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No doubt, and these options are definitely worth pointing out. For me though, I prefer a much larger range of focal lengths for travel. I'm sure you know this stuff far better than I, but for @SRV1981 and others, here are some thoughts.. I'm not far enough into the film theory, but I know they shoot documentaries and ENG with zooms for a reason, and I suspect my reasons for wanting that flexibility is the same as theirs. I shot travel for a couple of years with a 35mm FOV being the main lens, and after a while I noticed a same-same kind of look to the footage. I noticed this same look when iPhone video first got popular but it only had one focal length, and the same for action-camera-only videos. My analysis of award winning documentaries and travelogues showed me two critical things about the cinematography: 1) the shots were nice, but not incredible 2) the way they were used in the edit was what made the final product really great I was also amazed at how many shots there were, and their variety. We all know that the average shot length of today's media is around the 2-4s (with 4s being on the slow side), which is 1400-700 shots for a 45 minute episode. This is easy to achieve if you don't want the shots to be that different from each other, but if you want variety and you want them to be interesting, you either need to go to a large number of locations or you need a zoom. The average vantage point will potentially have a large number of interesting compositions.. the wide shot of course, the low-angle wide and the high-angle wide might also be interesting, but beyond that it's about zooming in to interesting details. Due to compression at longer focal lengths you can also juxtapose different foreground and background elements by getting closer and wider or further away and zooming in. For travel, your ability to "zoom with your feet" is often severely limited, and you have to shoot from where you are allowed to be: At the zoo or the safari park, you can't go into the lions cage and walk up to the lion to get a close-up On the top level of the hop-on-hop-off bus you're not allowed to stand up when the bus is moving.. so the choice is either shooting the wide shot only (which might include the people next to you), or zooming and getting all kinds of compositions My shot of the pope giving a Sunday address at the Vatican would have been a shot of a tiny speck in a window of a rather grand building if I'd only had the wide, but thanks to the 10x zoom I had on that trip I am zoomed in enough that you could see his facial expressions Any landscape photographer will tell you that having a telephoto is wonderful because all mountains in the distance look small with the wide but the tele is how you make them look big Any time there's an animal - birds, squirrels, monkeys, etc... often you want the close up but don't want to get close to them, or they don't want to get close to you etc etc The online world seems reluctant to look at or learn from the professionals, who often have hundreds or thousands of times the experience and insight that the online crowd has. Or, if they do, they only pay attention to what Deakins might say about shooting a feature film. But travel isn't a movie set - it's real life and the doco shooters use different equipment for a reason. Ignore their experience to your own detriment.

So, I've been racking my brain trying to choose between taking my Panasonic S5ii and a couple of lenses or a combination kit of my trusty camcorder (Panasonic VX-981) and M43 camera (Panasonic GX800). I'll be going to the Seattle, WA area. I've decided to take the latter due to these primary reasons: Weight If I take just the Panasonic S5ii with the kit 20-60 lens and nothing else, it comes to 1090g. However, I'll need my ND filters, a strap, an extra battery, and cables, bringing the total to about 1500g. The GX800 with the kit lens is 450g (including an extra battery), and the VX-981 is roughly 500g (including an extra battery and accessories). This leaves room for an audio recorder and my Olympus 17mm f/1.8 for low-light photos. Concerns about theft Seattle is usually a very safe place. Still, the unexpected can happen. I spent roughly $2000 on the S5ii, whereas the GX800, VX981, and lenses were only $1000 (and used). Convenience for photos Hand anyone a camcorder, and they'll know what to do with it. The flip-up screen on the GX800 is perfect for selfies with family. Greater depth of field I want to see the environment much more than familiar sights from home. Not having a big-sensor camera means I need to be more careful about framing, but I get to see everything there. Versatility with more equivalent focal lengths The kit lens on the GX800 is a 12-32mm (24-64mm equivalent), and I also have a 0.79x wide-angle adapter for video that works well. The VX-981 has a 30-630mm integrated lens. The S5ii, even at pixel-to-pixel, won't reach anywhere near that. Enough said. It's for fun, not work (who cares so much about quality, yeah, "only" 4K) Without a doubt, the S5ii blows away the other combo in every way in terms of image quality from 20-60mm. I even reckon the proxy files are better than the 4K files on the VX-981, but somehow, I have more fun shooting with the VX-981 and the GX800. Maybe it's the challenge of it; I'm not sure, and I don't even understand it myself. Any thoughts? Is this a huge mistake?

its almost as if everything other than the camera is more important than the camera itself… (which makes this 90% of this forum’s topics basically entirely pointless)

No worries...as I noted it was a still shot with Sony A7iii. I am foolish enough to attempt taking photos of dancers with manual lenses in dimly lit halls. To keep ISO down I use fast lenses wide open or close to it, which means I rarely nail focus. But the dancers love these photos, especially when focus is not spot on. On this one I used a Minolta Rokkor 58/1.2, probably wide open based on the shape of the OOF highlights.

