MrSMW

Panasonic 85mm f1.8 has turned up. First impressions, it's light, compact and well built. Second impression is that the AF seems marginally better than the kit lens that was 'OK' and much (MUCH) better than the Sigma 56mm f1.4 In fact, I am cancelling my order for the Sigma 16mm and 30mm f1.4's and probably returning the 56mm f1.4 I'm going to do some more thorough tests tomorrow but it seems that it's true that the L Mount Alliance may share a lens mount, but they don't all share their protocols as much as they might. I don't need ultra-amazing AF, but there are times when I need it to work and it 'seems' at least, that Panasonic glass with Panasonic bodies is the way to go. So back to my original plan and will await the announcement of the Panasonic 24, 35 and 50mm f1.8's and work with that set instead. Maybe even 1 less body as I am actually quite impressed with the IBIS and it's only a total of less than 10 minutes I actually need a monopod for dual photo/video at the same time and that will save me the cost of one full body. But the new 85 is looking good. But then I thought the Sigma 56 was...but I have done a little more testing before opening my gob this time 😉

I think it’s going to potentially get interesting when the full lineup of f1.8’s are available; the 24, 35, 50 and 85, the latter of which is now shipping. Hopefully by the weekend for me and then I will know more. A few have reported MUCH improved AF after the firmware upgrade, but they may be smoking something... I really need to experience it to believe it as I’m pretty sure it’s marginal at best.

Nope, but as above, for photography AF, I doubt there would be much in it though the S5 is probably a little slower, but as accurate as CDAF tends to work that way. My own experience of the S5 is just that, it's not lightning fast, but it is accurate. Sports or any fast moving subjects is not really any CDAF lenses forte. Video AF is another matter and the Sony will slay the Panasonic, roast it and eat it for lunch. Every time. I'm running tests right now between the 2 lenses I have and that is the Pan kit lens and it's 'OK' and the Sigma 56mm f1.4 and that one is so far terrible. In fact, using myself as a subject (as no one else is home), 5 times out of 5 attempts, it remains locked on the background and will not pick me up in any mode or at any distance. Not once. Switching to the Pan kit lens in the same lighting and the same settings, it will, but not instantaneously. I had more success yesterday (with the Sigma) when I could lock on the subject before pressing the record button, but it still wasn't great. Summary so far is that with native it's OK, with anything else, even from within the L Mount Alliance, it's iffy and I imagine with an adaptor and a Canon lens, ha ha ha ha good luck with that. I have the Pan 85mm f1.8 arriving shortly so looking forward to seeing if that is a bit more tuned for video AF... New firmware may make a difference. I am downloading that one as I type. They do sometimes sneak something in there rather than admit there is any kind of issue and there is supposed to be something in that regard for shooting log, but we'll see...

65mm f2 is an odd one! On an APSC or in crop mode though, makes it a 100mm which is more interesting! I’m pretty fixed now with what I am doing but I will be keeping an eye on this and anything else because as much as I wish to be ‘done’ and that’s it for the next 3 working years, if there is a better and viable alternative, it’s at least worth considering. Mostly I am looking forward to lockdown easing in the New Year and getting on with the commercial and personal projects that are beginning to stack up.

Update. Just spent the last hour testing the 56mm f1.4 and mixed results... AF tracking first. Using 4k 50p and a tweaked version of the Natural profile, it sucks balls. Hey ho, not my intended use for it anyway. It's fine when the subject is standing still but say moving head, chatting etc, but walking forwards, nah. In and out of focus the whole time, but actually more accurate the further away the subject when using face tracking. I was shooting wide open the whole time as I'm only going to test how I'm intending to use and face is actually pretty decent up to around 10 or so feet, but any closer, it loses it and won't pick up again. I have sensitivity on -2 and tracking on -3 ie, max lock. Can you trust S5 AF? Nope, not for anything moving towards you anyway. But it's not all bad news... The separation at f1.4 is great and something I am looking for and the IBIS is actually really good. Without resorting to electronic, it's close to tripod. Not quite, no IBIS can be 100% rock steady but it's pretty close and I am really picky about such things. The 56 is intended as an indoor lens however, on a monopod and for the kind of use I intend, the AF is much better when there is no distracting background such as tree branches and sunlight causing potential distractions and I did my tests in this regard direct into the sun also so the worst possible combo. Indoors, it remained pretty well locked on though I think I'm probably just going to use manual focus all the time unless it's an entrance or an exit or confetti or similar in which case I'll be using the kit lens at f5.6 which is a bit more forgiving on focus anyway. No background pulsing. Absolutely zero. I believe this is because: A: I'm not using wide angle lenses and B: When using a very shallow DOF, there is less background contrast. C. Have the sensitivity on -2. In other news, I've just received notification that the Pan 85mm f1.8 is now in stock with my dealer and on it's way to me and should be here by the weekend. That will be the real one for me to test as it's intended to be my prime workhorse and cover 75-80% of the day and by several accounts, an actual native as in Pan lens on Pan body should have better AF. A recent test by a guy called Pav in the UK showed that back to back, the Sigma 85mm f1.4 was MUCH better than the Pan 85mm f1.8 for stills AF, but for video, the Sigma was a bit rubbish and the Pan was really good. That's OK, that's my intended use for both these lenses. There are some strange quirks with the L Mount system for sure!

