herein2020

From everything I have read, the DJI Ronin series is unmatched by any other gimbal vendor in its motor auto tuning capabilities with the runner up being Zhyun Crane so that may be the difference. The Ronin S can also fly a C200 (with a lot of fiddling) so with the S5 so far below its payload limit that probably helps as well. I did manage to upset it though when I tried to add a condenser mic to the top of the S5, even the Ronin S gave up on that one since the arm could not go low enough to center the load. But it does let me fly the S5 with the MC21, the Canon EF 24mm F2.8, and a Sennheiser receiver mounted to the hotshoe of the S5. I have not tried the Canon EF 16-35 F4 which I also have; so far since getting the S5 all of my video projects have involved people so the Sigma 50mm F1.4 or the Canon EF 24mm F2.8 have worked fine for that. With both of those lenses I can leave everything on and no corner warping will occur hand held or mounted to the gimbal.

What gimbal are you using and is it perfectly balanced and calibrated? I used to leave IS on with my GH5 and a wide angle lens but the warping seemed to end up in the footage at the worst possible time. It took a lot of fiddling with my gimbal settings to get the proper calibration to remove everything when IS is off and with the Ronin S I have to hit calibrate every time I put the camera on the gimbal or the micro jitters will be there. But, once the gimbal is perfectly dialed in, there's no warping or micro jitters. The hardest part for me is remembering to turn it back on before shooting handheld or moving to a different type of stabilizer.

The image that you saw was with the S5 in APS-C mode. This is for photography only, for video when shooting in 4K and in APS-C mode the barrel disappears as it should. My original plan was to use the EF-S 10-22mm for both real estate photography and video on the S5, but the APS-C mode only works for video apparently. For photography, even if you pick APS-C mode it seems to use the full sensor even when shooting JPGs. That makes sense that there is an optical difference between the 10-22mm and the 10-18mm. Any crop sensor lens that can cover a FF sensor won't have these problems. To avoid corner warping with wide angle lenses I have always turned off stabilization and used a gimbal for real estate. I did quite a bit of testing with both and found that with both lens and IBIS off and the camera mounted to a gimbal I got no warping as long as my gimbal technique was correct and the gimbal was properly calibrated.

MC-21, but I do have one correction, my lens is the EF-S 10-22mm not the EF-S 10-18mm. My EF-S Sigma 18-35mm does work and I have one other crop sensor lens (can't remember the details on it) but that one worked as well. I only have 3 EF-S lenses but out of the 3, only the EF-S 10-22 did not work. Below is a picture of the problem with the EF-S 10-22mm mounted on the MC-21 with the S5. This is with the 10-22mm zoomed all the way in to 22mm. at the 10mm end it is way worse.

The Canon EF-S 10-18 does not work with the S5. You can see the barrel of the lens with that lens on the S5. I was going to use that lens for real estate work since I already had it for a Canon Rebel T6S and I discovered it does not work. I ended up getting a 24mm F2.8 instead. I also have a 16-35mm F4.0 but its a bit big and heavy for gimbal work. I don't shoot much real estate these days since real estate agents in my area have continued to refuse to pay more despite the fact everything else is costing more, but if I still shot a lot of real estate I would probably get the Canon EF 14mm f/2.8L II USM for the S5. With that lens at 4K30FPS it would be 14mm and at 4K60FPS it would still be a 21mm. Turns out it was something wrong with the camera. I sent it in for repair and got to experience Panasonic's repair service first hand. No status, no information, nothing at all, but 3wks later it showed up fixed. The shutter button was also sticking and they fixed that as well. Nothing more infuriating than a sticking shutter button when you are trying to half press to focus.

Without a doubt one of my favorites is Blackmagic Design's Davinci Resolve color grading courses. The art of color grading is excellent.

For the type of work that I do, 4K is critical. For fashion shows I am typically hired to shoot the whole show for both photography and video so the camera is on a tripod while I hand hold the photography camera; I edit on a 1080P timeline and use 4K to crop, zoom, and recompose. Multiple times it would have been even better to have 6K when the models are walking or stop short of the mark; but I really wouldn't want to have to deal with the increased storage requirements. So for me the real power of everything over 1080P is in the edit, not the delivery.

