What's not to love about this camera? It's a video powerhouse offering professional quality underwater footage in a relatively compact, affordable, mirrorless package. The Panasonic S1H offers an endless variety of benefits with loads of lens support, superior 6K video from a full frame 35mm sensor with up to 14 stops of dynamic range, a variety of frame rates, great image stabilization, excellent low light sensitivity, accurate manual white balance, and all for under $4,000.



When you combine all of the S1H features with a housing like Nauticam NA-S1H due to its ergonomic control layout, easy assembly, external monitor options, and wide arrangement of supported lenses you have a compelling choice for any underwater filmmaker to consider.

当你将S1H所有功能与Nauticam NA-S1H防水壳结合使用时,由于壳体其拥有具体人体工程学的按键控制布局,易于组装,外部监视器众多的配件支持以及所支持的镜头范围广等有点,将为所有的水下电影从业者提供了最好的选择


The S1H utilizes a full frame 35mm sensor that can record in 6K, 4K, and Full HD resolutions.  There's a HUGE selection of resolutions and frame rates to choose from, so it can be bit overwhelming, but these are the ones to pay attention to:

5.9K resolution at up to 30fps (Full Frame, no crop) in 10bit 4:2:0

4K DCI at up to 60fps (in Super 35mm mode, 1.4x crop) in 10bit 4:2:0

4K DCI at up 30fps (Full Frame or Super 35mm) in 10bit 4:2:2

FullHD at up to 180fps


S1H使用全画幅35mm传感器,可以记录6K4KFull HD分辨率。 有大量的分辨率和帧率可供选择,可能这些让人有点不知所措,但是这些是要注意的:

6K 24p 5.9K   30p  4:2:0 10-bit  200 Mb/s 

4K 30p 10bit 422(全画幅超采样)400 Mb/s

4K 60P 10bit 422Super35模式) 

1920*1080  180p(全高清 可变帧功能)   10bit 422

如果从HDMI输出6K分辨率的采样可以到达4:2:2 10-bit

So what benefits does 5.9K offer? You're essentially recording an image with 5888x3312 (5.9K) resolution, so if you intend to render out your final edit in something like 4K DCI (4096x2160) or Full HD (1920x1080), you now have lots of creative flexibility in post production for things like cropping, key framing, stabilization, and adjustments to your composition. Imagine being able to punch in a full 1/8th of the frame for tighter shots on a macro subject...pretty cool, right?

那么5.9K有什么好处呢?你实际上是以5888x3312 (5.9K)分辨率来记录图像,因此,如果你打算以4K DCI (4096x2160) or 全高清 (1920x1080)之类的格式编辑呈现最终内容,那么后期制作将具有很大的创作灵活性用于裁切,编辑调整你的沟通。想象一下,能够用1/8的篇幅用于在微距主体上拍摄更清晰的照片,挺酷的,对吗?

In addition, you'll always maintain better image quality and detail shooting in higher resolution even if your final edit is going to be in a lower resolution than what you're recording in. This is also a great way to reduce digital noise, although you shouldn't have to worry about that too much with this camera...more on that below.



The camera can record in a variety of codecs with H.264 to H.265/HEVC compression and color sampling ranging from 8bit 4:2:0 to 10bit 4:2:2.  The options are nearly endless, but the stand out feature is the cameras ability to record in 10bit 4:2:2 internally with the majority of the resolutions and frame rates. This allows for a significant amount of more color to be captured - about 1 billion colors with 10bit compared to just 16 million with 8bit.

So why is that a beneficial? You can read up on a more detailed explanation here, but the simple answer is that you have much more flexibility in post production for making adjustments to both exposure and color with less loss of quality. This is critical when it comes to cinema quality color grading.

视频压缩和颜色采样摄像机可以记录H.264H.265/HEVC的各种编解码器,压缩和颜色采样的范围是8 bit 4:2:010bit4:2:2。选项非常多,但最突出的功能是摄像头能够以大多数分辨率和帧率在内部以10 bit 4:2:2的速度记录,。这样就可以捕捉到更多的颜色——10 bit的颜色大约有10亿个,而8 bit的颜色只有1600万个。那有什么好处呢?你可以在这里阅读更详细的说明,但简单的答案是,你可以在后期制作中更加灵活的调整曝光和颜色。对于影师级别的色彩分级,这非常重要。


The S1H offers different frame rate combinations in either High Frame Rate (HFR) or Variable Frame Rate (VFR) modes. HFR recording is perhaps the better approach and is available in 4K DCI  resolution at up 60FPS and FHD a up 120FPS.  The benefit of the HFR recording options is that the camera still records audio, allows for autofocus, and records in 10bit 4:2:0 color sampling.  This a "what you see is what you get" option where clips are played back in real time, so a 120fps clips is played back as 120fps which can then be time remapped in the edit.