Picture below of the ‘indoor’ combo of: S5 + Smallrig L bracket + Sigma 56mm f1.4 + variable ND that rotates with the unbranded metal hood, on el cheapo ball head thing (purely for straight horizon) and freestanding Sirui monopod. As above, for dancing (only time I need a wide angle), Sigma 16mm f1.4 instead. Most of my time is outdoors however and for that the Panasonic 85mm f1.8 will be used like a ‘130mm’ FOV.

I tried one single outdoor tracking sequence from around 50 feet away (face tracking mode) and it locked on body immediately, went to face as the subject got nearer and then eye at about 10 feet. Pre new firmware, if that is going to make any difference... Locks and tracks nicely indoors. I will give it a proper run this afternoon with one of my unwilling subjects but it’s looking good. Will I use it for stills? No, but only because I moved from Fuji to the L Mount system for a reason and that is so I could continue to shoot S35 video and full frame stills in one system. Will I shoot any APSC stills at all? Yes actually, but not with any of the Sigma APSC lenses and I will be getting all 3 as part of a single camera/3 lens dedicated video set up. I made a final decision on my stills lenses late last night after wrestling over every possible combination and came to the following conclusion and that is neither the f2.8’s or the big/heavy f1.4’s (such as the Sigma 105) are going to work for me. Instead, I am going to weld a Sigma 35mm f1.4 to one body and the new Sigma 85mm f1.4 to another, but when I need to (ceremonies and speeches) flick to crop mode to get a ‘130mm’ in camera crop. I need small and light and fast and portable as possible and for my needs, I have cracked it now. Final line up: Static video = S5 + Sigma 30mm f1.4 + tripod + power bank. This unit for ceremony & speeches only otherwise 20-60mm kit lens goes on and unit lives in my belt as my wide angle stills lens. Filming = S5 + Sigma 16mm f1.4 (dancing), Sigma 56mm f1.4 (indoor) and Pan 85mm f1.8 (outdoor) giving me 4K 50p focal lengths equivalent to: 24, 84 and 127.5mm. This unit lives on the freestanding monopod. Stills = pair of S5’s mated to the Sigma 35mm f1.4 and Sigma 85mm f1.4 which can be extended in crop mode to 127.5mm. I also have the super-wide 20mm focal width of the first unit all day except ceremony & speeches when I don’t need it anyway. 4 bodies + 7 lenses and it’s all still one backpack and one small camera bag with the monopod in hand, including my tiny folding carbon tripod, light stand, lighting, audio and drone. Phew. A lot harder than I thought but I remain convinced there is no better system for my needs right now than the combination of L Mount Sigma glass with S5 bodies.

I don’t wish to see them go. Quite the opposite as I started my career with Nikon and after a gap of nearly 10 years, would have gone back to them. But others meet my needs better than they do so whilst I may be only one single nail, all the individual nails add up... Speaking from a camera perspective which is my only interest in the Nikon company.

I personally am getting a little tired of drone and it’s a PITA on a wedding day, but it’s the one thing folks ask before booking, “do you have a drone?”. As for the rest of it, I don’t do it anyway, partly out of stylistic choices and partly because as a one man hybrid band, only so much technique I can manage anyway! In other news, my Sigma 56mm f1.4 turned up today. What a little beauty. Small but chunky, a nice weight to it but still light. It reminds me in some ways of the Canon ef 50mm f1.8 I used to use in 2018 as my primary lens. Not used it yet, but I think I am going to love it and that’s one more item checked off. This is one of the beauties of starting a new system from scratch, - everything is new. Currently weighing up the dilemma of: A: Sigma 45mm f2.8 (free lens) with Sigma 105mm f2.8 plus 1.4 teleconverter for when I need something longer. This is the cheaper, lighter but slower option for stills using 2x S5 bodies, vs B: Sigma 35mm plus 85mm plus 105mm, all fast low light f1.4 beasts, but it’s an expensive option compared to option A and the 105 is an utter beast of a lens at over 1.5kg, but arguably one of the finest portraiture lenses available. 3 lenses with 2x S5 bodies swapping out the 85 as an indoor lens and the 105 as my outdoor. I am currently leaning towards option A based on; price, size & weight.