I want to use the hotshoe to feed the audio directly to the video track but the camera body would need the proper hotshoe support to do that. Canon is doing it with the R3, Panasonic has been doing it for awhile, and I think Sony can do it as well. One less cable to deal with. I have to imagine this Nikon body has some kind of support as well. I have the MixPre6 but its a PITA IMO in run and gun situations. Its great when it can be properly setup for talking head scenarios. Even with the adapter, it'd be a hard sell for me to get a Nikon. I'm going to wait and see what the R5c, R5 Mark II, or the S5 Mark II offers; admittedly that could be a long wait. Nice..even the red recording box and WFM made it

This is the first time I've ever wished I was a Nikon shooter, definitely a fascinating camera, and I like that they went with two CFExpress cards vs the mixture of SD and CFExpress; I'd rather just pay extra for two of the same card vs always having to carry two different readers and backups for two different types of media. I would imagine this will also do dual slot video recording and possibly have a WFM for video so the only thing it is missing in my book is some sort of XLR audio input adapter solution. Also, I am guessing there won't be any compressed ProRes options due to the Red patent. Last but not leas, can ProRes be edited in Davinci Resolve? I know they have limited support for ProRes but I haven't followed too closely exactly what the limitations are. I will admit, if this were a Canon camera with these features at this price since I have so much EF glass I'd probably order one. Great video options, great photography options, this could be the perfect hybrid camera (if an XLR adapter is possible).

I completely get what you are saying...but the part that is hard for me to wrap my head around is that for the OP this will be completely unpaid work. I know that I personally wouldn't even consider doing that much unpaid work but even if I was planning to I wouldn't be willing to pay for that kind of gear with no expectation of compensation; if I were approaching this as a hobbyist I'd be fine with F4 and just crank the ISO. I would just get the EOS R, an EF lens adapter, a used 24-105mm F4 and call it a day. I know it has a pretty severe crop but so does the S5 when shooting 4K60FPS but I've learned to live with it. The biggest problem with the R6 is its lower resolution will limit its cropping abilities. Canon EOS R Used - $1500.00 Canon EF 24-105mm F4 II Used - $849 Adapter EF to RF - $100 Total Investment: $2449.00 I have the Canon EF 24mm F2.8 and it is great for gimbal work. Used they are about $430.00. With my camera I can shoot cropped at 35mm FF equiv or wide open at the original 24mm. With the S5 and it's dual native ISO I shoot at ISO4000 all the time; I once shot a fashion show terribly lit at night and was able to shoot at F5.6 and ISO4000 which was just as clean as at its other native ISO which is 640. The lens was an F1.4 but I wanted more DOF to get more of the model's walks in focus.

I have gotten used to dealing with crops since the S5 has a crop at 4K60FPS and the GH5 which I used for years had a pretty serious crop factor due to being a 4/3rd sensor so I pick wider lenses to accommodate the crop. But that's good news for the R6, when I got it, it had the original firmware and watching that countdown timer was pure torture for me. I live in FL where it is typically 95 degree heat and 100% humidity in the summer so overheating is a real concern of mine. Speaking of which even my C200 overheated once and I had to turn the fan on high to keep it going. I am pretty sure I could get my S5 to overheat if I tried hard enough but for normal shooting I've never had the GH5 or S5 overheat. One trick I do is if it is something like a wedding in the middle of the summer, I will cover the body with a white towel and leave the cameras off until the last possible second. Sometimes I keep it covered with the white towel even while shooting. I learned that trick from a news crew who was covering one of the projects I was filming; they shot the whole segment from underneath white towels on the camera. Direct sunlight here in FL is a real problem.

You've nailed it, I'd probably have two S5's and all L mount lenses right now and possibly an S1R as a dedicated photo body. Panasonic has everything else as you mentioned....accessories, XLR options, reliability, no overheating, no record limits, dual slot video recording, WFM, VLOG Varicam color science, right price, perfect size, great build quality, great photography features, etc. But none of it matters if your footage is not in focus or you are constantly dropping to manual focus when it just won't focus on something that should be simple. Even their focus peaking leaves much to be desired.