The XA50 I've been messing around with for the past few weeks has brought a new joy to filming that I haven't experienced since I first started shooting with my 5D and an IS lens. The top handle and the hood with its flip switch lens cap makes carrying and shooting a pleasure. With other cams, in between locations, I'd take off my VND filter and then put the camera back into my bag. With the camcorder, it just sits in my lap until I'm ready to shoot again... which is such a quick process... flip open the lcd, flip the lens cap switch, check exposure, record... I can grab shots from standby mode to record in about 3 seconds or so.

Like I said, maybe noise doesn't bother me as much as it should. Here's an example of a still shot on Sony A7iii (uncompressed raw, but only 24 megapixels); I have my ISO capped at 12,800 and that's what the EXIF shows but it was at least two stops underexposed so I had to bring it up. I did no denoising myself although Capture One applies a bit of denoising automatically (and adds a small amount of film grain) so maybe that's what's going on. The level of noise here doesn't bother me at all. For video I'm using Blackmagic cameras, none of which apply any noise reduction in-camera; they leave that up to you in post so you can dial in as much or as little as you like. In low light those cameras are super-noisy and even if I crush the blacks I usually have to denoise every clip.

That camcorder is just so much fun and it has decent IBIS, something that the GX800 lacks. I'm going to take a mini tripod for it for that reason. To get out to 600mm equivalent, it would require the Olympus 75-300mm, which I also have. The problem is that it's the same weight as the VX-981 and it's near unusable on the GX800 unless on a tripod. The only thing that could "replace" the VX-981 is the 14-140mm or the 100-300mm due to their OIS. Also, I just love camcorders now because how versatile they are. I should also add that the audio on the GX80/85/800 are not great whereas the VX-981 has great audio.

I can perfectly relate. GX800 should be perfect. GX85 quality in an even smaller body if I got that right from your review. Coupled with the small and mighty 17mm 1.8, dream combo I would guess. I love the iq from my GX85 both for photo RAW and video 4K in combination with Resolve. Like we all know, a 10bit GX with HLG would be a smash. Your GX is still a hit. I would bring a third lens for the extra lens nerdy fun, a tiny Canon FD 100mm F2.8, a few grams of extra weight but tons of extra fun as well. You could leave your VX981 at home too.:)

Makes sense to me

I was using the 200 mbps HD intra for these which gives the added bonus of extra at the wide end and a lot more reach at the tele end. And the stabilisation is easily good enough to hand hold even at 500-600mm equivalents. The amount of different shot size coverage you can get out of this camera as a consequence is ridiculous.

The only comparison that we all really need to do is of footage that we make from cameras that we own and of what other people are making with it. If theirs is better then the camera isn’t the problem and we should stick with what we have until we can make ours as good. And then don’t think of “upgrading” until we do. With any camera from the past five years (at least), the ceiling that we hit is usually our own capability rather than that of the camera. And, yes, I am absolutely flat broke after not being able to follow my own advice on this !

And yet the FZ2000/2500 that is the camera for ticking every single one of these boxes can’t get arrested. Same sensor size as the Super 16 film format that was used in classic BBC travel docs such as Palin’s Around The World In 80 Days but with an optically stabilised zoom with a huge range, internal ND and without the flightcases. Cheaper than the iPhone as well.

Talk about Freudian slips! But it's ok.. we all secretly want the software look.

It looks great. Love the motion you captured in the still. Still really like the color too. I've been so tempted to try out a Sony camera... eventually the FX30 probably.

Yes, the XA50 looks like a great setup that don't really have to fuss too much with. The internal ND is a huge bonus. Camcorders, in general, are so easy to use. For the VX-981, I got a magnetic VND filter for it and just slap it on to get the shutter speeds down a little. It's certainly not a perfect camcorder (lack of any exposure tools, even no histogram), but it's small.

The newer pro camcorder versions of the FZ such as the HC-X2 have internal 4:2:2 10 bit now. Yeah something more like the XC10/15 lens range with the internal 10 bit 4:2:2 would be eminently doable for them. But they won’t because they hate us 😉 Panasonic did actually release a new bridge camera this week though (FZ82D) but they’ve gone with a 2/3” sensor and a quite insane 20-1200mm equivalent lens! I doubt it signals a refresh of the FZ200/2500 but you never know.

Never mind... I didn't read your comment thoroughly enough. Or it would appear... at all. Haha. Still a nice shot, though!

Just to be clear, as long as you hold the button pushed in, the footage will be in slow motion, when you release it, it goes back to regular motion. Such a cool feature that no other camera has. Here's a video I shot with the camera many moons ago. This video just demonstrates the camera in slow motion, not while using the push to slow function. Looking back, I'd probably make the grade a touch less brown, but it was kind of a cold, brown day...

