MrSMW

My personal preference is the Contemporary line from Sigma. I think these are great for photo and video users with manual aperture rings and a convenient AF on/off switch. Mostly f2 primes plus compact f2.8 28-70mm. All that is missing for me is something like a 70-180/200 under 1000g. If this line was available in Canon RF and they made that compact sub 1kg longer zoom that I need, I’d buy up some used R3’s (which are finally coming down in price) and happy days would follow.

Long since killed 4/3 for me. Well compared with the G9 and OM-1 anyway. S5ii vs G9 in the same body? Other than the longest of lenses, or unless you were heavily invested in a huge range of 4/3 glass, why would you? And the OM-1, I love it for its build and handling and even how it looks, but if I had to pick just one to work with, photo, video or hybrid, again, for me at least, it’s a no-brainer, S5ii. The teeny tiny bodies and lenses, for discrete use, fair enough but for work, nah. I still don’t much care for it for stills though which is why I have moved to Nikon for that. Same sensor in the Zf and Z6ii and I prefer both, in different ways, for stills and the result I am getting out of them is near identical (as in as good or better but not quantifiably) but the Nikon user experience is better. The Zf is the snappier but less ergonomically good than the S5ii but the Z6ii with or without battery grip is nicer to use than the Lumix. What I want is the guts of the Zf in the Z6ii body and that will probably be the Z6iii within the next couple of months. If so, I am done and will have the perfect pair for my work; the S5ii for video and Z6iii for stills because I will trade the Zf and Z6ii for a single Z6iii. If I had to rate them for use case, I’d say that the S5ii is more like a 65% video focused MILC and the Z6iii the opposite and around 35% video. The Zf somewhere more like 50% because it’s highly capable for both video and stills but it’s issue is always going to be it is not a great lens platform and is really only suitable for small primes. I currently have the Tamron 28-75mm f2.8 on it and the results are great and it’s not an ergonomic nightmare, but a DSLR style body is much better to work with. But back on the S5ii, it was already my first choice for video (alongside the S1H which I prefer actually in EVERY regard except AF and that is why I had to make the S5ii my primary and not the S1H) and there were only two things I held against it: 1. The shutter button sound and feel. Tinny and not great next to the S1H and that killed it for me for stills use. Moving to Nikon solved that. 2. I use it with a Smallrig cage, side handle and Rode Micro. Try that on a gimbal 🤪 The latest firmware upgrade takes it from being ‘OK’ without a gimbal to ‘absolutely perfect for my needs without a gimbal’. What else is there in this class right now? Sony A7iv? Arguably better for stills but not as good for video. Nikon Z6ii? Equal for stills but not as good for video. Canon R6ii? Some will prefer its full frame 4k 60p but otherwise I don’t think it’s quite as complete a camera as the S5ii. And if you were already in the system, no reason to change. The Z6iii will be the next interesting one I am sure, at least equalling the S5ii for video and stills but taking the overall experience to the next level. I think…

It’s also an ‘updated’ film noire approach for the 2020’s. There’s also a nod I think to Wes Anderson, but not in a comedic way and almost every single frame is a like a work of art. The locations, the lighting, the framing, how one frame leads in to another… My kind of filmmaking.

Yep, every time I invest in one, it ends up being too much for my use case. Too much cost, battery charging, transport, set up, storage etc. Just a PITA. No longer and never again!

It’s not just because the B&W makes it ‘arty’. The script is great, taking what was originally a book, then a French film, then the well known Matt Damon movie and now an 8x near 1 hour episode series. The acting is great. The cinematography IMO is superb. I have zero criticisms of it and that is rare for me.

And the utter lack of it has me admiring Ripley on Netflix right now. I’m partly thinking the Amalfi coast should be in colour, but the rest is definitely working for me as a B&W production. Of course it would look shite if the coastal stuff was colour whilst the rest was B&W but chapeau on this 8 parter, I think it’s great. Sorry it’s not a Joker II comment 😛

I should add that anything that does require a tripod such as full length ceremony and speeches IS being captured by the S1H on a tripod.

