as MF Assist, which enables the focus point to be enlarged while video recording. The linear focus control enables repeatable focus pulls to be achieved by adjusting the degrees required for the lens to move through the focus range from close to infinity focus.

 To enhance shooting ergonomics, the LUMIX GH6 has a versatile free-angle touch-control 3.0-inch LCD rear monitor (3:2 aspect, 1840K-dot resolution). Conveniently, tilt/rotation angle can be adjusted so that HDMI and USB cables are not in the way when shooting. A large, 3,680K-dot OLED (Organic Light-Emitting Diode) LVF (Live View Finder) features a high magnification ratio of approx. 1.52x / 0.76x (35mm camera equivalent).

Reliable quality and performance for professional use and connectivity

The GH6 boasts a rugged field-ready design. As well as having a magnesium alloy full diecast front/rear frame, it is splash[viii] and dust-resistant and also freeze-resistant down to -10 degrees Celsius. Recording buttons are located on both the top and front of the camera, which makes it easy to start and stop recording even when shooting at a low angle or with a shoulder rig.

The GH6 is equipped with double card slots. The CFexpress card (Type B) supports internal recording of high bitrate video up to 1900Mbps including 5.7K 30p ProRes 422 HQ and C4K 60p ALL-I. The SD Memory Card UHS II V90 supports internal recording of video at 600Mbps or less, with modes including Relay Recording, Backup Recording and Allocation Recording, using both SD Memory Card and CFexpress Card.

The camera has a full-size HDMI Type A terminal. Plus, a cable lock holder for the HDMI/USB cable is bundled to prevent issues such as accidentally unplugging on location. The GH6 supports USB 3.2 Gen 2 for high-speed transfer.  The 2200mAh (DMW-BLK22E) high-capacity battery can be conveniently recharged either via AC or USB PD. The GH6 is also compatible with Time Code IN/OUT synchronisation through the flash synchro terminal and bundled BNC converter cable. This streamlines non-linear editing of footage shot with multiple cameras.

The GH6 supports Bluetooth 5.0 and Wi-Fi 5GHz[ix] (IEEE802.11ac)/ 2.4GHz (IEEE802.11b/g/n), for easy content sharing with smartphones. With an always-on Bluetooth connection, a smartphone can act as the camera’s remote control via the LUMIX Sync mobile app. The settings of a GH6 camera can also be copied and transmitted to other GH6 cameras when shooting using multiple cameras (either via LUMIX Sync or SD Card). Hassle free firmware updates are also available via LUMIX Sync.

A wide variety of LUMIX G lenses – Exclusively designed for Micro Four Thirds cameras

The Panasonic LUMIX G Series boasts a total lineup of 30 Micro Four Thirds lenses. For use with the GH6, Panasonic has reviewed and updated the lens firmware for the following models: H-E08018/H-X1025/H-X2550/H-ES12060/H-ES50200/H-RS100400/H-XA025/H-ES200/H-HSA12035/H-FS12060/H-HSA35100/H-FSA45200/H-FSA100300/H-NS043/H-X012/H-X015. This update will be available on 1 March 2022[x].

Future firmware updates

LUMIX GH6 Pricing and Availability

LUMIX DC-GH6GN: Body only: RRP $3699

LUMIX DC-GH6LEICA: Kit with 12-60mm LEICA DG lens (H-ES12060E): RRP $4799

LUMIX DC-GH6PRO: Kit with 12-35mm LUMIX G lens (H-HSA12035E): RRP $4799

LUMIX DC-GH6MKIT: Kit with 12-60mm LUMIX G lens (H-FS12060E): RRP $3999

The GH6 will be available in April 2022 from leading photographic specialists.

For further information, please visit 

[i] When using Dynamic Range Boost. Available in Creative Video mode only, minimum ISO 800 in standard mode/ISO2000 in V-Log/HLG.

[ii] Under the guaranteed operating environment. When using a battery. The recording time depends on the capacity of the battery and the recording media.

[iii] Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=60mm (35mm film camera equivalent f=120mm) when H-ES12060 is used.

[iv] Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=140mm (35mm film camera equivalent f=280mm) when H-FS14140 is used.

[v] Available in Creative Video mode only, minimum ISO2000 in V-Log/HLG.

