MrSMW

For me it’s only partly the megapixies… Going from APSC Fuji XT3 26mp to FF S5 24mp, I noticed a marginal difference but nothing I would call a quantifiable advantage. In fact, I’d give the nod regarding colour to the Fuji files, but that could just have been familiarity with a system I’d been working with for a long time. But the S5 had/has I reckon a good 1 stop low light advantage. The S5 purchase for me was really against an XT4 where for me in more areas, the S5/L Mount system, edges the Fuji. The files from the S1R are whole other level though. Quantifiably above 24mp FF. I have tested and used the ‘quad’ thing but the reality is it’s for certain types of landscape and studio work, not weddings. The question though re. 47mp over 24mp is would the client notice? Nope, but I do and there’s an element of professional pride and craftsmanship. I could go back to 24mp FF easily enough and maybe even 26mp (or more) APSC and APSC/S35 is the sweet spot for me for video, but I’d really struggle with going 4/3rds for stills. But if anything was going to convince me, it would be GH6 or OM-1.

I’d be quite happy to not see it or it’s like appear. Just my personal opinion, but I don’t come here for political talk. I did contribute to that thread but then thought better of it and stopped. Like Andrew says, it never ends well!

Yup, moiré can often be a wedding suit issue and when you have a whole row of fellas in them. All day… The S1 for me is the least desirable of the FF bunch followed by the S1R, but the S1R has a place in my kit because it’s stills capability is right up there with anything. It’s superb in that regard and because I paid just 1500 euros for it…!! The S1 though is not as capable as the S1H for video, equal for stills and not as small or light as the S5. If I had to pick one for everything for all 3 bodies, then the S1H. Easily. But for pure video requirements, maybe the GH6 equals or in certain areas, beats the S1H. I don’t think any 4/3rds can for stills however and it’s 50% of what I do. No kit and a reasonable pot of cash, I might go GH6 for video…but then then it doesn’t have a OLPF so actually maybe I wouldn’t. Conclusion for me is that the GH6 edges the S1H in pure filmmaking terms but the S1H probably wins for wedding videographers.

Indeed and one of the absolute bargain cameras of recent times. I never went from mine to the XT4 as I thought I would, a mixture of timing due to Covid and the launch of the S5. OK, I would rather have the battery of the XT4 and it's IBIS, but otherwise would rather have an XT3 for it's rear screen. I absolutely hate hate hate (and hate is a strong word) these flippy out rear screens. Tilt up, tilt down, in-line with the lens. Job done. It's one of my 2 big grievances with the S5: A: The non-damped shutter which the S1H and S1R have. BIG for me as a photographer. B: The flip out rear screen which I absolutely hate. BIG for me as a videographer. It keeps coming back to the same thing for me and that is no camera company currently makes my 'perfect' camera. Panny for me has be the combo of the S1R/S1H/S5 with tweaked AF as a whole, but no single body is quite right. The closest out there however. They need to have a threesome and make a child. Fuji frustrate me with my preference for the rear screen of the XT3, but the battery and IBIS of the XT4. Maybe the XH2 will solve this... OM System OM-1 ticks all my size, weight and video specs, but has a question mark over it's stills capability for my needs. Ditto the GH6 as in the video spec is even better, but for stills... I'd need to test it but don't believe it would match an S5/S1 never mind an S1R. Canon too expensive and too problematic with the overheating issues. Not really a Sony fan, but the A7iv paired with an FX3 comes closest, but the cost man, - at least double the price of my current set up to achieve what, better AF, but that's about it. Nikon. I like Nikon. They were my tools of choice for the first 10 years of my career. Film and then digital and if they can get the spec of the Z9 into the next gen Z6 and Z7, it could be an option. Leica. Great quality of video (SL2-S) and stills (both SL2 and the S), but lacking any form of tilt screen which would frustrate me as a run & gun hybrid wedding shooter. Plus the cost is waaaaaay above my pay grade. At least to go full system. Sigma? The FP-L ticks several boxes but has more boxes un-ticked than any other manufacturer. IBIS, tilt screen, 4k 50/60p, twin back up card slots, not good enough e:shutter only... How much can you give up to use something before it won't do what you need it to do no matter how much you want to like it? Ultimately it's always about compromise somewhere. I think we're so close to eliminating it, at least for my needs but not quite yet.