Purely walking backwards in front of a couple walking towards me at approx the same pace. Tried it previously with the gimbal and of course that works perfectly. Tried it with just the S5ii IBIS and with/without current EIS with mixed results. The new level looks 👊 Job done so good I sold the faffy gimbal and instead, from next week, I’ll just assign it to a custom setting et voila. The rest of the day, ie, everything else is IBIS only which is perfect for the job. I do not have the time to tripod every shot and a monopod also gets in the way so a super steady handheld shot is key for me and IBIS alone with the S5ii achieves this. I’ve even held it 2-3 minutes previously and whilst you can tell it was not on a tripod, it’s not far off and there is no real camera movement. I’m not a camera movement kind of guy so don’t talk to me about panning etc 😛

I’ve been wrestling with just having and using a gimbal for at least 5 years now and have just sold my 3rd and final trial unit, the DJI RS3. I have such a limited use case and arguably don’t need one at all, but there are a couple of times on most jobs when I would like the option but without any of the hassle. Step forward firmware update 2.0/3.0 It’s not out for a few days other than with a few folks who are showing it off, but damn, it’s looking good. OK it’s based on an even stronger EIS which crops harder, but that is fine by me as I prefer a longer lens and with my Sigma 28-70mm f2.8 glued on to my S5ii and in S35 4k 50p mode, what was already more like 42-105 is going to become more like a 50-120. 👍👍👍 For the very rare times I need wider, I still have the dinky 18-50mm (27-75) in the bag but this is now one sweet set up for my needs.

My prediction is: 1: Add 8k RED raw to high end MILC's such as the Z9 or its successor. 6k to lower tier stuff such as the Z6 line... 2: Develop a cine line of their own in tandem with a RED line but a few differences, a bit like Lumix SL2 and Leica S1R (see what I did there?) ie, just boxed and badged slightly differently. 3: The next RED camera will have Z Mount as will any/all future RED cameras and RF for one final fling...if at all, before cutting Canon completely out of the loop. Summary: Nikon have come back strong in the last couple of years, especially with the Z9, Z8, Zf and probably Z6iii and I expect that market share and their image to continue to improve. I expect them to push now into the video/cine market much more than they have with just hybrid MILC cameras and develop a dedicated cine line akin to Sony, so FX3, FX6, FX9, Burano... The appeal and their market will be to 'prosumers', hybrid event shooter people like me, indie filmmakers and the commercial market plus maybe some 'Hollywood' budget level productions, but won't oust Arri or Sony from that perch, ie, will be niche in that regard. Nothing else makes any sense to me. But what do I know, I ain't exactly Quasimodo. (Got to be a boxing fan to get that one) 😜

I think it would be a much easier task to develop into this market rather than try and tackle head on the established ‘Hollywood’ industry. Pretentions of serious filmmaking? Then have someone use your new Nikon NX3’s on the sequel to ‘The Creator’, but otherwise, gifting 100 units to 100 Kool Kids for their YouTubes is extremely cost effective marketing.

Indeed. I did not put that very well... What I meant was that as someone invested in Nikon bodies and adapted Tamron E Mount lenses, I could easily go either way, ie, all in on Sony or Nikon. At this point in time, ie, 2024, I'm not planning on it however. My season has already started up and 3 jobs in, my conclusion so far is that I have zero reason (or desire) to switch from L Mount for my video needs as it just works, with my S1H now set up as a static 'camcorder' and my S5ii on run & gun. The Zf is a beaut and so is the Z6ii with battery grip, both for stills. The only thing re. the latter set up is I much prefer the ergos of the Z6ii with battery grip, but ideally with the capability of the Zf... I would also prefer to only have one unit in the stills role and not two. As soon as the Z6iii appears, I think it's a done deal for me. The rumors (ha, if you can trust them) are 6k but obviously no mention other than some very recent speculation and hype over RED raw, but I'd take it at launch or firmware update or even never as this for me, at least initially, would be a photo-centric camera. 6k raw has more appeal to me than 8k for sure, just as the smaller/lighter Z6 format (even with grip) for me trumps Z9. But we shall see...

That’s what I suspect also. Not that I was ever invested or even interested in RED. But I do hope we see the tech become part of Nikon hybrid ASAP and they bring out their own cinema line a la FX3 and FX30 mold. I could go any way right now (as in next year) and that is currently Nikon for stills and Lumix for video, but really want it all with one brand for a variety of reasons. Fortunately, because E Mount adapts almost natively to Z Mount, Nikon and Sony have the highest level of cross compatibility in the hybrid game right now. I’m interested in raw but would rather dip my toe than go all in so if the RED raw became available to certain existing bodies by firmware such as the Z9… Well I am already strongly considering trading 2 ‘lesser’ Nikon Z bodies for a single Z9 and if…if….RED raw came to Z6iii, it would probably be a done deal for me and I’d be all in on Nikon bodies and E Mount glass.

Aww fiddlesticks. I was really interested in the Crusher… 😏

I wish I had put my name down for 10+ of the things…so I could immediately resell them on and make a profit on each. One was being listed recently for 16k! Surely not even the most Henson of all Jim’s Muppets would go for that, but… Otherwise, also somewhat envious. The X100 line of cameras has been my personal favourite ever since the OG appeared back in 2011.