[vi] In comparison with LUMIX DC-S1H

[vii] 4-channel audio recording is available in ProRes and MOV.

[viii] Splash Resistant is a term used to describe an extra level of protection this camera offers against exposure to a minimal amount of moisture, water or dust. Splash Resistant does not guarantee that damage will not occur if this camera is subjected to direct contact with water. To avoid damage when using the camera under these conditions, it must be used in accordance with associated instructions in the manual.

[ix] 5GHz Wi-Fi is not available in some countries.

[x] For more information on the lens firmware update, please refer to


Panasonic launches fourth LUMIX S F1.8 Lens

Panasonic has introduced a new large-aperture wide fixed focal length LUMIX S Series lens, the 35mm F1.8 (S-S35). Following the 85mm, 50mm and 24mm models, it completes the planned series of four F1.8 large-aperture lenses based on the L-Mount system.

At a compact 295 grams (approx.), the new LUMIX S 35mm F1.8 lens is highly mobile, while offering a rugged dust/splash-resistanti design to withstand field use in inclement weather and temperatures down to -10 degrees Celsius. The 35mm focal length is ideal for street and editorial photography on the move, and the lens can also be used for close-up shots thanks to the 0.24m minimum focusing distance.

The four-strong LUMIX F1.8 lens series has a common positioning of controls for ease of use and a common barrel diameter that provides the convenience of using the same filters across lenses. Using lenses of a similar size, diameter and centre of gravity also makes it easy to switch between them when an S Series camera is mounted on a gimbal, for example. Demonstrating Panasonic’s commitment to the S Series system, development of an 18mm F1.8 lens is also under way.

The LUMIX S 35mm F1.8 is comprised of eleven lens elements in nine groups including three aspherical lenses and three ED (Extra-Low Dispersion) lenses. The use of three aspherical lenses realises beautiful bokeh, a common advantage across the series, while the ED lenses effectively suppress chromatic aberration. The filter diameter is 67mm, with a 9-blade circular aperture diaphragm.

The LUMIX S 35mm F1.8 is compatible with the LUMIX sensor drive at 240fps to take advantage of high- speed, high-precision auto focusing. For the non-linear setting, focus is shifted with a variable amount according to the rotation speed of the focus ring; while for the linear setting, focus is shifted with a designated amount according to the rotational quantum of the focus ring. Sensitivity (the amount of focus shift per rotational quantum) can be selected from 90 to 360 degrees by 30-degree increments.

The lens will be available in December 2021 from leading photographic specialists.

LUMIX S 35mm F1.8 (S-S35) lens: RRP $1099

In addition, firmware update programsii are available for the conventional S-R70200, S-E70200, S-R70300 and S-R24105 lenses to improve image stabilisation during video recording. Furthermore, the stabilisation performance of Dual I.S. 2 has been improved from 6.5 stops to 7.5 stopsiii for still image capture when the S- R24105 lens is mounted on the LUMIX S1H, S1R or S1 cameras.

The Panasonic and L-Mount system alliance is committed to the development of L-Mount lenses for the further expansion of its lineup, fulfilling the needs of customers.

For further information, please visit or call 132 600.

New F1.8 Wide-Angle Fixed Focal Length Lens for the LUMIX S Series

Panasonic has announced a new large-aperture wide-angle fixed focal length LUMIX S Series lens, the 24mm F1.8 (S-S24). Following the 50mm and 85mm models, it is the third addition to the planned series of four F1.8 large-aperture lenses based on the L-Mount system.

The LUMIX F1.8 lens series has a common positioning of controls for ease of use and a common barrel diameter that provides the convenience of using the same filters. Using lenses of a similar size, diameter, and centre of gravity also makes it easier to switch between them when an S Series camera is mounted on a gimbal, for example. A 35mm F1.8 large-aperture lens is also under development to further enhance the LUMIX S Series lens lineup.

The LUMIX S-S24 has a rugged dust/splash-resistanti design to withstand use under harsh environmental conditions down to a temperature of -10 degrees Celsius. At a compact 310g, it’s an ideal partner for LUMIX S Series full-frame mirrorless cameras such as the LUMIX S5. The versatile wide angle of view is suitable for situations from landscapes to travel photography.