S1H在高帧率(HFR)或可变帧率(VFR)模式下提供不同的帧率组合。HFR记录可能是更好的方法,并且支持4K DCI分辨率,最高60FPS, FHD最高120FPSHFR记录选项的好处是,相机仍然记录音频,允许自动对焦,并记录104:2:0颜色采样。这是一个“你所看到的就是你所得到的”选项,其中的剪辑是实时回放的,所以120fps的剪辑是作为120fps回放的,然后可以在编辑中重新映射时间。


VFR recording offers higher frame rates with more options. Full HD recording for example can be done at 48, 60, 72, 90, 120, and all the way up to 180fps.  With this option you select your desired recording frame rate and then choose a playback frame rate.  For example choosing a 120fps recording frame rate with a playback frame rate of 30fps would create a playback clip with a 4x slow motion effect.  The downside to doing this of course is that you have less flexibility to alter playback speed in post production and when recording in VFR autofocus is disabled, audio is disabled, and you're capturing everything with 8bit 4:2:0 color sampling.

With either options however, you have opportunities for creative slow motion capture of subjects (such cool animal behaviors), or an excellent tool that can be used to smooth out camera shake.

 VFR录制提供更高的帧速率以及更多选项。 例如,全高清录制可以48607290120进行,最高可达180fps 使用此选项,您可以选择所需的记录帧速率,然后选择播放帧速率。 例如,选择120fps记录帧速率和30fps回放帧速率将创建具有4倍慢动作效果的回放剪辑。 当然这样做的缺点是您在后期制作中更改回放速度的灵活性较小,并且在禁用VFR自动对焦录制,禁用音频并以8420颜色采样时捕获所有内容。



The camera features in body image stabilization (IBIS) and it is excellent, perhaps one of the best we've used in a large sensor camera like this.




 Handheld camera movements underwater such as pans or tilts look very smooth, and capturing footage at 60 FPS and then slowing it down in post by 50% makes them even smoother (as mentioned above).  There's often little to no need for image stabilization in post production in our experience.  For run-n-gun, fast action shooters filming handheld, this is a huge benefit.

手持摄像机在水下的移动(例如平移或倾斜)看起来非常平滑,以60 FPS的速度捕获素材,然后将其放慢50%,使其更加平滑(如上所述)。 根据我们的经验,后期制作中几乎不需要用到图像稳定。 对于需要手持设备进行抓拍的用户来说,这是一个巨大的好处。


The S1H’s low light sensitivity is impressive thanks to its dual native ISO technology, the very same found in the Varicam cinema line, which enables the user to switch between two native ISO setting of "Low" or "High "without increasing noise. This is accomplished by altering the way the camera reads out the image sensor. For all of you camera nerds, you can find a more detailed explanation in the video below:


S1H的低感光度令人印象深刻,这要归功于Varicam影视级别所采用的双重原生ISO技术,使用户可以在两个本机ISO设置(“低”或“高”)之间切换而不会增加噪音。 这可以通过更改相机读取图像传感器的方式来实现。 对于所有的摄影爱好者来讲,可以在下面的视频中找到更详细的说明:

 The native ISO setting do vary by the Color Profile you choose to record in:

Vlog - 640 (Low) & 4000 (High)

Standard - 100 (Low) & 640 (High)

HLG - 400 (Low) &  2500 (High)

All of this provides a huge benefit for underwater filmmakers by being able to switch to the High Native ISO setting when recording in high frame rates (due to the shutter speed needing to be so fast) or when filming with ambient light in any kind of low light conditions (caverns, inside of a wreck, etc).


Vlog - 640()4000()

标准- 100()640()

HLG - 400()2500()



The ability to manually white balance (MWB) underwater is perhaps one of the most crucial abilities of a camera when shooting underwater video in order to obtain good color



The S1H not only does this accurately, but also with ease. Utilizing the custom function key mapping, you can assign one of the camera controls to perform a White Set Capture (available for all 4 MWB presets). This allows you to perform a MWB in just 2 steps!



 The camera also has 4 MWB presets meaning you can have different presets assigned for different depths or lighting conditions (ambient or video lights for example).

