MrSMW

Full frame, more dynamic range, better low light, better built, better ergos, IBIS for both stills and video, plus with the latest firmware, more capable as a ‘cinema’ camera if you wish to rig it up and record externally. In regard to the latter, I don’t, so it doesn’t make any difference to me. Fuji wins for me on; size (but needs at least an aftermarket bracket grip which cost peanuts and in fact I have 2 to give away for the cost of postage EU) and SOOC colour science if you do not shoot log. A better comparison is the XT4 as that has IBIS. S1 vs XT4? I would choose XT4. S5 vs XT4? S5 for me. The ‘issue’ that some struggle with is the lenses... Fuji make many, but none really float my boat. If I had to pick one, I’d go 16-55mm f2.8 ‘one and done’ giving a full-frame equivalent range of 24-83mm. Panasonic get criticized for a lack of full-frame lenses and that most are too big and heavy and to an extent this is true...but smaller primes have begun to appear and all the Sigmas and Leica’s (budget busters for most) etc. I’m happy with the pairing of Sigma’s 28-70mm f2.8 which is shorter in reach than Fuji’s equivalent but the Panasonic’s can all do APSC crop mode turning the 28-70 into a 28-105mm. To conclude, the package of S5 + Sigma 28-70mm is no bigger, actually lighter and more capable than the pairing of the Fuji XT4 + 16-55mm. Just... Couldn’t go wrong with either! I do prefer primes but that for me means more bodies as I need multiple focal lengths at the same time so use 2 bodies (need a third) and 5 lenses.

The Panny S1 is ‘probably’ the best value bit of kit available right now, just pipping the Fuji XT3, but unless size & weight is more important, S1 for the win. However, if size & weight is a factor, Pannyboy S5 over the XT3. That’s where my money would be going, Panasonic or Fuji.

I debated for a long time whether I would get one or another S5. Zero regrets, even with all the firmware updates to the S1. Mostly it was the size (false reports everywhere about how massive it is) though the cost played a part but I bought used (like new) model and in the hands it is near perfect ergo-wise and not heavy at all. And as a non-fan of flippy screens, the tilt that it has is perfect for me. 9/10 overall with just the single point removed as the AF is not on par with the likes of Fuji or Nikon, never mind Canon or Sony. It’s a proper pro piece of kit with the bonus that I can now sell my wedding videos to Netflix 🤑🤩🤔

For stills, I don't let the shutter go any slower than 1/250th unless the subject is very static. For video, 90%+ of what I do ends up being 50% reduced in speed and I see no problems shooting 10x the 180 degree shutter rule. Vlog, you just need to use an in camera viewing LUT, either a camera standard one or an imported one. I use the one from Gamut rather than Panasonic's because it's better. But then I don't shoot Vlog but a tweaked version of the Natural profile. Each to their own and all that but IMO either shoot Vlog if you wish to grade or a non-flat profile if you don't because otherwise you may as well shoot Vlog and get a better result!

Ah, I don't have one but assumed that because it has a stills/cine switch, it could store different settings. My bad. XT3 (as above), I used the silent video mode and flipped all the time. With my S5 and S1H, I simply have an indoor stills mode set to C1, an outdoor mode set to C2 and then 3 video modes, C3 1-3 (4k 25p, 4k 50p and 1080 100p).

Fuji XT4, Nikon Z6/7, Pan S5/S1, Sigma FP all do...and maybe others.

Depends how long I have to wait! Right now, things are slack but when it does start, it will be full steam ahead. But when is the big Q right now...

For me, it’s the lenses that took me away from Fuji. I’d have a 50mp version of this for stills in a heartbeat...as a body, but could only justify a single unit so would need a zoom and that would be the 45-100mm f4 and it’s massive/too big for me. And a teeny weeny bit too slow, even if it is medium format. XH2 or at least my version of it, would be perfect for video...but even worse choice of single (zoom) lens, but could probably get away with the 16-55mm f2.8. Just. I like Fuji a lot, but they just currently don’t make anything that suits my needs, so ‘other manufacturer’ full-frame is my sweetspot.

My current issue... My PC could not handle the 4K coming from the Fuji XT3 so had to convert to pro res first. It handles the Pannyboy 4K better SOOC, but struggles. Anything more or layers on layers etc and it just bogs down. I need a new system and currently debating Mac mini m1 or Mac Book M1. Laptop I think because I have an increasing need to work on the go due to changing times within my own niche.