As we always say, the camera, especially these days, is the least important part of the equation. Big camera has always equalled big production, but that is more about perceived industry ‘standards’. It all gets rigged out anyway so the size of these tiny cameras gets hidden.

There is no such rule either way.

I wouldn’t even be slightly concerned about any such minor discrepancies. Yes, there is getting it right in camera, ie, technique (including lighting) and there is bound to be some fiddling in post to ‘equalise’ the output between any combo of bodies and lenses etc. Just bring some drone footage into the mix and there’s something else to ‘equalize’. I’d be far more concerned with how the tools feel to work with; weight, ergos etc. Sony, Nikon, Lumix, Canon…it’s not difficult to match it, never mind keeping it in brand. Unless you tell folks or ask, no one ever knows what you shot it on. And outside of nerds like us, no one cares!

My mileage has not varied from this. I think once, max twice in about the same time period so for me, extended warranties would have cost 10x if not 20x as much. Otherwise I do try and purchase used if I can, but only from dealers ie, not places like eBay. Unless it’s some older ‘vintage’ lens type stuff when OK, I have taken a punt. MPB is the only real place in Europe for used (mainstream) kit.

If you wanted the lightest and most compact FF unit, then the S5, obviously. If you are going to rig it, probably also the S5. But if it’s bare bones body, lens and maybe a shotgun mic, the S1 is the better platform. Weight, ergos etc… Former S1R and S5 owner plus current S1H and S5ii user. I have my S5ii semi-rigged with cage, side handle, shotgun and my S1H is totally bare bones except Rode Wireless Go.

Latest spec seems to suggest 24mp for the Z6iii allowing it to be 6k capable. The question is whether that will be cropped 6k or not… 6k 50/60p uncropped internal? Is that asking too much? I think it would be a requirement for me… I’m more interested to see if there is going to be a Z7iii with 60+mp sensor. Not for video and not because I need or want more mp for the sake of mp, but because it would allow me to replace 2x bodies and 3x lenses with a single body plus 2x lens set up and that is worth dealing with the extra file sizes to me. It looks like the Z6iii at least will be announced next month, ie, April…

Another thought and that is have you considered a full frame lens? I wasn’t going to, but testing the photo side of my kit on 2x portrait shoots, I decided I did have a hole in my lineup...so bought another Tamron E Mount lens, the current version of the 28-75mm f2.8 Now I suspect in FF flavour you are going to call that too short, but on your APSC camera, it’s going to be a 42-112/3 equivalent. Still too short, IDK, only you can answer that, but it weighs basically the same as the APSC 17-70, so thought it was worth mentioning?

Correction, it weighs 855g compared with say Sigmas new 70-200 at 1335g, so around 1/2kg or 1lb heavier. OK, the latter is without question a more sophisticated and robust bit of kit, but I know which I’d rather lug around all day and that is the factor that swings it for me personally.

Yes, that’s fair enough and should there be a situation where there was some provenance or personal connection, I would also make an exception. ’My’ experience was monthly updates of a company swanning around the world, asking for evermore amounts of cash for increased swanning. Until they pulled the plug and refused to allow anything or anyone else to carry out the project 🤨

I’ve just had some ‘slippage’ myself and ordered the latest version of the Tamron 28-75mm f2.8 to complete what will now be a triumvirate of E Mount lenses adapted to my Nikon Z cameras. That is: 20-40, 28-75 and 70-180. Several options available at the wider end but 20 and 40 are two ‘perfect’ focal lengths for me and with all my zooms, this is how I use them, - as a twin prime set up with a single turn rather than needing to change a lens. The 70-180 at a touch over 900g, is the only ‘70-200’ in full frame under 1kg with the other options being approx 1250-1500g, plus physically much larger, so for me, the best long lens available. The 28-75 is an easy pick for me over any of the more trad 24-70’s, all of which are larger and heavier, plus 24mm is a meh focal length to me and though it’s only 5mm, longer is better. The only other viable option is the Sigma 28-70mm which is slightly smaller and lighter still, but zooms in the other direction so doesn’t fit with those other bookend zooms. Finally, being E Mount, I can use them adapted on Z or should things ever change into a Sony body direction, I already have the glass. And then there is the 35-150mm f2-2.8 I have not got one and have zero intention of doing so but if I needed a ‘one and done’, this would be it, my point being that for my needs, Tamron is in a league of one when it comes to lenses so I have been building my next gen system around them. And yes, I am aware that it has just been announced that the Tamron 28-75mm G2 is shortly arriving in Z Mount, but as above, I have more options down the road with E Mount. Plus I’m not paying the Nikon lens tax!