MrSMW

I have not tried a full factory reset on either and that is my last resort...if that even works...

So I just came back from my latest 3 day job and zero issues at that job or any previous one using these bodies. I have them set up IDENTICALLY and like to think I am pretty familiar with them having used my first one for the last 8 jobs and the second for the last 3. But upon my return today, something very odd has happened and I cannot work it out, am away on vacation tomorrow and on my return, am away for my next job, ie, zero opportunity to send the things off to be inspected which could takes weeks or even a month plus. Unit 01 = the AF sensitivity just seemingly disappeared on the shutter button, ie, the normal gentle half press has turned into the need for a much harder press usually resulting in taking a still. (We are talking stills mode here). Unit 02 = at exactly the same time, the shutter button with this one has turned into a hair trigger. The slightest touch and it takes a pic. I've checked all my settings and as far as I am aware, I have not changed a single thing. It's somewhat unreal that an issue can occur and the polar opposite issue, at the same time, with 2 of my 3 working cameras...but it has. So if anyone has any wise advice, I'm all ears! I have tried flipping between AFS and AFC and all the different AF modes...and nothing. One unit now does not want to half press AF and the other has become a hair trigger. WTF??!!

And final decision made… The S1H is staying and the S5IIX going back without breaking the seals of the packaging never mind the box. I went into this weekends 3 day shoot edging towards the 3 identical camera body approach, which I would prefer in principle, plus smaller, lighter, faster, newer has certain benefits, but… The S1H is just too good a stills camera. Yes, stills. It’s meant to be ‘The Video One’ but actually excels as a stills camera for shooting people and events because it’s that little bit less critically sharp than the others without The OLPF. And then there is build, the ergos, the feel of the thing to use and the shutter sound is just sublime. The S5ii by comparison feels and sounds tinny. So decision made. I can’t sell or not use the best camera I have ever used. At least not until a genuine replacement comes along. When or if that happens, but otherwise the S1H is being reconfigured in my line up as principal stills with occasional video and the S5ii’s becoming more video specific and less stills. Same kit, just re-jiggled about a bit! I think the gimbal is going though. Just not getting any real use out of it and the S5ii is pretty good in that department for my limited needs.

Indeed, they could, and I had concerns last year, but especially over whether the next gen S5 had good AF. I for one would have 100% ditched L Mount if they had not ‘fixed’ the issue both in reality and in the public eye, as though my requirement for good AF is minimal, for 5-10% of my work, it is essential and the non-PDAF approach was not reliable enough. But they sorted it and I believe they are now experiencing greater sales. OMDS though, no one really knows who they are. Well of course a tiny minority do, but there is literally zero history or provenance and people do tend to buy stuff they know the brand name of whether it’s as good, better or worse. Brand names sell. I’m a big fan of the smaller independent companies though, the Sigma’s, the Black Magic’s and a future landscape with more of these and fewer giants would be welcome. As a business, one of the decisions I need to keep in mind is the cost vs return and balancing the books as it were. From a purely business POV, I would have near 100% faith in the more established players such as; Sony, Canon, Nikon, Fuji being around for at least the foreseeable future, but the future of Panasonic’s camera division may have hung in the balance over the success (or not) of the S5ii. I suspect it may just have saved them, but that is pure speculation on my part. OMDS though… Bought the remnants of a once mighty camera company. Brought out a camera almost certainly designed by that former company, but my fear would be if they can no longer market that companies heritage, they have to stand on the merit of their own product. And no matter how good that product may be, if folks do not buy it in sufficient quantity because they have “never heard of it”, then it could spell disaster. Bottom line for me would be a dead brand/product line with zero updates, that may very well last for the duration of said products lifespan, ie, until they break or wear out, but then might require replacement with an entirely new system including lenses and ancillaries etc. There’s always some kind of risk/compromise however, so… Sometimes I wish I was a millionaire or there was a rental company next door to my house so I could spec my best set up with all the brand options and shoot them back to back to then make a proper real world informed decision. But as I am not a millionaire and live in the rural French countryside, I can’t 🤣

Indeed. Unless there is something specific that you actually need, familiarity with the kit you have is under-considered by so many as are actual shooting skills. I get it though, most of us are not immune to shiny new things, myself included… My own focus for the rest of this year and probably all of next, (now that my kit conundrum has finally been solved, is extending that familiarity even further so the tools get even further out of the way), is capture skills and editing/production skills. Still interested in ‘stuff’ but none of it is a need anymore.

