MrSMW

As a user of the S5ii, I don’t mind the size & weight with a 4/3 sensor as I think bodies can sometimes be too small and less good as lens platforms. I think if I could build a business case for a pair of G9ii’s it would be one with the pairing of 10-25mm and the 25-50mm f1.7’s, bolted on. Keep the S1H for long static duty which with the battery grip, is a long time, and keep hold of the 70-200mm f4 for the longer stuff. Ticks all my boxes really though the G9 units would come in a tad over my 1.5kg self-imposed new max weight limit… But being able to shoot 20mm, 50mm and 100mm FF equivalent focal lengths would be pretty bang on for me. Got me thinking now… These things also shoot 6k 50p in 10 bit don’t they? Must go read the specs and watch some reviews…

Or leaked pictures of the Lumix GH7 prototype. They will insist on putting those tiny sensors in larger bodies 😏

One of your pet peeves also? I have a new rule in that if they don't pop back into the conversation several times, I don't join the thread and expound my great opinion until such time as they do. Wankers, the lot of them. Good for you. Always fancied a bit of FX3 action myself but as a fully paid up member (at this time) of the L Mount Alliance and no hands on or rental opportunities where I live, only been able to live my FX3 fantasies vicariously. I could of course have bought one off Amazon, played with it and sent it back for full refund. But I'm not a complete twat. I did do that with an XH2 and before that, an OM-1, but in both cases I genuinely intended to keep each unit at that time. But anyway, enjoy your FX3.

I think that is about the sum of it Kye. If you can keep your authenticity and not sell out to the mass market or simply for the sake of conforming, I think a few can keep their ball rolling. I like to think in my own industry, it's how I am still standing and with most of my integrity still intact. Because I didn't follow every fad or chase recognition by my peers, but rather by mostly ever doing what I wanted to do. I've always said...and stand by it now and will stand by it until the day I choose to quit and that is my client first and foremost is me. I shoot for myself and if others wish to pay me to do that, then we have a deal. I guess if you are being bankrolled by big studios, very few have the luxury of saying "fcuk you" and take the dollars when offered. I'm also quite reclusive; part black sheep, part lone wolf 😉

My first thought, was they combined the (alleged) Italian style of Milan, but were going to have the thing made by under-employed watermelon farmers (other legal forms of occupation such as drug running are available) in old Mehico. BURrito milANO But I could see Brumano also being a thing. Made in one of Tommy Shelby's factories. Being sherioush, it does look like being quite a bit of kit. Waaaaay above my pay grade, but interesting.

Fun little camera and in some ways, better than the X100V. I'd still rather have a V for the purity of the thing, but get some kind of grip on an XE4 and stick the Sigma 18-50 f2.8 (or any small fast prime) and you'd have something half the price of the stupidly over-inflated prices people are asking for X100V's today. Worthy of the hype? Maybe... Worth the stupid money? Nope. The XE4 isn't quite 'pro' enough for my needs but a couple of the other Fujis are. I'm just not going that route.

I thought I had all the negatives of that one...

Even better stills than the GFX100 but yeah, anyone who tries shooting video on one will be in for a shock 🤭 MPB had one t’other week for I think about 4k? I was tempted to smash that buy button right then and there…but I know I would have regretted it as my days of big units are done. Done I tell ya!

That for me was the issue with 4/3. I so nearly went with the OM-1 last year just because I loved the compact chunkiness of it, but ultimately, I could not get passed (mentally at least), the inevitable loss of low light capability and ultimate image quality hit I would have taken going 'back' from full-frame. A 'step back' to APSC I could probably have swallowed with something like the XH2, but back to 4/3, nah, that boat has sailed for me. Less so for video, more so for stills. But these last few years, months and even weeks, have taught me something and that is next year, I am putting both a size and weight cap on what will be my next gen kit. I've been grappling with this ever since switching from Fuji to Lumix for 3 seasons now and I feel I am losing a large portion of my mojo when it comes to shooting as I am wrestling what feels like square pegs into round holes. That has to stop. That will stop. For video, it will almost certainly be Lumix shooting 4k 50p because A. they still offer me the best all round solution and B. I had an unexpected extra 13k tax bill this year due to an accounting error (not mine I should add but the tax office themselves!) plus a 30k new roof expense coming in March '24. But I WILL be getting a new compact, hi res stills camera. Based on what is available and what is definitely coming, I already know what that is and it's not (sadly) from L Mount as things stand. There's still a chance though... 2.8kg in the hand vs much more capable 1.4kg? There's just no contest and it's not even a question.

