MrSMW

I've just ordered one and it arrives this next week! Why? Taken a few bookings recently for '22 jobs so the coffers have had a little top up. Still at least 4+ months from my wedding season getting going, if it even does this year, but... I made a final decision to run with 2x S5's and not the pairing of an S1H with an S5. There were pros and cons to both set ups but in the end I decided the S5 has enough for my needs and I prefer it's compact form. If only it had the S1H screen though... I have my (used, courtesy of a member of this forum) 24-105mm f4 and it's a great lens, but... although it's not huge or heavy for what it is, it is larger and heavier than I'd like any lens to be and it's still f4 which at the longer end is not so bad, but at the wider, as someone who likes a shallow DOF, it's not quite right for me. I'm keeping it though and it's going in the bag that stays in the back of the car and only comes out for specific purposes which will be certain commercial jobs and church weddings (very rare here in France) where I need something longer than everything else I have got. So my main workhorses are going to be a pair of S5's (not buying the second body until I know my season is about to start, but I do have various marketing projects and styled shoots prior) with as principle lenses; this Sigma 28-70mm f2.8 on one body and the Sigma 65mm f2 on the other. Also buying that lens later when I actually need it. Some crossover there surely with the 65 falling into the top end of the zoom? Well I shoot 4k 50p for 90% of my work so actually the zoom lens is going to be used more like a 42mm at the wide end and 105mm on the long, ie, will be used as a 'twin prime' only at these equivalent focal lengths which is perfect as my needs are pretty much 50, 100 and occasionally 150 (which the 24-105 provides in APSC crop mode). I do need something wider for just a couple of scenarios and that is covered with the 20mm of the kit lens. My complimentary Sigma 45mm f2.8 becomes redundant in this mix but keeping the only other lens I have which is the Panny 85mm f1.8 as it's a '130mm' for low light indoor rare church weddings where I need a bit more reach, but kept in the same bag as the 24-105. The bottom line in all this is when weddings actually do start back up, I will effectively be shooting 90% of all my work with a 40mm f2.8 on one hip (the zoom) and a 100mm f2 (the prime) on the other which is as close to my ideal as I can realistically get.

Another Ambassador, Matti Sulanto, also said the other day, something was coming. We shall see...

One of many bags I purchased that seemed like a good idea at the time. Currently it’s a small black one 😉

Which is exactly why most ‘reviews’ by folks unfamiliar with a brand, never mind the closest model within that brand, are often lacking. Or just complete BS.

I was meaning to at least move from Premiere to Resolve and ditch both it and Photoshop (which I never use), but keep LR as a standalone option. But I forgot about my auto-renew sub and without warning, the payment went out last month. I'm no fan of subscriptions as it is, but there should at least be a 7, then a 3 and then a final 1 day warning. But nothing to do with this thread, so I'll wind my neck back in!

Same result today, the 5.2k frame grab is slightly better than anything 4k as might be expected, but not quite up the Jpeg from RAW standards. If Jpeg from RAW is a 10/10, I'd say the 5.2k grab is maybe a 7/10 and the 4k maybe a 6/10. In conclusion, 8k is probably an 8/10 or even a 9/10 and I will be sticking to shooting stills in tandem with video 90%+ of the day, but for that other 10% when I need both exactly at the same time, just shoot '6k' video @ 3:2 and pull the stills off that. We're close...possibly even there, with 8k and 5-6k is not that far off, but not quite what I need it to be.

I find that over my season, I am basically over-worked and in my off-season, under. I do generate ideas all season long, but it's really only in the off season I can consider them properly and then plan how to execute them the next season. End of 2019, I had some 'big' plans. What 2020 season? What 2021 season so far? Very frustrating when your subjects instead have to be a slightly less than willing wife, a teenage daughter (need to say more?) and a couple of dogs that have poor acting skills. It's why I am happy to be picking up a few smaller commercial marketing projects right now where I can test things ahead of the next (wedding) season, whenever it does manage to get going again.