The LUMIX S 24mm F1.8 is comprised of twelve lens elements in eleven groups including three aspherical lenses, three ED (Extra-Low Dispersion) lenses and one UED (Ultra Extra-Low Dispersion) lens. The use of three aspherical lenses achieves beautiful bokeh, a common advantage across the series, while the ED lenses and the UED lens suppress chromatic aberration. The filter diameter is 67 mm, with a 9-blade circular aperture diaphragm. The lens also excels in video recording performance with a mechanism that suppresses focus breathing.

The S-S24 is compatible with the LUMIX sensor drive at 240 fps to take advantage of the high-speed, high- precision auto focusing. For the non-linear setting, focus is shifted with a variable amount according to the rotation speed of the focus ring; while for linear setting, focus is shifted with a designated amount according to the rotational quantum of the focus ring. Sensitivity (the amount of focus shift per rotational quantum) can be selected from 90 to 360 degrees by 30 degree increments.

The lens will be available in September 2021 from leading photographic specialists. The Panasonic and L- Mount system alliance is committed to the development of L-Mount lenses for the further expansion of its lineup, fulfilling the needs of customers.

LUMIX S 24mm F1.8 (S-S24) lens: RRP $1,399.

Loaded 4×4 – with Canons, Pannys, GoPros and DJI Drones… my recent happy place!

by Australian Videocamera Senior Writer StephenTurner

Well. How things have changed in the world of location shoots. The days of lugging loads of heavy equipment are long gone. Everything is now light, compact, and easily carried in a small car.

What has also changed a lot is how many bits of kit we will take out on location. Over five days I recently filmed with Loaded 4×4 for an upcoming web project and took a variety pack of equipment.

The open spaces and the Flinders Ranges. Heading down to the Bendleby Ranges.

Check out and follow the link to Episode one.  The website is a great 4WD website with an awesome free magazine built in.

Setting up I had the gear spread out over my kitchen table. I had 15 items on charge!  Here’s the equipment list.

Just a few things to get charged…. 15 of them!

The number of SD cards and batteries needed has to be worked out in advance and looked after in the field.  It’s hard to predict how much you are going to film so over equipping is a good policy.  And have spares for everything!

So we took copious batteries and chargers both for mains and in car charging.  The XA50 is a great field camera and is good for endless run and gun shoots.  The battery life is very good and we ran all day with only one battery change.  Another reason I prefer conventional cameras for field work when speed and endurance are key to success.

For 4WD shoots its all about the action even though much of that action seems to already be in slow motion.  I rarely use legs as it’s way too time consuming to set up legs for each shot.  It also means poor flexibility and frankly is nearly impossible when scrambling up a very steep and rugged track.


The venerable 1994 Defender makes its sure footed way up Billy Goat track.

Each move up or along a track presents many new angles and opportunities.  Moving legs around limits those options unless you have days to do each part of a shoot!  Most of us don’t, so run and gun it is.  Well mostly it’s walk, climb, and climb, and gun, and try not to have a heart attack.

The XA50 is a great small camera for these shoots.  Light but powerful.  Shooting 4K at 150mbps with a nice 1″ sensor I like the ergonomics of the traditional video camera.

Who doesn’t like playing in muddy puddles!

I like the DLSR format as well but for this type of field work the video camera still rules.  It’s simple things like the placement of powered zoom controls with variable speeds.  Buttons where you need them quickly and built in XLR mounts and professional audio capability built in.

So you don’t need to build a rig based on loads of parts from third party sources.  Not that that’s a bad thing. It’s horses for courses.  And a dust blown (gale force and rain on one day) track with a steep climb is where a light weight camera is very useful.

The pristine beaches of Coffin Bay on SA’s Eyre Peninsula.

 The XA50 has a fabulous 20x zoom and also has a very good stabiliser. On a calmish day, and with something to lean on, it can be hand held at the 600mm end.  Awesome! You can be a human tripod.  Any slight movements can easily be smoothed out in post. Premiere’s stabiliser is very good for this.

Why six GoPros?  Mostly because we could!  We have two 8s, one 7, one 5, one 3, and a DJI Action camera (which is very good BTW).  For this shoot we wanted to do a lot of in car chats and set up each car to have a camera mounted on the windscreen.  Each has a Rode mic attached and mounted on the dash.