Absofuckinglutely. I see what others get out of the S5II and it’s always a case of ‘must work harder’ (an ongoing lifetime project) and never a case of ‘I need a better camera’. A smaller one. A lighter one. One with better (actual) IBIS, or AF that is reliable, all valid reasons to be looking elsewhere, but if it’s simply a case of your work looks a bit cack next to A.N. Others output, well that’s on us.

He was my favorite cycling superstar hero back when I was a kid! And yeah, he got so many second places at the Tour de France!!! (FIVE of them!!) But he least he still got a couple of Grand Tour wins of his own (the Tour de France itself, and the Vuelta).

Not as far as I am aware. I use DXO PureRaw on raw stills files. Video software is available such as Neat but I have never used it myself and haven’t experienced any issues with video noise. Possibly because in lower light of after dark, I light everything…

Another type of filter that gets used frequently in cinema is ultracon filters. The name suggests that they increase contrast, but in fact it's the reverse. They don't cause halation or soften the image in any way, they just distribute more of the ambient lighting toward the shadows, reducing contrast. They come in a variety of strengths; 1 is subtle; 2 is more noticeable, but they go all the way up to 6 I believe. I have #2 and got it specifically to tame the high contrast of the Sigma 18-35 when shot outdoors, where it can produce very ugly footage. I have an OLPF on my cameras that softens the image a bit already, so I'd rather not soften it further. I found a brief demo of this filter at #1 strength on the Sigma 18-35 here: The only drawback to these filters is that a very bright light source, such as sunlight reflected off water, can wash out the image and make it milky.

LOL I stand my like though : ) but I thought you meant some outcome coming from post instead versus native acquisition and made sense anyway when you placed that "if"... take a 2nd take and read it again ; )

Or DXO or Topaz. I run everything through DXO these days. 1000 files is about an hour while I walk the dogs. Then when I am back, I import the DNG files into LR with my import preset and hand edit from there on in, but noise is a potential issue that has already been solved.

That seems like a good setup. I'm sure you'll get some good content. Let us know: 1) how the content turned out; 2) how your arms and back felt after a full day of to doing it. Those are the two points where I think FF can fall short in terms of expectations. I still very much like the idea of M43 regarding these two points, granted the savings in terms of weight is not so great when comparing your E-M1ii and S5ii setups (a 285g difference and more reach with the Olympus).

A softer* look. Sheesh.

If I want a software look with lower contrast, I prefer to use a vintage lens. Want really low contrast? Go single-coated or uncoated.

As written up there, horses for courses and to each its own... that's where the whole matter of 'taste' pops up and it's useless to discuss the choice for yellow (to those who still don't "believe me", please watch this and you'll be prone to about eight minutes of fun, a trustworthy portrait of a lot of grounds over here which could be addressed to these and other boards and respective 'talks' related and, a masterpiece... enjoy!) ...but it's a point of merit this one for sure, hence a solution for use later on going along the post: And also another useful source of information, especially as first grade but always no less a helpful reading, towards the topic: https://diopte.com/blogs/camera-filters/the-best-filters-for-achieving-cinematic-effects-in-2024

The application scenario is critical, of course. But first, the individual has to be aware that cameras exist to record footage that will be edited and then shown to viewers. The majority of discussions here are wilfully ignorant of that entire concept.

I bought a BMP 1/8, shot a test video on it of a walk around the city centre, and then discovered in the grade I didn't like it. It gave a softer look, but all the shadows were lifted, and when I tried to give it a more contrasty look it just looked wrong. This was day external footage, so very high DR. Considering that the average lens has a little of this already, and you can add it in post if you only want a subtle effect, it's not for me.

I totally agree, I just upgraded my Panasonic S5ii to the latest firmware, and in IBIS "tripod mode" with the 24-105/4 OIS I was able to handhold a 2-hour theatre production for the zoom close-ups and it is as steady as my wide tripod shots. I'm going to shoot my first live event (carnival, moving around) with my S5ii and 24-105/4. I've shot it for every year on just about every Panasonic and Olympus camera since the summer the GX80 came out. I'm curious how the S5ii will compare. The best so far was my E-M1ii with the Olympus 12-100/4 OIS. That was an amazingly stable setup. I only switched to the S5ii as I needed better low-light for theatre photography and use the Sigma 14-70/2.8. Actually high iso might not matter much anymore even for photography as the AI noise reduction in Lightroom is amazing.