This is why in a way, this period of mostly inactivity has been good for me because despite very little practice being possible, I have been able to pull stuff from various YouTubers and websites I would probably otherwise have missed had I been busy with actual work. Sometimes in fact, you can be too busy to develop so you are just rinsing and repeating bu not really moving forward. Getting a balance is good.

I have never had an original idea in my life that I am aware of. Instead, I take an amalgamation of inspiration from all manner of sources (should be sauces) and stir them in a big pot. I then focus on producing a result 100% for me despite the clients paying. I am somewhat ‘fortunate’ in that regard that I do not work to client briefs but instead produce something in my style specifically why they choose me, ie, they don’t want any input. I have tried to reinvent the wheel several times, but it has never worked for me so I spend my effort on polishing my wheel instead and making it as shiny as possible.

On another subject, holy crap, 6k 10 bit 4:2:2 internal all-I. How did I not know about this before?! How come so few are talking about it?! Well it’s not quite what it could be though I have just started a series of tests and it’s looking quite promising for certain use cases. First of all though, it’s not 6k, but 5.2k in a 3:2 crop. Great to the latter because I’d like to pull stills from it and 3:2 is best for me so box ticked. Also, the more pixels the better and 5200 long edge beats 4000. Another box ticked. Is it all-I though? Very difficult to find info, but I read that it is and something to do with the fact it’s always and only 30 fps. And that’s the next thing, 30 fps. Is that a good or bad thing? Most seem to want 24 or 25. I’d prefer 25 myself, but 50 would be better and you can get 50, but have to drop back to 4k. The real eye-opener for me was that it could be shot for 15 minutes and in vlog. I have only tested with Natural and Cinelike V so far so may test vlog but depends on whether the onboard LUT works with it or it’s a definite no no. No dealbreaker anyway as I prefer to work with a baked in look and minimal grading in post. I did some quick tests yesterday against FF 25p and APSC crop FF and it looked better. Harder to edit though as it does not run smoothly in Premiere, probably due to being 4:2:2 rather than 4:2:0? I am not the techiest of people but assume that is it? No dealbreaker here either as next year I am going only laptop and M1 chip thingy. The bottom line is I’m trying to discover whether an S1H will suit my needs (highest quality baked in video at a reasonable price that I can lift the best quality stills from) or whether the S5 is enough in either 4K 25p or 5.2k 30p. Yesterday I got quite close to Jpeg from raw quality in 4K 25p and 5.2k 30p with the still image being the best, the 5.2k second best and anything 4K third best with 4K 25p beating 4K 50p. Ie, as you would expect. The S1H I suspect at 5.4K 25p is not going to have much of an edge or even any noticeable difference over the S5 in ‘6k’ mode?

Native Panasonic best. Sigma & Leica second best. Zooms seem to have an edge over primes. Anything adapted, good luck with this system! I suspect you would have a slightly ‘better’ result shooting stills but I suspect hoping for anything more than say 1/10 AF with video would be about your best expectation. That isn’t to say don’t use adapted, but rather manual focus would be your friend here.

This. Of course an even higher standard of technical perfection could be achieved, but practice practice practice makes ‘perfect’ over kit.

All the answers are here!

I know it's an old thread and I could read all 41 pages, but it's quicker to ask...and this thread has not been updated since the most recent firmware and that's part of my question which is... S5 user here and I need another body for wedding work. I'm OK with what I have for commercial/personal projects, but beyond that, have an actual need. I am currently weighing up whether to go for a second S5 or go S1H and make that my primary hybrid with a video bias and the S5, also a hybrid, but with a more photo bias. The specific questions I have are: How does the 5.4k 25p footage compare with 4k 25p? Specifically 5.4k because the 3:2 format appeals because I would like to pull stills from it. I've been pulling stills successfully from 4k 50p footage with my S5 and intrigued by how much extra quality there will be in a file measuring 5400 pixels over one with 4000. Second question is how is the AF at 5.4/6k 25p since the most recent firmware update. 4k 25p is definitely not as 'good' as 4k 50p on my S5 so sure it would be similar for S1H? No, not interested in an S1 before anyone asks. It's a fine line as it is between S5 and S1H, all factors considered and the ONLY reasons I'm looking at the S1H are; better video quality shooting 5.4k 25p with anti-aliasing filter over 4k 25 or 50p with my S5, plus the rear screen (I really prefer my screen to be centred with the lens) and the cooling/fan would be a bonus as it can get very hot (40 degrees+ and in direct sun for hours on end) where I live and work. Even used, it's near double the price of the S5...though I do have a (prime) lens use case for 3x S5's as a possible alternative. If it makes any difference, I'd be using the 24-105mm f4 most of the time with the S1H but if I go the S5 route, other than ceremony, L Mount primes. I'd appreciate any relevant info/feedback!