My wish also… At heart, I prefer to shoot a pair of rangefinderesque bodies with primes, for stills and ‘whatever’ for video. Went from great chonky D3S bodies with the 24-70 and 70-200 to a pair of X-Pro1’s with the trinity of original zooms. The penny dropped for me in 2012 or whenever that was. They were a bit slow being honest and the X-Pro2 made up for that and was probably the period in my career when I felt the happiest with the tools I was using. Then Sigma has disappointed twice with the original FP and then the L, both of which have too many shortcomings for me for stills or video. So Lumix, Leica, Sigma, I don’t care which L Mount member wishes to do it, but first one to make a modern iteration of the LC1 or RD1, has my money. I would have gone X-Pro3 except they stuffed up the rear screen for me 😏 The perfect unit for me would be the current X100V but with interchangeable lenses such and I’d even consider a zoom like Sigmas 18-50 (27-75) f2.8. Or fixed lens like the one in the LC1 which was what, 28-90 or something? They never seem to make ‘my’ camera… Or rather they do, but then abandon the line 🤨

Watched a few reviews, looks good. I like the design, that angled back top and the finish. But bloody hell, 8000+ euros in France... Without lenses... Primes = 2 bodies for me, or single body = zoom and the only one that would work for me is the 45-100 f4, but it's massive and heavy and slow. Nah... sadly not. MF has to remain a bit of a pipe dream for me, so my career peaks at full-frame. It does look REALLY nice though 😝

To quote old Ben Kenobi, these are not the Lumix cameras I am looking for.

Ah, a money no object camera. X2D for me. If I could justify it, with a set of the 3 newest primes. But that is around a 22.5k investment 🤔😏🤨 A mint used GFX100S looks good value now… I’m still sitting on my S2H/S2R fence and seeing how that plays out, but at some point soon (within 6 months max) I will be dropping some dough on something to take me through the next 3+ years…

Same set up here: C1 & 2 photo and all the C3’s, video scenarios.

I think the biggest issue is that sometimes the planets just align and you get a hit. Try to replicate that hit and different circumstances and different times, you just don’t seem to be able to. Directors, bands, wedding photographers…more often than not, we end up being if not ‘one hit’, then ‘limited hit’ wonders. So many times, it seems all the factors are there, on paper at least, but for whatever reason, it just doesn’t fire like it should and try as might, cannot work out how to repeat that success consistently. And I am not sure if we can… Call it luck, call it fate, call it shit happens, it’s just how stuff seems to work.

Maximus Decimus Maridius, commander of the armies of the North, General of the Felix Legion, loyal servant to the true Emperor, Marcus Aurelius, husband to a murdered wife, father to a murdered son…enters the chat.

Not quite sure I’d call it a ‘cinema camera’? Can’t quite see the sequel to ‘The Creator’ being shot on one… But there was that movie shot on an iPhone so…