The deal-breaker for me when considering a switch to an OM-1 based system for all my work was my concern whether they would even remain in existence as a company beyond this last ever ‘Olympus’ badged release. However, I think if my priority was building as ‘micro’ a kit as possible, it would be based around using these bodies. The GH6 is undoubtedly the better video camera. The S5ii is the sweet spot for me with ‘equal’ IBIS and AF of the OM-1 and the video chops of the GH6 whilst offering full frame stills in a body barely bigger or heavier than either and if you are selective with your lens choices… But out in the jungle, that OM-1 has a really high level of robustness and I really liked that 12-40 as an all purpose lens! Such a capable, chunky but small combo that just felt right in the hands…but just not enough for my needs as an entire system.

Which is why I only ever use my phone these days. With a glass of gin in one hand, it’s not easy to rotate that VND.

Holy Cripple Hammer. I was reading just the other day what a superb hybrid this is. Lumix has 5 custom slots and you can set them to always revert to your custom, or keep whatever last tweak you might have made to any one of the 5 custom settings.

My cat wants one now.

I have not seen any official figures but based on YouTube hype, I get the impression more have moved in recent times, from Sony to Panny rather than the other way round, so would suspect Panny are doing better than they were.

Sorry. Something weird going on above with the quad post! 🤪

I am edging towards burning it in… Why? Well I did with the Gamut LUT a couple of times and quite liked the result, especially from a workflow POV. But the problem I had was/is using 2x S5ii and 1x S1H as the latter does not have the option so there’s no consistency and even the subtle differences between the two models is something that needs more work…hence why I am still pondering whether I should shift that S1H now for that X that is sitting in an unopened box back home on my office desk… For most, burning in the LUT probably is not for them, but I only shoot one thing; and my primary client when it comes to aesthetics, is myself, so in principle, it works for me. I will need to investigate this but I presume it is possible to take say the Phantom Arri Neutral LUT and in Photoshop using a frame grab, add a mild further creative grade and then make a .cube file or something from it to then use as my ‘one and done’ in camera? You know about this stuff Jim. Can I do that or am I talking bollocks?! I’m pretty good these days with exposure, WB etc and mostly nailing my lighting (use of natural and created) so rarely far off in camera. This is not anything I ‘need’ to do at this time but always considering the direction of my work which is a certain subtle but distinct aesthetic, as seamless as possible workflow and possibly the integration of high quality frame grabs as a high proportion of my work. Re. the latter, I have been looking at it with each film I produce and nah, 25 or 30p using the 180 degree rule, even in 6k, rarely offers any opportunity. Waaaay too much motion blur! I had more success shooting 4k 50p last year so realistically and theoretically, I’m going to be waiting on a minimum spec of; 6k 50p and probably ditching the ND’s in favour of over-cranking the shutter speeds. Or even shooting quadruple the shutter speed rather than double with the ND? Ie, say if any S1H replacement offers 6k 50p, then instead of a shutter speed of 1/100, use 1/200 which won’t freeze all action, but there’s rarely much action at a wedding that needs a faster shutter speed. Choppy looking video? Not really at 50% slow mo… Dozens of 2 second clips etc. The longer stuff such as full length ceremony that is going to be played back at 100% speed, shoot ‘properly’, so I’m just talking clips. It’s finding the time to play this time of year!

I am edging towards burning it in… Why? Well I did with the Gamut LUT a couple of times and quite liked the result, especially from a workflow POV. But the problem I had was/is using 2x S5ii and 1x S1H as the latter does not have the option so there’s no consistency and even the subtle differences between the two models is something that needs more work…hence why I am still pondering whether I should shift that S1H now for that X that is sitting in an unopened box back home on my office desk… For most, burning in the LUT probably is not for them, but I only shoot one thing; and my primary client when it comes to aesthetics, is myself, so in principle, it works for me. I will need to investigate this but I presume it is possible to take say the Phantom Arri Neutral LUT and in Photoshop using a frame grab, add a mild further creative grade and then make a .cube file or something from it to then use as my ‘one and done’ in camera? You know about this stuff Jim. Can I do that or am I talking bollocks?! I’m pretty good these days with exposure, WB etc and mostly nailing my lighting (use of natural and created) so rarely far off in camera. This is not anything I ‘need’ to do at this time but always considering the direction of my work which is a certain subtle but distinct aesthetic, as seamless as possible workflow and possibly the integration of high quality frame grabs as a high proportion of my work. Re. the latter, I have been looking at it with each film I produce and nah, 25 or 30p using the 180 degree rule, even in 6k, rarely offers any opportunity. Waaaay too much motion blur! I had more success shooting 4k 50p last year so realistically and theoretically, I’m going to be waiting on a minimum spec of; 6k 50p and probably ditching the ND’s in favour of over-cranking the shutter speeds. Or even shooting quadruple the shutter speed rather than double with the ND? Ie, say if any S1H replacement offers 6k 50p, then instead of a shutter speed of 1/100, use 1/200 which won’t freeze all action, but there’s rarely much action at a wedding that needs a faster shutter speed. Choppy looking video? Not really at 50% slow mo… Dozens of 2 second clips etc. The longer stuff such as full length ceremony that is going to be played back at 100% speed, shoot ‘properly’, so I’m just talking clips. It’s finding the time to play this time of year!