I'm done right there! A slightly smaller/lighter series 2 would be welcome, but otherwise the above. But that will never be...even if they do continue the line because all new cameras have to be some great leap over what came before or just get labelled mkii versions. I was all set to make my S5 my primary video tool for this year, but have just decided to reverse that decision and put the S1H back rightly where it belongs, - as my primary. S1H A cam because it's the best video camera I have with the best rear screen and best IBIS, plus the OLPF...and it just takes one groom all day long with a shiny suit... S5 reverts back to B cam because despite it being the smallest and lightest of my trio, it does lag by the tiniest margin behind the S1H in the IBIS department and arguably the S1H by virtue of it's size/weight makes it a better platform anyway. Plus I really hate having to use a rear screen not in line with the lens. S1R principally stills but will also be used this year as a C cam, purely during the ceremony. A + B are on tripods front left and front right, the S1H just rolling rolling rolling with fixed subject (The Ceremony) and the S5 rolling for the duration and focused mainly on The Ceremony, but will also be turned for some front row(s) capture. Meanwhile, the S1R will get flipped over to video mode for a few seconds here and there as I rove, particularly from the rear whilst shooting stills. I was going to flip to OM Systems and their new OM-1, but too soon for me. This year is now 100% nailed down as L Mount, - zero chance of change, even if I won the lottery and something 100% perfect for me was launched. Next year however... 1: Hoping for a next gen S2-H/R and S52-HR but not holding my breath on either. 2: Keeping an eye on Sigma, but as their FP/L has 6 'faults' in my eyes, not holding my breath there either. 3: Fuji XH2 could be a contender, but no change for change sake here unless it is 'better' than what I have already by a quantifiable margin. 4: OM-1 still in the running. 5: Nikon/Canon/Sony not in the running for me. Nothing else even remotely meeting my needs.

The biggest question of all is will the OP ever log in to respond to or thank folks for their contribution...or is this another case of, "a friend of someone I don't know was told by someone on the internet who once took some pictures at someone's wedding as a guest, reckoned that the Canon R6 was the best camera for video, so I'm getting one of those. And all the lenses". If not, at least we had a chat about the subject eh? 😜

Hole in one. Maybe it’s just me, but only the shutter button makes any sense to me!

My IBIS rule of thumb is it is always on except digital but assigned to the top red record button to toggle off when on a tripod. I don’t forget on or off because it’s always involves the same 3 step process: 1: Attach camera to tripod. (All 3 of my main cameras have Manfrotto plates permanently attached). 2: Change lens…because the only reason any camera is going on a tripod is for the ceremony or speeches and I don’t always have the ability to use a prime at the distance I’d like. (Plus all my zooms are set to manual focus by default). 3: Push the red button and toggle off IBIS. The only exception to this rule is my 95% stills/5% video unit, my S1R where I also have OIS switched on and working in collaboration with the cameras IBIS because I am generally working at or towards the 105mm end of the 24-105 zoom. I have never tried digital, but may just out of curiosity, but can’t really criticize the Lumix stability in the first place as it’s excellent.

As a fellow wedding pro my take on it is, providing you can, is to wait a couple of months. Why? The OM-1 and GH6 will have been properly out in the wild for a while and we will have a much better idea what these 4/3 flagships are capable of. In APSC land, the XH2 should at least have been announced. Also, I’d give old Panny Boy a chance to see if anything to succeed the S1 line is on it’s way. S5 possibly too soon but the S1 is either going to get replaced or junked. Personally, if they can get the AF sorted, they have the basis for arguably the ‘best’ system. Current S5, S1H and S1R user.