Re. ‘OG’ cams, does the S1H class as an OG cam? In my book it does and I am considering buying up a lifetime supply of mint condition used units… For anyone reading that doesn’t know, I am a 23 season wedding veteran, the last 12+ years a hybrid shooter. This season I have been running a pair of S5ii’s and a single S1H. Out of 10, I’d give the S1H a score of 9. The S5ii, maybe a 7. At best. The S1H kills the S5ii in almost every regard except for one, tracking AF and in that regard, it is not utterly terrible. In fact for my kind of use, it’s decent enough. So why and where does the S1H ‘kill’ the S5ii in my considered opinion? 1: Build. It’s built like a tank yet is not ridiculously heavy. Personally, I would not class it as ‘heavy’, even with the battery grip. By comparison, the S5ii doesn’t feel ‘cheap’, but doesn’t feel in the same league to me. 2: Ergos. I have shot over 100 full day shoots with this thing and with or without battery grip, it is by far the best camera to hold and use I have ever had. And I have had a lot of cameras over the years! 3: The Shooting Experience. It’s on another level to the S5ii. It’s just faster everywhere than the S5ii. It just works like you expect and want a tool like this to whereas with the S5ii, I’m willing it to catch up and watching it jump around sometimes using AF with the rear LCD and then questioning the focus, the exposure and even the colour because the rear LCD just sucks next to that of the S1H. Yep, sucks. For clarity, brightness, colour etc, the S1H rear LCD is the only monitor I need. 4: Video. I tried open gate 6k 30p on the S5ii and liked the quality, but as a PAL region user, found the workaround in certain lighting conditions a pain in the arse. I also use a lot of modest speed (50%) slow mo and only able to achieve 80% with the S5ii is a bit of a bummer. But then the S1H can’t do it so I’m back to shooting 4k 50p on both. This is where it’s a tie for me. On one hand the S5ii allows me to burn in a LUT which is my preferred way of working. On the other hand, I think the quality of the S1H video is slightly higher and more ‘filmic’, possibly due to that OLPF taking a bit of digital edge off it? 5. Stills. S1H easily. It just works. All day long. The S5ii just slows me down and almost always is slower to acquire focus, doesn’t feel as confident when it thinks it’s found it and the shutter button sound and tactility is shit next to that of the S1H. Yup, shit. I fkn hate it. Also, again, no moire issues with the files from the S1H and slightly more ‘filmic’ possibly as a result making this thing an equally capable and underrated stills machine as it is for video. 6. Battery life. No contest, the S1H just kicks the backside of the S5ii. Conclusion. The S5ii has better and more reliable AF in forward tracking scenarios. That’s its sole win. It can’t even argue cost as mint used S1H’s are now at similar levels. Oh and it can burn in a LUT. No dealbreaker and my workflow would be easier if the S1H could and I wish they would add that feature in firmware but does not look likely now…? 9/10 for S1H and an easy win then, but where could it be improved for me? A. Ideally, next gen, 6k 50p open gate, no crop. That’s it, I’m done remainder of my career. B. Ability to burn in a LUT. It’s a given any S1 line replacement will get that. C. More pixels please. I’d like to retire my 70-200 and I could get away with that (talking stills here) with something say 45+mp. The sensor from the S1R produced even better video (and stills) IMO, but a love child of the S1R and the S1H would be a perfect union for me. With a couple of updates of course. Beyond that, I can’t think of a single thing. The S1H is the closest thing to camera perfection I have ever used. I suspect of the current crop, only the Z8 could run it close or probably beat it but I’d need to test one properly in my real world use case work days to know for sure, but then whole new ecosystem and huge cost etc… So my hope now is Lumix creates my next camera and has it available on the market by March 2024 latest because if there is no sign of that, the temptation to try a Z8 over the Winter… The bottom line is as a full-time working pro, I need kit that A. just works and B. just gets out of the way and C. ideally, I enjoy using. The S5ii kind of works, but does NOT get out of the way and (for me) is not a joy to use. The S1H is my OG and ticks all 3 boxes.

All makes sense and I think the conclusion is ‘Dual Native Auto ISO’ doesn’t work how I thought/hoped it might so will stick with 640 or 4000 with the variable for exposure being the use of the VND. However, based on that video (seen, but a while back), I might manually use those ranges he suggested of 640-1250 and 4000-6400 because sometimes, the native 640 or 4000 are not quite ‘enough’. I do have these things set as C3-1 (outdoor) and C3-2 (indoor) already with a fixed ISO and tweaked WB for each based on the baked in (shock horror) Phantom LUT that I use. C3-3 is Flat profile for when it’s really dark and Vlog at 4000 even without the VND is not enough. It’s a pity you can’t dial in and define your own auto range and default though, but maybe there is not enough demand for that kind of thing or the tech does not exist? At least I’m not going to be quite so rigid about sticking religiously with 640 and 4000 and will give those ranges a try. The Phantom LUT recommendation by the way is neutral exposure but actually I don’t agree and find that +1 is generally a better result. But it depends on the scene of course and the highlights and yada yada… Thanks for your input @Roger 👍