All of these features make for quick and easy changes to your manual white balance settings, and are a significant improvement compared to other camera options (Canon could take a few notes on this) in the market.

The color produced underwater from the camera is not on par with that of infamous "Canon Color" many shooters love, but is still quite good in our experience. Thanks to internal 10bit 4:2:2 color sampling achieving a look similar to that of the Canon's is possible with a bit of time color grading in post production. In our experience, shooters recording with ambient light while underwater will also benefit from the use of red filters from companies like Magic Filter or Keldan.

相机也有4 MWB预置,这意味着你可以为不同的深度或照明条件(例如环境或视频灯)分配不同的预置。


相机在水下产生的颜色与许多射击者所喜欢的臭名昭著的“佳能颜色”不一样,但在我们的经验中仍然是相当不错的。 得益于内部10422彩色采样,在后期制作中可以通过一点时间的颜色分级来实现与佳能相似的效果。 根据我们的经验,摄影师在水下环境光下录制也将受益于使用Magic FilterKeldan等公司的红色滤镜。


One thing you won't hear us raving about is the autofocus performance. Panasonic choose to utilize contrast detection AF technology, the very same found in their Micro 4/3's models (like GH5) and some of their Varicam line.  This is unfortunate as many other camera's are offering better technology via phase detection AF or even both like Canon's Dual Pixel AF that's a hybrid of both contrast and phase detection.  The AF performance in our experience is quite poor and frankly unusable in most situations and we would recommend using manual focus (either by locking AF or a using manual focus gear) for the majority of underwater filming scenarios along with a good external monitor (such as the Ninja V or SmallHD 502 Bright) with focus peaking.

That being said this may not be not be a deal breaker for most pro-enthusiasts and professionals that are accustomed to filming with manual focus and not relying on AF.


你不会听到我门对自动对焦这一功能去大肆宣传。松下选择利用对比度检测自动对焦技术,在他们的Micro 4/3的型号(GH5)和一些他们的视频级产品线中使用了相同的技术。这是不幸的,因为许多其他相机提供更好的技术,通过相位检测自动对焦,甚至两者都像佳能的双像素自动对焦,这是一个混合了对比度和相位检测。根据我们的经验,自动对焦性能较差,而且在大多数情况下无法使用。,我们建议在大多数水下拍摄场景中使用手动对焦(通过锁定自动对焦或者使用手动对焦),同时使用一个好的外部监视器(Ninja V or SmallHD 502 Bright)和对焦峰值来进行操作



The camera allows you to choose between filming in Full Frame or Super 35mm recording modes in a variety of resolutions and frame rates. Have a look at the image below and try not to be too overwhelmed at all of the choices.

As you can see some resolutions and frame rates do not give you this option , such as 4K 60P (Super 35mm only) or 5.9K 30P (Full Frame only), but most them such as 4K 30P do.

 This can be particularly useful when you want the ability to punch in a for a tighter frame on subjects without sacrificing video resolution such as a macro subject captured at 4K in both full frame and super 35mm modes.

全帧和SUPER 35MM记录模式

该相机允许您在全帧拍摄或在不同分辨率和帧速率下的SUPER 35MM录制模式之间进行选择。看看下面的图片,尽量不要对所有的选择都感到不知所措。

正如你所看到的,有些分辨率和帧速率并没有给你这个选项,比如4k60p(仅限SUPER 35MM)或5.9k30p(仅限全帧),但大多数像4k30p这样的分辨率和帧速率都有。

当你想要在不牺牲视频分辨率的情况下,比如在全帧和SUPER 35MM模式下拍摄的4K微距对象时,这个功能特别有用。




The S1H utilizes a Leica L-Mount and while the lens selection is growing, there currently are not to many useful lenses for underwater filming.  That being said, Sigma recently released their MC-21 Adapter which allows the use of Canon EF mount lenses to be used while still enabling AF and electronic aperture control.  In addition the Nauticam NA-S1H housing fully support both the L-Mount and Canon EF lens line up (though the use of the sigma adapter) so you have a wide variety of lenses to choose from wide angle, to macro, and everything in between.  You can find a complete list of supported lens with their proper ports and gearing for L-Mount here, and Canon EF here.