Dave and Georgia chatting about the Jeep Gladiator – and busy having too much fun.

The sound off these little mics is excellent and the audio is surprisingly good given the distance from the dash to the talent. The GoPro 5 is used for the classic action shots and gets moved around from car to car and differing positions.

The GoPro 3 is known as the “risky camera”. Having served a long and valuable life in action land it is now mounted so it can sit on the ground and has the most dangerous role of all the cameras. 

The Loaded 4×4 Triton (Trev) about to run over the GoPro 3…

Near misses are interspersed with the occasional collision.  The hardiness of the GoPro cameras and their housings had been shown many times over as they survive where you would expect they may have been crushed.

In the dunes at Sheringa (Eyre Peninsula, South Australia) the inevitable happened and it was run over.  Not a real problem in the soft sand but finding it was! I hadn’t thought of that.  Not that I could have done much other than have someone watch it at all times and stop the shoot when it went under.

The amazing dunes at Sheringa…(Eyre Peninsula, South Australia)

On hands and knees we looked like an outing of school kids as we dug through the sand for ages – to no avail.  Then Dave ambled over to see why we were apparently playing in the sand.  Kneeling down to help he immediately dug it up.  The man is a camera whisperer! Blew the sand off and back to work it went.

One happy little cameraperson…(The Bendleby Ranges, South Australia)

There was another scary moment when I thought we had lost one of the GoPro 8s.  It had been taken out of one of the cars and used on its bonnet.  Losing the camera is a pain but not fatal to the shoot…usually. But this time it may have been. It had vital in car pieces to camera recorded on it.  Bonnet shots we could lose.  In car chats we could not.

Thankfully it was hiding in plain sight on top of the older Land Rover and there was a collective sighs of relief. I made a new house rule that in car cameras can not be used for anything else.  It’s not like we don’t have enough of them!

On this trip I was handed the keys to the company Mavic Pro 2 – fresh out of the box.  It’s a brilliant quad with a Hasselblad mounted on it with a 1″ sensor.  The images are fabulous and the stability even in high winds makes for great flying.

On the soft sands at Sheringa on the west coast of Eyre Peninsula, South Australia

Using the tracking capability is good for 4WD shoots as the target is usually not moving that quickly.  This was the first time I tried these modes and while impressed I’d mostly stay fully manual.

This is because in tracking you’re capability to be bit more creative is limited.  I can circle a target easily in manual mode but then can add moves to that.  I plan to just get better at it and, much like any camera work, the only way is to master the manual side and use auto when that’s a good option.

The Parachilna, in the Flinders Ranges, is a great place to visit…

Over an epic five days we went up to the Flinders to shoot in Parachilna Gorge, down to the Bendleby Ranges for Billy Goat Track, and a lazy seven hour drive down to Coffin Bay for Sheringa and Gunyah beaches and dunes.  That was after five hours shooting on Billy Goat!  We slept well! 






Review: DJI Ronin RS2 Pro Combo (Part 1)

Which is the coolest tech  company on the planet?

If you put your hand up and said “Apple”, I reckon you are wrong. Yes, yes, Apple make snazzy smartphones, and its computers are pretty good – if overpriced (and no Apple did not “invent” the personal computer) – and sure the iPad started a whole new trend. I’ll even grudgingly admit the AppleWatch might be starting to gain some traction beyond the fashionistas and fan-folk.

But Apple hasn’t really created something “new” for quite a time now have they? Not really new. Not since Steve and Jony’s collaborations ended anyway.

Nah, I reckon the current Cool Kid on the Block for consumer tech is DJI.

If you have been out of the loop the last few years, and let’s face it, many have for the last 12 months at least, DJI’s range of consumer gizmos and gadgets covers a wide breadth of technology, mostly based around its expertise designing drones.

In addition to industrial strength flyers, DJI has a consumer range of drones that sits alongside action other products like action cameras, pocket cameras, educational robots and what I want to discuss here, gimbals.

DJI got its gimbal chops from the models used in its industrial drones that are used to fly cameras and camcorders for all sorts of purposes including agriculture, health, life saving, mapping and so on. This expertise has been brought down to gimbals used in its consumer drones like the Mini 2, gimbals for smartphones such as the OM4 and bigger units for dSLR and mirrorless cameras from companies such as Fuji, Panasonic, Sony and Canon.