I know everyone here will laugh at me, but in all seriousness, if I were in your exact dilemma and were shooting for non-professional non paid use and mixed photos/videos I would get a used EOS R or possibly a pair of them; one set up for video and one set up for photos an EF adapter and used EF lenses. You also get 30MP vs 20MP which is better for cropping in when needed. It has the same sensor as the 5DIV, it is $1000.00 less than the R6, it has Canon colors, DPAF, and does not overheat. There is no way I'd trust the R6 for any video projects because it overheats in all modes. At least the R5 has a few modes where it does not overheat. The EOS R does not overheat in any modes. I very briefly had the R6 and took it back within 48hrs, you can read more about my experience with the R6 here. I ultimately ended up with the S5 which you can read about here, but it has its own list of compromises (mainly CAF), which you can read about here. But I digress; I agree with what almost everyone else here is saying, one body to do it all sounds great but seems nearly impossible in the real world. For me; even if the perfect hybrid camera existed I would still need two of them and they would be set up completely different. Photos - For the photo body I would need a battery grip; since I shoot a lot of portrait work I need the vertical shutter button and back button focus, I would also need the additional battery for long photo shoots like weddings and events, and I would need a shoulder strap mounted to the top mount on the camera. Last but not least, my tripod adapter plate needs to be mounted inline with the bottom of the camera body. Videos - For video work I need a camera cage, no battery grip for easier balancing on gimbals, and no shoulder strap mount since it would get in the way of video work. I need the camera cage to mount accessories like mics, video lights, and top and side handles. I would also need the tripod adapter plate to be mounted perpendicular to the camera body so that I can slide it into the receiver plate of the NATO rails/V-Mount battery setup for long form work and for gimbal work. Below is a picture of my long form setup. Now it would be absolutely great to be able to have two identical bodies so that I could share batteries, lenses, accessories, etc. and each one could backup the other one when needed (like for a wedding I could just rig both for video or both for photos); but I am still waiting and it still hasn't happened yet. Panasonic - Unusable CAF and needs L-Mount lenses if you are going all in which I won't due to the CAF situation. Sony - Not even a consideration for me, not a fan of their ergonomics, build quality, proprietary accessories, and would need all new lenses. Canon - R6 overheats in all modes, no XLR options for the R5, R5 overheats in most modes, hard to edit H.265 4:2:2 video files, would need an adapter or all new RF lenses, no WFM. C70 can't be used for photos, is missing IBIS, and has known flip out screen quality issues. Nikon - who? If Canon were to release an R5 Mark II with XLR options, no overheating (except in 8K which I couldn't care less about 8K), an eND filter, an H.265 4:2:0 10 bit option, and WFM for video, I would sell all of my gear and standardize on two of them with all RF lenses.

Yet another thing to consider is that you can also turn any lens into even more focal lengths by cropping both in camera and later in post. I always shoot 4K, edit on a 1080P timeline, and upload at 2K. This gives me the ability to turn a 24-105mm into a lossless 24-252mm lens. Of course you don't get the background compression of a true 200mm lens but you do get the FOV and full screen effect of a 250mm lens. I literally just shot a wedding video yesterday and the 24-105mm is what I used. It was an outdoor beach sunset wedding, camera was set up to shoot down the aisle but I needed to go handheld for the bride's and flower girl's arrival, tripod for the center aisle walk, and tripod for the vows. I locked down the tripod, shot handheld at 50mm for the flower girls, 100mm for the bride's arrival, 24mm for the center aisle walk to show the audience, and around 100mm for a full framing of the vows. In post on my 1080P timeline I am leaving it at 100mm for the opening statements and cropped in to 250mm during the vow recital to show facial expressions. For the couples kiss, beach walk, and send off I switched over to the 50mm prime and shot handheld. I could have stuck with the 24-105mm but the barrel is a PITA when you start angling the camera up or down, otherwise I would have kept the same lens. No other lens in my bag would give me 24-252mm at F4 and for this wedding I needed every single end of that lens. So like I said....only you truly know what your budget, needs, and shooting style are. But yesterday was a great example of why my most hated lens still ends up being my most used.

For me personally that would not work at all. The 24mm is too wide for most of my video work and the 70-200 F2.8 especially the EF version is way too big and heavy for anything I need to shoot video wise not to mention it is too tight of a crop for the spaces I shoot in. My favorite lenses for video are 24mm for gimbal work, 50mm for handheld, and 24-105mm F4 for everything else. The 24mm on a gimbal turns into a 35mm because my camera has a crop when shooting 60FPS which I typically am when I am on a gimbal. I have on occasion flown the 50mm on the gimbal and it does great but it turns into 85mm at 4K60FPS so I reserve those times for 30FPS. But this is a good example of each person needing to figure out what works for them.