I had one job back in 2019, when weddings were still a thing, it took 2.5 batteries to update & calibrate the thing and I ended up with about 5 minutes flying time. And yes, I had checked for updates the day prior and charged all my batteries. I have noticed they really don't hold a charge very well and it just so happened this particular day in question, the firmware needed updating, some stupid flying zone thing (I was in the middle of nowhere) and it just would not calibrate it's compass anywhere I tried it. I hate the things really but it's a dealbreaker/selling point to so many clients who ask, "have you got a drone". Nearly lost it in the sea once. Strong headwind, battery about to die... Literally had seconds before my outstretched clifftop hand grabbed it. But anyway, Rode Wireless Go's... single unit, baseline audio track end of, for me.

I just want to switch on with a physical switch that is instant, ie, no holding for 5 seconds etc. Then I want to just a record button, see it's recording and then press or push a lock feature. On camera, I'd like it to switch itself on or off when I do the camera. I can see why some might like or need apps, for remote access etc. And don't get me started on pre-flighting a drone... 🤪

No. There is an increased stabilisation bonus using native lenses with OIS taking stab from I think 5 stops (?) to 6.5, but there are only a couple of zooms with this feature. Otherwise IBIS works with any/all lenses regardless of what they are, who they were made by or how old they are.

@Marcio Kabke Pinheiro that is really shit. Sorry for you.

They definitely crossed the streams with that one.

As an S5 user, I can tell you that if reliable AF is important to you...and by the sounds of it, it is, then no, especially on a gimbal. Then for the best AF you need native Panny lenses. I like Sigma. A lot. But I have tried 2 Sigma lenses now, the 45mm f2.8 and the 56mm f1.4 APSC and the former doesn’t work anywhere near as well as native Panny and just good luck with the latter! As for the S1 series, just no. Same AF issues and a chunk more weight. They are great cameras but I’d argue far from the best tools for this job. As is clearly the case here with the OP, usability is paramount and if the XT3 is not working out, then go back to Sony. Though I had no AF issues with my XT3’s myself. If the A6000 series is not doing it for you, then A73 as has been suggested, though if it was me, I’d go A7Siii or new FX3. If the budget allowed.

I shoot Raw for stills @LloydPDX ...to date anyway, but looking at all options now I have moved to Panasonic.

I think I’ll just stick with the original for now which I only use as the baseline for my work, almost always replacing with dedicated lav mic material. I’d like to see a ‘pro’ version which is quicker to switch on (and off), is more obvious it is actually recording and has 32 bit float.

Sure there is more crap than ever being produced these days, but I think there is relatively more good stuff also. It’s choice really and I choose to block out the dross whenever and wherever I can whether it be Netflix, Prime or ‘big screen’ releases. But then that is not always so easy when you have a teen who has different interests and tastes so I also get exposed to some right old shit 😶

Ditto except; Classic Chrome profile on the XH1, then Eterna profile on the XT3 and now Natural profile on the S5. Has there ever been a time I wish I’d shot log? Nope. OK, it’s the video equivalent of shooting Jpeg vs Raw, but for me and my needs, I’m comfortable with it and all about getting kit and process (ing time) out of the way as much as possible.