Over the last week or so, I have been learning the ins and outs of the latest model, the Ronin RS2 Pro Combo.

I will be performing some major tests as time goes on, but here are my initial findings. Much of this will be known to existing gimbal users, but for the newbies out there, hopefully it will give you a heads up and so why and how you can use a gimbal, on top of the description of what they RS2 Pro Combo gives you.


I got my first real taste of DJI packaging while building the DJI Robomaster EP Core (a still ongoing project by the way).

And it is sublime. Almost a work of art in its own right. Every single item is packed in a logical location along with its siblings eg all cables are carefully packaged together as are all machines parts and so on. This means nothing needs to come out of the Styrofoam or its little envelopes until you need it, when building whatever device it is.

And every eventually is covered (I came across one exception) in that every permutation of USB cable you might need is supplied or when there are screws, nuts, fasteners or other smaller parts included, DJI make sure there is a surfeit of them just in case some go astray.

Likewise, all the tools you might need (spanners, screwdrivers etc) are also all included along with detailed instructions that are backed up with in-depth online videos and tutorials.

And a special mention of the engineering of the components. You know when you see an advert on TV for a burger chain and the (usually) teen assembling said burger does it slowly and lovingly with a look of bliss on their face at a job perfectly done?  Sometimes they even pat it. You get the impression this is REALLY how the engineers and manufacturing folk at DJI treat their products. And it shows.

Oh and everything comes in a quality carrying case by the way.

The RS2 Pro  Combo

There is little assembly to be done for this device having said all that. But yes, every known cable you might need in the areas of USB or HDMI are all supplied in the box. But here is the one exception I mentioned. I use a Canon 5DS and the USB port on this is USB 3 and that is the one cable not there!

Not a huge problem as a quick trip to Jaycar got me one a for a few dollars, and as I say, so far this has been the exception to the rule.

Once the tripod and battery grip have been fitted, its time to add the camera. As mentioned, I am using a Canon 5DS, and this was first mounted to a base plate and then this itself slid into a mounting slider and locked in place.

And this is where the fun starts, and I urge anyone to take their time over these next steps as it will make all the difference in your usage of the gimbal (any gimbal for that matter).

As there is an infinite combination of cameras and lenses suited to the Ronin RS2, the camera with its lens needs to be individually balanced to all three axes of the gimbal. If you have never done this before, even following the videos can be a little confusing and daunting, but if you find it difficult to grasp, persevere and I promise you will get a light globe moment when it all makes sense.

Once this part is completed, you can test the gimbal/ camera / lens Combo via a self test the Ronin does. If it passes the tilt, roll and pitch test, then thumbs up all around, otherwise the smartphone app used (and to later remotely control the Ronin) will inform you what is wrong and provide a little video tutorial (sadly in Chinese  but with English subtitles) on how to rectify it.

I admit, it took me a few goes of trial and error, amid realizing that such things as adding cables or even forgetting to remove a lens cap can make a difference.

Once this is done and everything charged up, you are good to go in the basic format (which is the Ronin RS2 Pro Combos sibling, the RSC 2, essentially).

With the Pro Combo though, you also get the Raven Eye wireless system as well as a motorized focus unit for those manual focus only lenses in addition to some extra mounts and I’ll cover these in Part 2 as well as the different modes when using the Ronin RS2 Combo.

The DJI Ronin RS2 Pro Combo retails for AUD$1599 and full details can be obtained online at the DJI Shop.


Shooting “The Heights” with Panasonic EVA 1 and Fujinon lenses.

“The Heights” is a popular “soap opera” produced by the ABC (Australian Broadcasting Corporation) and shot in Perth Western Australia.

Australian Videocamera had the opportunity to have a chat with the Director of Photography (DOP) Jim Frater on how the series is shot, on what, how it is edited and the issues of shooting in a remote city like Perth.

AV: “The Heights” is shot with Panasonic EVA 1s as I understand it. What advantage did the EVA 1 have over any other model or brand?

1529943780_1341795JF: Both series of “The Heights” where shot with the Panasonic Eva 1. The camera fitted the bill perfectly. It was light, small, 5.7k sensor, good in low light , dual ISO, and stabilised, great on the shoulder. Our show is 90 percent handheld so those things were really important. I also loved the skin tones that the camera produced. All Eva 1 cameras used Zacuto Gradical Eye viewfinders, Tilta Nucleus M Fiz Lens controls.