It’s one of the ‘better’ AF lenses for sure, if not the ‘best’. I haven’t seen warpy edges ever with this lens and only shoot 4K 50p, but yes, seen folks vlogging while bouncing along a mountain track and their warpy edges. Must be because it’s in crop mode I guess? But my whole shooting style is static and don’t do camera movements so…

As always, it depends on your use case and needs, but if it was me, I don’t think there is that much/enough difference between the 24 and 35mm f1.8’s and the 20-60mm ‘kit’ lens. In fact, I prefer the 20mm FF ability even if it’s f3.5 over the 24mm f1.8 and this is what I specifically use this lens for: Stills = 20mm wide angle Video = ‘30mm’ 4K 50p So I personally would skip both of the above and be looking at the 50 or 85. 85 or somewhere round about that is a staple for me as a photographer. In crop mode 4K 50p, it becomes like a 127.5mm and is far too long for my needs. I did shoot an entire styled wedding Shoot indoors and out with it last year, just because, but the 50 would have been better. I used to think (without much thought) that 50mm was a boring focal length, but in recent years have grown to appreciate it. My go to focal length for most things these days is now 65mm because it’s got just that bit more reach and compression than a 50, but isn’t so tight indoors like an 85 can be. Ultimate portrait lens/focal length? Nope. Something longer is always going to be more flattering. Goldilocks focal length for many things a lot of the time? For me it is. Conclusion: I’d go for the 50mm as it is more flexible than the 85mm for most people, most of the time and as mentioned above, the kit lens at the longer end, is getting a bit slow. Outdoors in decent light, pretty decent shallow DOF if that’s your thing, but once the light levels start dropping, as good as the S5 is in low light, an f1.8 is significantly better. I’m a big fan of f1.8/f2 lenses and IMO, they are the sweet spot of; useable shallow DOF, low light capability, size, weight and price. So you can keep your f1.4’s and as for stuff like f1 etc… 😜

Yep. Very important to me also. I’m not opposed to change other than when it’s change for change sake or because the new latest thing ‘might’ make a difference. Another yep. That’s one of four options potentially that I may sometime in the future switch or upgrade to: Fuji XH2 Panny S1/S5 line ii OM-1 Sigma FP next gen But as above ONLY if there is a compelling enough reason for me to do so that makes it worthwhile as changing an entire system is a pain in the ass on so many levels, but principally familiarity. GH6 is also potentially on the table, but right now, the OM Systems option has slightly more appeal… For video, either of the current 4/3 options could easily meet my needs, it’s just the stills side that concerns me. I have had various 4/3 cameras before but they fell slightly short compared with Fuji APSC I was using at the time, so compared with 24mp full frame, never mind my 47mp S1R… I could easily switch back to 4/3 for video without testing as it’s a known quantity for me, but for stills, I’d need to run some tests. Fortunately, all/any change is off the table until at least this next Winter!

I noticed you had followed! More pics than followers, that’s for sure, but then I cannot be bothered to play the games or practice the BS that is necessary in order to create a tribe. Funnily enough however, I get more work from IG than many of my colleagues with 10x or more tribe members so sometimes less is more… Mostly just been rehashing stuff I have shown at least once before due to the lack of work in what will be nearly 2.5 years when I get going again next month, so looking forward to showcasing some actual new material! There is actually a Sigma FP-L image amongst the 4000+ 😜

Funnily enough and slightly connected Kye is why 'MrSMW' in the first place? It came from some extreme sarcasm from me years back on another forum where someone who had a bee in their bonnet with me over something (I never found out what, nor much cared), used to always refer to me somewhat sarcastically as 'Mister Simon Mark Whitten' which they suffixed the Mister to after lifting my name off my website. MrSMW always then used to respond to them in the third person. Just without the hat. Or purple jacket. The bow tie I have.