I am edging towards burning it in… Why? Well I did with the Gamut LUT a couple of times and quite liked the result, especially from a workflow POV. But the problem I had was/is using 2x S5ii and 1x S1H as the latter does not have the option so there’s no consistency and even the subtle differences between the two models is something that needs more work…hence why I am still pondering whether I should shift that S1H now for that X that is sitting in an unopened box back home on my office desk… For most, burning in the LUT probably is not for them, but I only shoot one thing; and my primary client when it comes to aesthetics, is myself, so in principle, it works for me. I will need to investigate this but I presume it is possible to take say the Phantom Arri Neutral LUT and in Photoshop using a frame grab, add a mild further creative grade and then make a .cube file or something from it to then use as my ‘one and done’ in camera? You know about this stuff Jim. Can I do that or am I talking bollocks?! I’m pretty good these days with exposure, WB etc and mostly nailing my lighting (use of natural and created) so rarely far off in camera. This is not anything I ‘need’ to do at this time but always considering the direction of my work which is a certain subtle but distinct aesthetic, as seamless as possible workflow and possibly the integration of high quality frame grabs as a high proportion of my work. Re. the latter, I have been looking at it with each film I produce and nah, 25 or 30p using the 180 degree rule, even in 6k, rarely offers any opportunity. Waaaay too much motion blur! I had more success shooting 4k 50p last year so realistically and theoretically, I’m going to be waiting on a minimum spec of; 6k 50p and probably ditching the ND’s in favour of over-cranking the shutter speeds. Or even shooting quadruple the shutter speed rather than double with the ND? It’s finding the time to play this time of year!

I am edging towards burning it in… Why? Well I did with the Gamut LUT a couple of times and quite liked the result, especially from a workflow POV. But the problem I had was/is using 2x S5ii and 1x S1H as the latter does not have the option so there’s no consistency and even the subtle differences between the two models is something that needs more work…hence why I am still pondering whether I should shift that S1H now for that X that is sitting in an unopened box back home on my office desk… For most, burning in the LUT probably is not for them, but I only shoot one thing; and my primary client when it comes to aesthetics, is myself, so in principle, it works for me. I will need to investigate this but I presume it is possible to take say the Phantom Arri Neutral LUT and in Photoshop using a frame grab, add a mild further creative grade and then make a .cube file or something from it to then use as my ‘one and done’ in camera? You know about this stuff Jim. Can I do that or am I talking bollocks?! I’m pretty good these days with exposure, WB etc and mostly nailing my lighting (use of natural and created) so rarely far off in camera. This is not anything I ‘need’ to do at this time but always considering the direction of my work which is a certain subtle but distinct aesthetic, as seamless as possible workflow and possibly the integration of high quality frame grabs as a high proportion of my work. Re. the latter, I have been looking at it with each film I produce and nah, 25 or 30p using the 180 degree rule, even in 6k, rarely offers any opportunity. Waaaay too much motion blur! I had more success shooting 4k 50p last year so realistically and theoretically, I’m going to be waiting on a minimum spec of; 6k 50p and probably ditching the ND’s in favour of over-cranking the shutter speeds. Or even shooting quadruple the shutter speed rather than double with the ND? It’s finding the time to play this time of year!

I was using the Gamut conversion LUT in post so using the same for monitoring. I have switched to the Phantom Arri Natural LUT as my basic conversion now and using in camera err…the same Gamut one for monitoring because I keep forgetting to load the Phantom one 🤪 I don’t think it makes much difference to be honest between any of them unless it’s something very different.

S1H’s are becoming ever more affordable. I just checked the current trade in on mine vs a new S5iix and it’s dropped about 600 euros in the last 3 months! Very robust and capable though.