Thanks @Roger watched that one. I have watched them all! I still don’t get it… I understand the Low setting and the High setting but not the Auto setting which if it is basically the same as for stills, the camera chooses anything from your min to max setting which for me with Vlog is 640-6400. So what exactly is the point of it if it uses anything between 640 and 6400 and doesn’t set itself to either 640 or 4000 and those two values only? That sounds to me like something labelled an ‘automatic gearbox’ but you need to change gears manually. Huh? You mean it’s a manual gearbox?! Surely just manually setting (as I have always done) either 640 or 4000 is the best option? Assuming using shutter angle and VND, other than aperture, exposure is purely controlled by the use of that VND with a fixed ISO. For me, outdoors, 640. Indoors 4000. But what is this setting ‘Dual Native ISO Setting’ that is not the high or low setting actually doing? Unless… despite it apparently fluctuating anywhere between 640-6400 and giving me readings such as 800,1600,3200 or 6400 on the monitor display, it is behind the scenes as it were, actually only recording either 640 or 4000 and you just have to trust that it is? If this is the case, then great and that is the answer, though I have not been able to find any human or otherwise answer to this on this planet or off-World to date. If however, it’s actually recording 800 or 1600 or 3200 or 6400, it’s just recording at those actual ISO’s then yes it’s an ‘auto ISO’ setting, but not an ‘auto native ISO’ setting. Or again, maybe I am missing something…

I understand it perfectly ie, 640 is the first native for the cleanest image and 4000 is the second so ideally stick to one of those such as 640 outdoors and 4000 inside. But what is dual native iso setting in the menu? Options are: Auto, Low, High I presumed that set to Auto, using Auto ISO, the camera will choose either 640 or 4000 depending on the available light…but that does not seem to be the case as using Auto ISO, it will be anywhere between 640-6400 (the upper limit I set). I’ve always just set it manually to either 640 if outdoors or 4000 if in, using Vlog, but I cannot find any info on-line? There are dozens of videos etc from Panasonic and others that explain what dual native iso is, ie, 640 base, gets noisier, cleans up again at 4000 before getting noisier again, which is easy to understand. But beyond that, I can’t find any info… My question is, just continue to manually choose 640 or 4000, or is there some kind of auto setting where the camera will go to the most appropriate? Or possibly I am over-thinking it. Or possibly I missing some bit of info and the penny will drop. Cheers Lumix buddies.

I haven't watched it but I guess yes, a G would be a clue 😜

G9 replacement or if you are me, S1 line replacements?

I think…actually I know, that if I had not already been invested in L Mount when the S5ii came out, I would have gone with a pair of FX30’s with probably the A7iv for primarily stills but occasional hybrid use. If Lumix (or Leica or Sigma) don’t have something like an S2R available by end of March, in stock, then it’s fairly inevitable for me it will be throwing my lot in 100% with Sony. Pair of FX30’s and a single A7RV which will allows me to do away with the 70-200 and crop instead because you know, megapixels. I would rather NOT switch primarily from a cost point of view because buying one single body and selling maybe one lens (the 70-200) if any ‘S2R’ has around 60mp, is a MUCH better option than trading 3 bodies and 7 lenses for a new system! So we will see. I think if making a decision from scratch re. a system for my specific needs at any point this year, it would be as above. Nikon a close second and Fuji third. Or maybe I’ll just trade the S1H and get another S1R which are uber-cheap on the used market now… Cheap, but 60mp vs 47mp allows a bit more cropping latitude for my stills work if I want to shift the 70-200 and I’d rather have PDAF even though for stills it’s less of an issue.

It was, but also I imagine a super high end set of cine lenses, big crew, decent budget and at least one pro colourist. Still good bragging rights for any FX3 owners for sure!