Plus an S1R 😉 MrSMW has considered the Sony A7iv (hybrid use) and the Canon pairing of R5 (stills) and R6 video and I cannot deny there is some appeal… Just not enough. If AF was my primary requirement, then sure, I would not just switch to either of them, I would already have been with one of them. But nah, neither tick enough boxes for me and the few compromises that I have with L Mount ie, the size and weight of the S1R and S1H and the less than stellar tracking AF are the choice I made. And as always, it’s ONLY forward tracking AF that is not completely reliable. The rest of the time for video…95% of my work, it’s more than good enough and for stills, isn’t even a factor. Slower than PDAF, but not by much in the real world and actually more accurate. But back on the Sigma FP, straight out of the box, it’s ergonomically a bit crap, but add the smallest native grip or the Smallrig wooden one (which looks quite ye olde schoole cool), it’s transformed. Based on the Z9 performance, as a 51% photographer, I’m actually OK now with e shutter only, just not with Sigmas at this time as it’s not quite there yet. As above, that is the ONLY real dealbreaker for me for stills use and the lack of internal 4K 60p for video, the ONLY real dealbreaker in that regard. A rangefinderesque L Mount camera would be fanfuckingtastic IMO as 2 of my favourite cameras of all time have been the X100 and X Pro2, with which I have done a ton of work. Hopefully, one of the two, Panny or Sigma will bring one out but my money would be on Sigma. I have always had a thing about slightly left-field cameras when the herd are using something else. Sony? It would be too easy. And utterly boring 😉

I love the FP camera. As a concept. I couldn't use it however because it's waaaaaaaaaaaaaaaaay too compromised. But get the next one at least to a certain level of usability and I'm in. As long as they keep it L Mount. A funky new sensor could be just the ticket. I was always intrigued by their Quattro range, but based on the fact that you could really only use them in daylight killed it for me. I did try an FP-L kindly loaned to me by Sigma France and whilst I could forgive the lack of a tilt screen and IBIS, the banding under certain light for stills killed it stone dead for me. Pity because the quality from the files was stunning. An FP for video would have been great...if it had 4k 50/60p, a tilt screen (can be had after-market) and IBIS (monopod if I had to). I could have gone for that despite the latter 2 compromises, but the former meant I couldn't go that route. Paired with an FP-L for stills. Again, I could overlook the tilt screen and the IBIS, but the banding...aaaaargh. Just a fatal flaw with each, for my needs. Fingers crossed for the next one. If there's a next one...and maybe the Foveon sensor could be the icing on the cake...

Easily the best and most accurate guide out there…and I’ve seen them all. Personally, I use f2 Sigma glass for anything that does not require forward tracking which is 95% of my needs. The 20-60 ‘kit’ lens for the 5% tracking needs. No guessing or “I heard in the internet” BS, simply a fella that owns and tested the kit and can clearly explain best practices.

The S1H is just fantastic but... even though I consider myself something of a minimalist, in order for me to do what I need to do, I use on every job: Stills camera (S1R) A cam video (now S5, was S1H) B cam video (S1H, was S5) Each of the above has a principle lens and an alternative lens based on circumstances. Back up and BTS cameras (ZV1 and Action 2) Drone 3 tripods, 1 monopod, 3 lightstands, 4 lights, 6 pieces of audio capture gear. You know those, "what's in my camera bag?" videos, well I have 4 bags 🤪 Sounds a lot but only at certain times am I using most of it at once such as during wedding speeches, I will have my 2 principal cameras on me, roving, (as I do all day anyway, ie, I never take them off other than to eat) while the B cam, back up, BTS, lights, off camera flash etc, are all tripod or light stand mounted and set up during quieter moments. I draw the line at flying the drone while attempting anything else though as I'm paranoid about crashing it into a tree. Or a granny. As I have done several times. (Trees, not grannies). The S1R is a big enough beast and having the S1H on my other strap for anything from 9-15+ hours is just that bit too much and the S5 is just a lot easier to handhold all day with cage and additional grip. The principle I believe with one area is yes, you generally 'point' that in the direction of your subject and if it's a face, it should switch to face tracking/pick it up and track as such. I need to give it some more time as I've only just switched to it from 'normal' face detect only, but in some back to back tests, it does seem better. I'm not sure what Quick AF is. Or I've forgotten. It's not a stills thing is it...?