No ND’s here, fixed or variable. I own one but don’t use it. Aperture wide open unless I specifically want a less shallow DOF. All my lenses are f2, f2.8 or f3.5. ISO as low as poss, so 100 most of the time. My exposure variable is controlled manually by thumbing the shutter speed. Anything from min 1/100th to 1/8000th, stills or video. I ignore the 180 degree shutter rule willfully. I use a combination of histogram and my own eyes for exposure, ie, if it looks right, it is right and any minor adjustments can be made in post, but as there are at least 3-4 stops possible in either direction, it’s no big deal. Unless you blow the highlights, so that is my conscious priority, ie, not to do so. S5 and S1H combo, though the S1H is dedicated to video capture and the S5 hybrid, but more stills oriented now I also have the S1H.

I’ve been ignoring it my entire career and no one has ever noticed. Or at least commented. Without an auto internal ND, it makes true hybrid coverage very difficult...which is what I mostly do. I’ve never chased the next ‘latest & greatest’ spec. Chased certain standards at times yes and for the last few years, that has been 4K 60P plus great SOOC picture quality (stills & video) that can easily be lightly graded. 8K? No thanks. Raw video? Yet to be convinced for my needs. Super shallow DOF. I do like a shallow DOF and have done my whole 20+ year career, but the main reason I personally prefer faster lenses is more because of the lesser need to crank up the ISO and introduce unwanted noise. Because sensors continually improve in that regard, f2 & f2.8 are now my go to’s whereas just a few years ago, it might have been f1.4 (for full frame). Great colour SOOC is not negotiable with me however. Anything that requires extensive work to look good isn’t for me. And in all of the above regards, I’m done camera spec-wise for at least 3.5 years unless something breaks in that time. As with all these things, it’s just finding that balance of the tools that will best do the job that you need them to do within a certain budget. Anyway, my tastes must be different to the masses as I took the blind test and Sony didn’t win for me 😜

When Toneh Northrup did a blind test on all major manufacturers, didn't Sony come out on top there also? I seem to remember...

Sorry yes, meant 24mm.

Posted 3x for effect 🤪

I’ve seen some utter trash (a lot of what is out there) and some really wonderful stuff. What it comes down to is what it often/usually comes down to and that is the skill of the operator + the glass used + the grade. The typical reviewer tests will rarely showcase anything to it’s best other than by accident, but those folks who actually own something and work with and at it, can demonstrate something far superior by design. I don’t claim to be any kind of expert but with the combination of camera choice (S1H) + lens choice + diffusion filter + tweaked profile in camera + basic initial tweaks in editing before final light grade, using a LUT I created from a photography Lightroom preset I created, used at 25-30%, I’m getting a consistent end result that I really like. And the YouTube anyway... All kinds of nasty compression etc. I only upload to Vimeo and in 4K. It’s all still a work in progress, albeit somewhat limited progress because of the limited chances to actually get out and shoot real projects that are almost impossible to recreate from home.

I’ve seen some utter trash (a lot of what is out there) and some really wonderful stuff. What it comes down to is what it often/usually comes down to and that is the skill of the operator + the glass used + the grade. The typical reviewer tests will rarely showcase anything to it’s best other than by accident, but those folks who actually own something and work with and at it, can demonstrate something far superior by design. I don’t claim to be any kind of expert but with the combination of camera choice (S1H) + lens choice + diffusion filter + tweaked profile in camera + basic initial tweaks in editing before final light grade, using a LUT I created from a photography Lightroom preset I created, used at 25-30%, I’m getting a consistent end result that I really like. And the YouTube anyway... All kinds of nasty compression etc. I only upload to Vimeo and in 4K. It’s all still a work in progress, albeit somewhat limited progress because of the limited chances to actually get out and shoot real projects that are almost impossible to recreate from home.