My dilemma is my current set up meets all my current needs. It would make more sense to flip my S1H for another S5ii or X and what I would gain would be enough to warrant it, but… I am still considering my future wants. Wants, not needs. My plan was to keep the S1H for at least the rest of this season and wait on what a future replacement might be and only then decide whether to move towards a 3x S2H line up, or flip the S1H for another S5ii. But then shooting the baked in Lut option has great appeal right now… I think I’ll sleep on it over the entire working weekend… I wonder if it has anything to do with my use of a Freewell 1/8th mist filter 100% of the time for all my video work? It’s the only factor I can think of. You think so? What ISO’s are you shooting? I stick to 640 outside and 4000 inside (both with VND) and have a 3rd option of the Flat profile for low light with auto-ISO, 100-12,800, no VND. I used to shoot Natural previously on the S5 and S1H but after a year of that, decided I preferred the Flat profile. Quite a few folks who do not shoot log seem to like the Cine V SOOC. Or is it Cine D? I get the two confused…

I think maybe it’s an omen…

Well now here’s a curve ball… So back whenever it was that the X was officially announced, I preordered a pair. The wait time for France was long so I cancelled and bought another used S5ii. But I just received notification that my new X came into stock, they took the funds and arrives tomorrow. I thought I had cancelled both but what with them being French and all… Aaaaaaargh… I could send it straight back, or keep it, order a battery grip (needs it for the 70-200 f4) and sell the S1H with its battery grip. Financially, it’s little difference, just the cost of the grip really. The pros are; smaller, lighter, faster, newer camera plus all 3 bodies identical (except aesthetically) and I can bake in my preferred LUT. Cons; can’t think of any actually other than it would mean saying sayonara to my S1H.

Weird! I get a lot of different fabrics and lighting conditions… This next weekend will now probably be Moiré City 🫣

7 weddings in and impressed with the S5ii. Getting used to the flip out screen but would still rather have the multi angle tilt from the S1H. Prefer the files coming out of the S5ii over the S1H. Those from the S1H are just a little too soft for my taste in comparison, probably due to the OLPF. However, possibly due to the OLPF, I prefer the photo files from the S1H. The exact opposite of what is supposed to be… Moiré, only seen one single mild instance in one single clip and not a single time in a still photo. AF has been great but not perfect. No AF is and I still prefer to use AF to acquire initial focus and then flip to manual. Unless tracking where I have to rely on it. Conclusion to date: For me, S1H is the ‘better’ stills camera and the S5ii is the ‘better’ video unit. I don’t miss my S1R’s at all. I thought I might, but do not. 24mp is more than enough for my needs. What is still ‘missing’ for my needs? I have come to the conclusion that as much as I’d like to go to a 2 camera set up, unless I can rely heavily on pulling stills from video…and for that I’d need 6k 50/60p 422 10 bit as a minimum, the 3 camera approach works best. On that basis, I would like 3 things in the future: 1. 3x identical bodies rather than 2 + 1 2. 6k 50/60p 422 10 bit internal (min) 3. A smaller and lighter lens to replace the Lumix 70-200mm f4, even if it topped out at 150mm. I will continue to use it until either Lumix or more likely Sigma does, but it’s the one lens I ‘need’. All things considered, the S5ii has to be the best overall camera I have ever owned and the only thing I’d change it for at this point in time is an X model purely for the aesthetics.

Same word, same line, same page Kye. I maybe just didn’t express it as well as I might have!

Not sure what you are disagreeing with here Kye… Raw simply has no baked in stuff to deal with so is the better starting point for those that have; the time, the skills, the storage etc, but otherwise all else is equal at the point of capture ie, exposure, choice of shutter speeds etc. Same for video, same for stills, raw vs Jpeg, one has more latitude than the other. Which I think is what you went on to say…

Interesting… My interest is the other way and that is to have stills that look like they HAVE been pulled from a movie, ie, both should match. I really need to find a gig some time this year when I can try this, ie, not shoot a single still, but only video and with the intent of pulling the equivalent of an entire photoshoot from the resulting film. Anticipated problems: 1: I don’t have any pure video jobs booked. 2: Realistically, I am going to need to be shooting 6k or 8k 50/60p over-cranked shutter, unless the camera can do 6/8k 100p with audio and ideally open gate… 3: …because vertical crops. Vertical video from 6k or 8k is relatively straightforward if the consideration for shooting for it takes place, but vertical stills are a slightly different kettle of fish. If it’s ever going to become a reality for me, it would need to be as follows: A. Shoot the entire event with 2 bodies and 2 zoom lenses in 6k or 8k, min 50/60p, ideally 100, ideally open gate. B. Make film including finished grade. C. Pull stills and not re/grade as such, ie, the colour should remain the same, but tweak exposure. There’s a massive pro and a massive con. The pro is capture workflow, download and editing are streamlined from 2 processes to just a single one. The con is, although I would still be thinking like a photographer at the capture point, ie, considering with every single shot how the result will work also for photography (something I have been doing for 10+ years and for the last few, using the same tool, just in 2 different formats, video and stills) but no longer arguably working as a photographer. The former has huge appeal on many levels. The latter I am not entirely sure about but could probably not only live with, but embrace. Any future changes in kit will be purely regarding this possibility.