That said, I've just paid one unit (for now) of this temptation today... not only but also because of this: Tests will probably lead to a 2nd unit a couple of years distant from the release year, it happens! : P Let's play with a few comparisons then: Why I DON'T Travel With a Camera Anymore iPhone 15 BETTER than the SONY FX30? IPhone 15 Pro Max VS Sony FX30 - Cinematic | Madrid My Thoughts Comparing the Sony fx30 and the fx3 Nothing new to see here so yes, I bought it with the XLR-H1 Top Handle Unit as a fair bundle (new condition) for a hundred bucks more ($131 to be more precise) no matter what* : D for a fraction of the original price, yes. Maybe it will actually be used for stereography 3D acquisition based on 4K 100fps coupled to proper native ISO ; ) The fact is the possibility of using my anamorphic sets MFT based, as well C mount bargains and all the PZ + Clear Image Zoom offers by Sony, have made something really unique to my eyes for same price I have bought a BMCC6K-FF the month before :- ) * with studio tests

Kinda…but not really. Nikon has: Zf, Z6III, Z8, Z9 L Mount has: the super expensive Leica SL3, the old and lacking in so many ways, FP pairing from Sigma and Lumix has the S5II/X. Plus the soon to be replaced S1 line with the S1R long since out of production and the others, what 5+ years old now? Now if we’re talking end of this year or next, then yes, with what will probably be a new S1 line (or single camera at least), I think the balance might be addressed. But until then… And don’t get me wrong, I am an L Mount user (3 of my 4 working cameras), but the S5II/X is really the only current ‘pro’ camera that could arguably be recommended. New Z6III over an S5II? Maybe. Not really looked at it other than for stills and for that, easily a Nikon win for me. And I haven’t included the Lumix S9 as it’s a toy camera only a complete muppet of a pro would use…which is why I have one on preorder and should be my main workhorse by the end of this month 😉 Horses for courses and all that and I don’t know your needs, but blank slate, I’d go Nikon for my needs right now. But as I don’t have a blank slate and have to write my own checks, a 75% Lumix, 25% Sony mix it is. Unless the Sony fails to deliver this weekend and then that 25% will revert back to Nikon…

IF I was you, I would wait a little bit until a CineD lab test. As shown with the Z9 test, between synthetic benchmark and real life latitude test, the result can be very different. Same for the Sony Burano which with the Z9 scored poorly in the imatest test, were for Nikon about the highest Sony based sensor camera with 8 to 9 stop (Even better than the Sony Venice 2), and The Burano, which with its 10 stops latitude, is the first camera to equal the original Arri Alev sensor.

As well as the add on wide angle and anamorphic lenses, it does have a decent virtual zoom with a good ergonomic operation using the thumbtack. Its range is dependent on your resolution of course but for the purpose as a travel camera its pretty good.

iPhone, because it has different focal lengths. But that would apply to anything - if I could choose an iPhone or Alexa or FX3 or.... but the other cameras could only have one prime lens, I'd still choose the iPhone.

I would like to include Jan Ullrich in this discussion. He was one hell of a rider. German media always bullied him, as they were never satisfied when he didn´t finish first and whenever someone else was taking the crown. They had their share when it comes to doping, they that is the media, press, adverisement and sponsors. They are guilty of being unappreciative and meanspirited about second places, about loosing a race without a place on the winners´ podium. None of these jerks ever won anything themselves but throwing dirt at people who they exploited for their ratings, exposure and advertisment. Cycling was huge in Germany in the Ullrich era. So many profitizing from Ullrich and so many never having to stand up for their deeds, and their participaiton in the doping system.

Which will you most likely shoot with when out for personal video capture

Then the little cheating fat bastard is dead to me now 🙂 I was watching it and at about 750m thinking "nah he's going to have to try another day" and then he just crowd surfs his way to the front. What a moment. He has another shot today but honestly I just hope he can hang on to the end of the race as the last stage is an individual time trial from Monaco to Nice and he deserves what will effectively be a 33km lap of honour. I might not be able to resist the urge to head down there to see it in person.

You could just imagine Lindybeige, in a pub, on his own, having a good old chat with himself. About anything.

100mm on MFT is definitely a pretty long telephoto for sure, but remember that in my case I had IBIS in the camera and the OIS in the lens both helping with the stabilisation. Depending on what camera and what lens you have, they might not work together like this, so you'll get less effective stabilisation. I find stabilisation to really be a bit of a gamble - you can get good comparisons from people and they're likely to be good information but until you actually test a setup yourself you're not going to know in what situations you can get a stable image. I've found that there are lots of things that can impact your ability to get a stable shot, for example all the following will have an impact: if you're tired if the ground is level and solid or not what sort of shoes you are wearing and if they're comfortable what pose you're in if it's windy your caffeine levels how tired you are if there are bright lights shining in your eyes (obviously) if you're moving or walking, but even then there are all sorts of techniques involved and how much practice you've had at them, etc Perhaps the best advice once you've bought your equipment is to practice as much as you can, know what you can and can't do, and have a backup plan in place for when it gets difficult.