S1H采用徕卡L monunt,虽然镜头选择越来越多,但目前没有太多有用的镜头用于水下拍摄。也就是说,Sigma最近发布了他们的MC-21适配器,允许使用佳能EF镜头,同时仍然启用自动对焦和电子光圈控制。此外,Nauticam NA-S1H防水完全支持L-MountCanon EF镜头系列(尽管使用了sigma适配器),因此您可以选择从广角到微距以及两者之间的所有镜头。您可以在这里找到一个完整的支持镜头列表,其中包括L-MountCanon EF的合适镜头和何种变焦对焦的环。


Custom Function Keys

Just like on a cinema camera, all of the buttons on the camera are completely assignable through the custom function menu and can be key mapped to a large variety of camera controls that are most useful for the operator.





Controls like manual white balance, the AF Area, VFR mode, Color Mode, and other can all be programmed to buttons right at your fingertips for easy access.


 Shutter Angle 

The S1H also allows the shutter to be set and displayed and an angle in degrees (180 degrees for example) rather than speed (1/60th).  This same feature is found on other cameras like the RED DSMC2's and the GH5 and we absolutely love this.




 For example you could set the shutter to a 180 degree angle and if you're constantly changing frame rates from 30, 60, or 120 fps the camera will automatically adjust the shutter speed to reflect a 180 degree angle.  This makes changing frame rates quick and easy without the need for constantly remembering to change the shutter speed.


 Rec Quality My List

We also found the Rec Quality My List feature to be particularly useful.  This allows the operator to select specific resolutions, frames rates, and codecs from the recording quality list. 

我们还发现Rec Quality My List特性特别有用。这允许操作员从记录质量列表中选择特定的分辨率、帧速率和编解码器。


 Due to the large variety available on the camera, this makes an easy way for quick access to recording modes the operator most commonly uses, such as 5.9K 30P, 4K 60P, and FHD 120P.  Ohhh...and did we mention the Rec My List can even be assigned to any of the custom function buttons we mentioned earlier? Pretty darn awesome!

 由于摄像机的种类繁多,这使得操作人员可以很容易地快速操作最常用的记录模式,如5.9K 30P4K 60PFHD 120P。噢…我们有没有提到Rec My List甚至可以分配给我们前面提到的任何自定义按钮?相当棒!



We recommend the Keldan 4X or Keldan 8X models. They pack a lot of punch in a compact size, provide excellent color thanks to their high CRI rating, and you can take advantage of their Ambient Filters for a more natural look to your underwater footage.  


我们推荐Keldan 4X Keldan 8X系列。它们体积不大,由于它们较高CRI评级提供了优秀的颜色,你可以利用他们的滤镜为你的水下镜头增加更好的效果。

External Monitor Options

The two best choices currently available would be the Small HD 502 Bright & Nauticam NA-502B (check out our review article/video here) or the Atomos Ninja V and Nauticam NA-Ninja V:

The Ninja V is perhaps the most beneficial choice as it allows for external recording at up to 4K 60P with 10bit 4:2:2 color sampling in ProRes HQ with a future firmware update planned that will allow up to 5.9K 30P external recording in ProRes RAW.  This is pretty huge benefit as the ProRes RAW will allow for great deal of latitude for adjustments to both color and exposure in post production and offer significantly better performance and render times for any editors working with editing programs that accept ProRes such as Final Cut Pro X.


目前最好的两个选择是小型HD 502 Bright 搭配 Nauticam NA-502B Atomos Ninja V搭配Nauticam NA-Ninja V:

 NA-Ninja V可能是最佳的选择,因为它允许外部录制高达4K 60P10bit 4:2:2颜色采样在ProRes HQ,将允许高达9.9 k 30P的外部录制在ProRes RAW格式。这是一个非常巨大的优势,,因为ProRes RAW将允许在后期制作中对色彩和曝光进行大量的调整,并为使用接受ProRes的编辑程序(Final Cut Pro X)的编辑提供更好的性能和渲染时间。

Nauticam's Water Contact Optics

If you're using the Canon 100mm, the Nauticam SMC-1 & SMC-2 make an excellent addition for super macro imaging.

Nauticam's Wide Angle Conversion Port (WACP) is one of our top suggestions for this as it provides an ultra wide 130 degree angle of view, with superior corner sharpness when compared to traditional wide angle lenses behind a dome port, and when paired with the right zoom lens offers an incredible amount of versatility for capturing wide, medium, and close up shots all during the same dive!  Be sure to have a look at our review article and video here for more details on this.


如果你用的是佳能100mm镜头, Nauticam SMC-1SMC-2是超微距成像的绝佳选择。



© 2020 蓝天海数码影像(深圳)有限公司版权所有 All Reserved.. 粤公网安备 44030402001314号 粤ICP备12082716号