I’ve seen some utter trash (a lot of what is out there) and some really wonderful stuff. What it comes down to is what it often/usually comes down to and that is the skill of the operator + the glass used + the grade. The typical reviewer tests will rarely showcase anything to it’s best other than by accident, but those folks who actually own something and work with and at it, can demonstrate something far superior by design. I don’t claim to be any kind of expert but with the combination of camera choice (S1H) + lens choice + diffusion filter + tweaked profile in camera + basic initial tweaks in editing before final light grade, using a LUT I created from a photography Lightroom preset I created, used at 25-30%, I’m getting a consistent end result that I really like. And the YouTube anyway... All kinds of nasty compression etc. I only upload to Vimeo and in 4K. It’s all still a work in progress, albeit somewhat limited progress because of the limited chances to actually get out and shoot real projects that are almost impossible to recreate from home.

Well if you only shot the wide end of the 20-60 @ 50p it’s going to be a 30mm equivalent FOV and at f3.5. For me, it’s about as wide as I would ever go and at f3.5 isn’t too bad even in low light. I’m really enjoying the 28-70, but on the job I did last week (lockdown 3 starts here today for the next month...) but I used it stills only on the S5. For video, I went Sigma 45mm f2.8 on the S1H and it was much better than I thought it would be, which bodes well for the 65mm f2. There are a few options to go wide(r) native L Mount or adapted but the 23mm f1.8 should be coming soon that is; compact, light, reasonable price, fastest AF and decent aperture?

It all looks pretty awful as does everything I have seen from any phone unless it's thumbnail/IG size. I've given up on phones myself as a camera, unless it's just a snap for social media/friends & family. But for everything else, just nah.

Bring back V10’s to F1 would be my vote.

Unless it's Wonder Woman 1984 when just watching the trailer only (ie, not the movie) is your best course of action.

"Quality wise, Sony is the McDonald's of the camera industry". Who is KFC then?

Always ask, always receive permission (in writing) and always credit. Not so much video, but it doesn't just piss me off, it actually hurts my business and benefits others when my work is posted without credit. The typical scenario is Wedding Planner X wants certain images from me. Despite having a contract with T&C's, WPX passes the pics on to Venue A. Venue A splatters them all over their website and social media and whilst usually not directly crediting anyone else (or anyone at all), has a list of recommended associates of which I am not one. I've also had many of my image posted without credit and then sneaky photographers spot that and post a comment that does not directly claim credit, but could be interpreted as such. I once had a venue request images from me for their brochure. I provided and they sent me a proof of the brochure before it went to print. They ended up using my pics for 42% of the brochure including every full page image. On the rear cover, they had a list of the NINE photographers credited. And I was not one of them. When I tackled them on this, they stated, "oh, you are not one of our recommended photographers so we can't credit you". My immediate response was an instruction to remove all my pics. They added me in response in 10th place. The reality was I should have been credited in bold at the top and in a larger font and then the other 9 listed below as a block in something smaller. Just one of many incidents in my 20+ years of dealing with such fuckwittery... 🤨

With the larger of the grips available, or the cage inc. grip from Smallrig, plus the EVF, pretty much...which is why you then have to ask yourself the question, "what does it do, that something else does not?" Maybe it's the colour science or some other aspect? Maybe because you are just one of those people that say "damn convention!" and just make it work. I've just looked at the work of twice voted best wedding videographer in Europe and he's moved to shooting the FP handheld from Black Magic. Some will want to rig it out, but for me, the appeal of it is pretty much straight out of the box, other than the smallest hand grip attachment which barely adds any size. Bare bones simplicity.

I was looking for one camera to do it all. Well 3x identical bodies anyway as I like to use the same in that regard if I can, or at least very similar. The S5 and S1H are similar, especially as I have the battery grip on the S5 now which makes it actually slightly bigger and heavier than the S1H. I never intended to mix the Sony footage in with the Panasonic because to me, that is like crossing the streams, especially 1" sensor stuff with full frame. It's bad enough when it's the Mavic Air footage but at least it's a completely different type of footage and viewpoint. And no, I don't want any 'better' drone as I don't much like using it (the capture) but it plays a part in the package and clients like & want it, so... But at least keeping it all FF has appeal and within the L Mount family, even more so. Plus in my use case it is essentially just 2 long static pieces which is easier to match than 50 clips from X and 50 clips from Y. It just makes sense and I like things that make sense. It was always an outside bet it was going to be the FP as a 'one and done' body. Certainly not with the original. Could I have made it work? Of course/probably...but there would have been major compromises. Now it's simply going to be 1 of 3 principle parts of the jigsaw.