I don’t need one of these types of cameras, but if I did, it would be the Volvo...I mean Canon C70 without question. Otherwise I like the modular concept, starting with something the size of the Sigma FP and built out to individual needs.

Just popping down the rabbit hole of eBay used TL2’s. I shall probably be some time...

Just went and looked at the CL again. I had forgotten it existed actually though it was on my radar once for stills. What put me off at the time was those lenses. And the prices etc. And that I could have an equivalent X Pro2 kit for half the price. Those 3x f1.4 Sigmas make it a whole lot more interesting but I think if it’s not actually illegal, it’s like crossing the streams putting anything but pure-bred Germanic glass on any Leica? Verboten. Slightly tempting...but only slightly. I’d rather go X Pro3, but then, I’ve chosen the S5 for a reason. The ONLY thing that is going to piss me off is if after investing 4 of the things by next Spring...and that is only happening if 2021 is definitely on as a working year, that they announce they are going PDAF. Because used prices will plummet. Having said that, I have done my maths and the calculation is 3 years working life = 250k turnover of work for a 10k kit investment, so even if I have to chuck them away after 3 years, I will have had my money’s worth.

Ah yes, the expensive and slow crop Leicas 🤑 The Sigmas on the CL however might be interesting for stills...

This. My own 'aesthetic' choice is for the camera to remain static at all times. I do not want it to move as much as 1mm. My clients probably wouldn't be, but I am hyper-aware of camera movement in anything I watch. If it's following a character, OK, that's 'natural' as are several other techniques, but for myself, I just want the scene to tell the story. If that makes sense.

L For pretty much most people this would make no sense (using crop lenses on FF bodies) and whilst I moved to the S5 from the XT3 for full frame stills, I will continue shooting 4k 50p for everything with the S5. Why? Partly so I can slow any piece of footage really easily but also because my focal length for video is mostly anything from 75-150mm in FF terms. This less than 300g lens gives me 85mm @ f1.4 which for me indoors, is just about perfect and with the full frame Panasonic 85mm f1.8 for outdoor use, I'll get something more like 125-130mm. A lot of wedding videographers seem to like using a 70-200mm f2.8 for outdoor stuff, especially ceremonies etc, but these are 1-1.5kg lenses. I know I will be happier with the sub 400g 85mm f1.8 (when it arrives) and with 4k, reasonable latitude to punch in further if needs be, ie, I can skip lugging a 70-200 around. I'm pretty much a prime person anyway and position myself based on certain focal lengths instinctively through use of said focal lengths. If/when I use zooms, it tends to be as 'twin lens primes', ie, at the wide end or the long end but never anything in between. This is why I was considering the Sigma 50-100mm f1.8 because for my needs, it's a 'twin prime lens' of 75mm and 150mm in FF terms. Except it weights exactly half a ton and then there is still the adaptor to consider... My experience of such weight on a freestanding monopod is the taller it gets, the less stable it becomes and the danger is toppling and just moving it around all day is takes it's toll. Back to the Sigma 56 though, as far as I am aware, the trinity of; 16, 30 and 56 are the only native L mount APSC crop lenses? I will get the 16 next Spring, purely for dancing. A 24mm equivalent f1.4 is perfect for that for me and I will probably pick up the 30mm also to complete the trinity, for static evening speeches in the dark other than a few candles, which some clients like to give me to work with! I will have the 56 in a few days so look forward to testing it. YouTube is full of reviews and tests of this lens on Sony crop bodies and M4/3 bodies but basically nothing on L Mount, but even from the Sony stuff, it looks perfect for my needs.

A crop is just a crop whether in camera or in post. There is no other voodoo going on.

Still waiting in France... Received notification a week or so back it was on it’s way and then a few days ago, “due to incredible demand plus Covid plus blah blah blah, sorry, delayed”. Still, it’s a 500’ish currency lens for free so can’t complain too hard.