Ah, I don’t mean the genre or how the actual movie compares to it’s predecessors or the Marvel franchise, but the sheer level of filmmaking as purely just that, filmmaking. Along with Dune, the most ‘cinematic’ (combo of visual + soundtrack + sound design) movie I have ever seen. Can’t wait to watch it again at home in a few months without the distracting French subtitles we have to endure with anything shown here in France with VO (version originale) language. It’s pretty stunning and has been likened to something more akin to an indie movie that has been made available to the masses than your typical Blockbuster. Watch it and then judge it!

Yes I started off using face tracking but switched to one area + face and found that to be the best of all of the available options. Tracking AF is generally garbage. Tap to confirm focus makes a difference but I can’t remember off hand if that option comes up with one area + face or whether it is a purely face tracking option only…but it does improve things if available. The lighting situation and background plays a part in this due to the nature of how DFD works. Also not shooting wide open on say those f1.8 primes helps. Going forward (and my season starts in around 4 weeks and is then pretty relentless until early Oct) I have reverted my S1H into being my static (ie tripod) B cam and the S5 as my A cam which is on me at all times, handheld or monopod. Why? The S1H can do 30+ minute recordings without resorting to dropping to 8 bit and despite me preferring it in almost every way to the S5, there is one area I do not and that is weight. So it’s S5 back to A cam with Sigma 35mm f2 for indoor work which is switched to Sigma 65mm f2 for outdoor so shooting 4K 50p which is my go to, effectively shooting with a 50 indoors and a 100 out. I am keeping the kit zoom 20-60 close by though for those few times when I need the best tracking AF that I can get, ie, entrances, exits etc and shooting that at f4 or 5.6 at it’s widest focal length, ie, a ‘30mm’ equiv. Finally, in order to mitigate some of the chunk of the S1H, I’m welding on the Sigma 18-50mm f2.8 as that thing is tiny and very lightweight yet offers an equivalent field of view of 27-75mm so pretty flexible. This unit is pure static manual AF anyway. I’ll report back if I find anything new as this week is designated as another week of testing. More to keep some familiarity going than anything as even a couple of weeks off produces a surprising amount of initial ring rust.

No spoilers. Following on from Dune, taking a line from the original TV series, HOLY COW.

I’ve tried more tests than animals that ended up on the ark… Handheld, tripod, Panny lenses, Sigma lenses, 1080, 4K, 25p, 50p, log, profiles, every combo of AF tweaking possible and the result is always ‘the same’ and that is it’s not reliable. BUT it can work more often than not with the right combo which for me has been as I listed a few posts above and for 90 or even 95% of my needs, works just fine, but never tried walking towards so will try that (but isn’t that just closing the gap faster?!). I’m doing some final grading testing this week so will try some further AF tests also. I think the GH6 has some kind of focal limiter that sounds like it could be interesting if that ever comes to the S5 with software…

Hey, no problem Geoffrey, - it's OK to have a different opinion and express it. I've explored every single setting and then some and in my experience, in regard to tracking people walking towards you at anything above even a moderate pace, it's not reliable. Arguably, no camera is 100% reliable, but in my experience, the XT3 was better than the S5 is and neither are as good as the Nikon Z6 I tried and that isn't as good as anything Sony or Canon. But the S5 still remains my main video tool for professional work.

I still use Vimeo, but purely to host client wedding videos for them (and prospective punters) to view on my own site and for clients to download 4k productions from. I guess that means I am simply using them for hosting only and may look at other options...but as the old saying goes, if it ain't broke... I may also start uploading to YouTube and maybe try and grow that a bit beyond my 3 subscribers, but at the same time, I hate doing things for the sake of doing things and get enough work (at the moment anyway) from other sources that mean I don't really need to develop anything new. I've had one or two older productions deleted for using copyright tracks (pretty obscure, but still copyright stuff) but for years have only used stuff from the likes of Artlist, Musicbed, Epidemic Sound etc.

Check yer pm’s 😈