AV: How many were used on set?

JF: In season 1 we used 4 x Eva 1 cameras 2 X GH5 s. The GH5 s where used as small cameras to be placed where the Eva 1 couldn’t fit. In ovens, shelves above beds and small spaces, and one was also on a small Steadicam. Eva 1 cameras where in handheld setup and one would also swing onto a Steadicam. On a split day ( 2 crews of 2 camera teams) each needing a Steadicam option. Most cameras used in 1 scene was 6. Most scenes we used 4 Eva 1‘s regularity. In Season 2 we lost the GH5s and got a 5 Eva 1.

AV: What lens(es) were used?

JF: Season 1 we used Sigma Cine Lenses EF mount zooms, 18mm-35mm , 50mm-100mm , 14mm Sigma prime,135mm Sigma Prime. Canon USM II 70-200mm.

In Season 2, I switched to PL mount Fujinon lenses 19-90 Cabrio, Fujinon ZK 14-35mm, Fujinon Zk 85-300mm with a Black Satin 1 Filter on them. The Sigma were great, but I need the range and found that we would be around the 50mm mark so the Fuji meant less lens changes and I also like he look of them.

AV: Later, Panasonic GH5s were also used. Was this for a specific purpose or look?

JF: We didn’t use them on Season 2 as we got another Eva 1 to mount on the Steadicam permanently. But in Season 1 they were our get out of jail cameras. I pulled them out as needed and when I needed a extra camera.


AV: Which lenses were used with the GH5s?

JF: Used a Metabones MFT to EF speed booster so we could use the EF lenses. Wanted to keep the lenses the same.

AV: What were the advantages of shooting in Perth?

JF: Advantages where access and crewing, this show was different to any other drama shot before. Firstly 4 camera setup on all scenes, camera operators did their own focus unless on Steadicam. Sets where just camera operators and actors, no boom swingers, and just the first AD. I don’t think this would have happened anywhere else. We had great access to locations that are not often seen on Australian tv drama, and of course the weather. Location wise we stayed within 45 mins from the ABC studios.

The Heights S2-EP4 Kelton Pell (UNCLE MAX), Shari Sebbens (LEONIE), Claire Gazzo (ERIKA)

AV: Did shooting in Perth cause any logistical issues considering many (except those of us who live here) consider it “remote”

JF: My only concern was if we had gear failure and needing to ship a replacement over, with the time difference and distance, it’s a 2-day turnaround, otherwise no issues.

AV: Over what period was it shot (say series 1).

JF: Series 1 & 2 were shot in 15 weeks. We had a week in the middle to reset but in truth we still shot most of those days, usually establishers and stylistic pickups. And that is 30, half hour episodes for each series. We averaged 11 minutes a day with no overtime, on a 10hr day. In Season 1, our record was 13 min 50 seconds and we finished 45 min early. That was a hard day.

The Heights S2-EP3 Roz Hammond (CLAUDIA), Rupert Reid (PAV) (2)

AV: How long is a typical shoot? Do you knock over a full episode before moving on or are there sessions shot of multiple pieces to camera stitched together later in post?

JF: In Season 1 we shot 2eps per week, in Season 2 we shot 4 eps over 2 weeks so on any day we could be covering scenes from 4 eps. Was a lot to take on board sometimes, and these series and eps are across 4 or more directors.

AV: How many on the shooting crew?

JF: The camera crew consisted of myself as DOP, Ian Batt B camera op/Split Crew 2nd DOP, Claire Leach C camera op, Ben Berkhouse D camera op/ 1st AC (Series 1), Meredith Linsday D camera op/1st AC (series 2) Paolo Feliciano 1st AC, David Manners 2nd AC, Hayley Wilson 2nd AC/Video Split

We also had media students in the camera department rotating every week doing work experience. They were from TAFE, Screen Academy and Notre Dame Uni. Think it important for them to gain real experience on a working set with a busy crew.