Not 100% 🤪

Mine are 90% outdoors and typically 30-40 degrees Celsius in the shade...but people like to do everything in the sunshine, especially if they are Brits and for 10+ hours. Light and portable is my friend! I have been known to drink 5+ litres during that time and I’m not exactly unfit...

As above, if you simply switch into APSC mode, compression will not change as it is just a centre crop, ie you lose...or simply see less width and height that you just did in FF mode. Your crop is 1.5x not 1.6x which is a Canon sensor crop and nothing to do with the lens.

@TomTheDP I could attach some lead weights to the bottom of my camera? 😬 But seriously, the massive advantage of using a freestanding monopod, light or heavy set up, is that whilst that is rolling, I can shoot stills at the same time, ie, it’s like having another me with me. Weight does indeed stabilise, but it also fatigues and for the last couple of years, my filming combo of; monopod, cage, body (XT3 and prior to that XH1) powerbank, adapter, lens, added up to quite a bit to keep picking up and moving one handed for 10+ hours. I decided to put my money where my mouth is and ordered the Sigma 56mm this afternoon. I don’t need it right now, but need to play/try it and already have a 58mm VND, so also ordered a cheap 55-58mm step up ring. Body and lens, 1kg / 2.2lbs in American. Mucho lightweight even on the monopod!

Oh and one other thing, I pretty much hate camera movement. Any. So IBIS for me is for stills and why I need to stick with mono or tripod for video. I've tried everything switched on including the e:stab and it's good. Very good. But I still see movement and it bothers me. My style simply is not handheld look, never mind pans or gimbal type work. If I shot pure 100% video, then maybe, but I shoot 50:50 stills video and I have to draw the line somewhere in regard to what I can achieve. And just personally prefer the static shot where the subjects move and provide the interest.

It's really simple. I have mine set up C1 for stills and C2 for video, so just a flick of a switch. And even with a variable ND at it's lowest 2 stops, on the stills side it's actually quite a good thing as it eliminates my need to shoot super-fast electronic shutter mode speeds in bright sunlight wide open. But no, it's not that, but more the solo hybrid shooter in the real world aspect. Most of the day I can flit backwards and forwards between stills and video as there is enough time, but then there are times when I need to do both at the same time which means freestanding monopod (over tripod for speed). Real world though, getting a camera off a harness and onto a monopod and back off and on and off and...see what I am saying, - it's a faff thing! Instead, one camera, one lens (zoom or change primes from time to time) dedicated to the job and then just set up and use the stills cameras to do their job. So it's not so much a case of I can't make it work, but rather a case of I can make it work better if I keep certain tools dedicated to certain jobs. The 24-75mm f2.8 for me, not the 24-105 f4 (f4 is pushing it for my needs), but this lens is on the monopod and working at the same time capturing clips whereas the 20-60 is on a tripod and capturing longer form video statically and remotely, ie, I need 2 bodies with a lens each to do this job. However, I am now veering back towards primes for the filming/clips role; the Sigma 16mm f1.4 for dancing, giving the same width as the zoom, but 2 stops faster, the Sigma 56mm f1.4 as my indoor general purpose lens and 85mm is actually my 'ideal' for most of my indoor work and then the Panasonic 85mm f1.8 as my outdoor 127.5mm equivalent lens. All 3 add up to about the same cost as the single 24-70 and combined, weigh about the same, but on the monopod, all combos are MUCH lighter, the wide Sigma the same width but 2 stops faster and the 85mm, a decent amount more reach outdoors. It has been weighing (pardon the pun) on my mind that the 24-70 is a bit of a beast, but I think this prime option will work better as it offers more flexibility and in summary, a 24, an 85 and a 130mm, 2 of which are f1.4 and the latter f1.8 vs single lens 24-70mm f2.8.

Definitely what works for you is always the ‘right’ answer. I rarely shoot video wider than 50mm and yes, my only real criticism of the 20-60 is it’s 3.5-5.6 and I would rather it had been a constant f4 even it it had been a little bigger, heavier and more expensive. Also forgot to say, focus clutch on the 24-70 f2.8. Love that and will suit my needs perfectly which is AF at weddings only for confetti, entrances and exits, ie, when I have to shoot stills at the same time and the subjects are moving towards me. Rest of the day manual and the zoom in peaking is quite decent on the S5 though could be a bit stronger?

Having said that, I am not ruling out going with 3x S5's and 1x S1 come next Spring instead of 4x S5's, purely to have that S1 in the dedicated static no record limits, video role...