AV: What system is used for editing (eg AVID, Final Cut X, Adobe Premiere etc)

JF: The show was cut on 2 Avid suites set up at the ABC studios in East Perth a well as our post and grading setup. I would sit with the grader over a couple of lunchtimes during the eps, and get the look started. We shoot in 1920 by 1080 25p Vlog 400 Intra MOV. We created a general Lut for monitoring and went from there.

AV: “The Heights” has been an ABC success story showing there is still room for a thoughtful, well scripted and acted “soap” – especially as it shows a lot of diversity. Is there to be ongoing series’

JF: At the moment there is no series 3 scheduled for production but with both series being bought by BBC and receiving great reviews and building a good daytime audience I can only hope it does continue.

The Heights S2-EP3 Kelton Pell (UNCLE MAX)

AV: If so, will you continue with the EVA1s? And the GH5s? Will there be any additions to the camera(s) used?

JF: In simple terms, probably not, the bang for buck was to good. And if it ain’t broke then why fix it. Seriously the cameras did everything we asked and more, they never left us wanting.

They held their skin tones in some extreme situations, and no other camera matched them in budget, size and ease of use though the whole process from recording to edit to final delivery. I am still amazed that they don’t get a bigger wrap, they slip in under the radar and just stand up, everyone that has come across them likes them.

We tried the usual suspects and I am so glad Panasonic sent me a camera to test in the beginning, because it stood out as a contender from day 1. Even post liked it.

AV: Anything else to add?

JF: No camera is perfect, and there is not one camera for all occasions, but on The Heights the camera was the Panasonic EVA 1, it was like it was built for that show. Long days handheld, Steadicam 15 weeks. So light, nimble and featured packed. And as I said before it wasn’t perfect, we needed a viewfinder, bigger battery. But the features it had were awesome 422 10 bit, timecode in/out, SD card media to mention a few.

I believe it was the first drama to consistently shoot with 4 handheld cameras all the time, and to also have 2 female operators full time as well. I loved that it was experimental in the way it was shot and crewed and to be done in Perth was a huge bonus and also major reason for its success. It was a pleasure to be the DOP and work with so many amazing creative individuals. It was like family. I am looking forward to the next instalment hopefully soon.



The Lenses

Fujinon Premier Cabrio 13-35mm

Premier PL 14-35mm Cabrio wide-angle lens ZK2.5x14 (1280x823) JPEG

The PL 14-35mm Cabrio lens has a detachable digital servo drive. The Cabrio can be used as a self-contained ENG-style lens or cine style lens. Cinematographers will also be right at home with this lens. With the detachable drive removed, the lens is set to accept industry standard cine motors and matte boxes. The 14-35mm lens is lightweight and comfortable to use with today’s smaller 4K cameras. For shooters looking for alightweight zoom that can be used as a handheld, capturing wide angles in tight spaces, it’s ideal.

The PL 14-35 covers 31.5mm sensor size on a digital cinema style camera. While sensors on standard broadcast cameras are all the same size, sensors on digital cine cameras vary greatly. This new zoom ensures the image captured will cover large sensors for optimal, full-frame resolution. A nine-blade iris part of the design as well, creating the most natural-looking imagery possible.

Fujinon Cabrio Premier 85mm-300mm


While the PL 85-300 is similar in size and weight as the PL 19-90, its longer focal length makes it ideal for shooting documentaries, nature and wildlife, and car commercials, among other demanding production scenarios. The PL 85-300 offers a focal length of 85-218mm at T2.9 and 300mm at T4.0, with 200-degree focus rotation.

Designed using the latest optical simulation technology, the PL 85-300 Cabrio not only offers exceptional optical performance in the centre of the image but in the corners of the frame as well. The PL 85-300 is equipped with flange focal distance adjustment, a MOD of 1.2m, a macro function for objects as close as 97cm (38-inches), and covers a 31.5mm diagonal sensor size.

Click here more info on Fujinon lenses

New Panasonic S5 …

Yep… a new camera from Panasonic is coming…


Now you know as much as I do… I just got a mesage from the Secret Squrrels at Panasonic inviting me to an online launch and Q & A for a sneak preview of something called an “S5” on the 1st September.

It’s a LUMIX product, I know that much, so a mirrorless camera in the “S” range is an onvious guess. But what sort? Budget? Top shelf?

As I find out more, I’ll let you know. All I have really from a bit of hunting is this photo …