I still wonder why we do not see more E ND filters, does Sony have a patent on that?

I really think at the end of the day only you will be able to decide what lens you truly need and if you decide to go used vs new EF vs RF etc. Also, keep in mind that changing a lens on set is more than just about time....personally I hate changing lenses at a venue due to dust and debris as well. Where I live I am frequently shooting at beaches, outdoors where it is windy, etc. I avoid if at all possible changing lenses due to that as well. If budget is your number one concern then I would get the EF adapter and used EF lenses, but with used lenses the main concern is ensuring there are no scratches in the glass so as soon as you get one hold it up to the sunlight and inspect it from every angle possible before the return window closes. If budget is not that great of a concern and you want to be future proof then I would go with RF and simply build my collection slowly over time, RF is the mount of the future and while it is more expensive...as they say bodies come and go; lenses are forever. Kye said it perfectly here, people really get pulled into the pixel peeping and lens reviews, and its easy to get pulled in by the hype. But at the end of the day the 24-105mm is a true workhorse that doesn't do anything perfectly but does everything well. I have never had a customer tell me they need a reshoot because I used a 24-105mm lens vs a 50mm prime. Just me personally, if I were starting with nothing at all right now I would get the 24-105mm RF lens and build my collection over time...doing just what you said, seeing what focal lengths I use the most. Also, you could always rent other lenses when you think you need something for a specific project before buying your next lens. This way you could test out each lens before you buy it vs. being stuck with an expensive lens you never use (like me and my 24-70mm lens).

I actually went for the high key look on purpose for the daylight portion. I wanted it to look very average plus I was also doing a full photo shoot with the model as well so that she had footage she could post so the goals were mainly high key look and BTS feel for the photo shoot/daylight portion. I also wanted to set up that very average look and feel so that the night portion would have more impact. If I had to shoot a video like that in daylight I would have used blackout curtains, ND filters to reduce the exposure, more closeup work, etc. I only used the smoke machine in the sauna because what a lot of people do not realize is that they can still set off the smoke alarms. Although it is not actual smoke; depending on the type of smoke detector (at least here in the USA) they can set them off so you have to be really careful with how much and what venue you use them at especially if the venue has a sprinkler system; that's a worst case scenario. The atmospheric machines do not have this problem but they are many times more expensive. A final problem with smoke machines is they leave a glycerin residue on everything so that can ruin a venue pretty quickly as well. In my studio my smoke machine leaves the residue and it takes about 3 days for it to evaporate; in the meantime its an annoying oily residue that no venue owner would be pleased to have to deal with. Here is a good article on it: https://djroundabout.com/will-a-fog-machine-set-off-a-fire-alarm/

I think that is a perfect strategy, for portraits just punch in to 105mm, for groups open up to 24mm, for talking heads punch in to around 50mm or 85mm, landscapes 24mm, gimbal work 24mm...etc. I shoot literally everything (real estate, promo videos, hype videos, music videos, sports, branding shoots, commercial work, fashion, models, events, drone work, underwater, etc.) and I can tell you after years of shooting photography + video 50/50 below are the only lenses I use (all EF): Photography Landscape - 16-35mm F4.0 (Canon) Real Estate - 16-35mm F4.0 (Canon) Portraits - 70-200mm F2.8 (Canon) Detail Shots - 50mm F1.4 (Sigma) Weddings - 24-70mm F2.8 + 70-200mm F2.8 (Canon) Travel/Car Shows/Everything Else - 24-105mm F4.0 (Canon) Videography Gimbal Work - 24mm F2.8 (Canon) Handheld - 50mm F1.4 (Sigma) Monopod - 24-105mm F4.0 (Canon) Tripod - 24-105mm F4.0 (Canon) or 50mm F1.4 (Sigma) Talking Head - 50mm F1.4 (Sigma) or 24-105mm F4.0 (Canon) Travel/Everything Else - 24-105mm F4.0 (Canon) My lenses are all pretty much middle of the road, nothing exotic about them, but they deliver on every job I get hired to do. For those rare occasions I need more I just rent the lens for the project. Here and there I will need 400mm or 600mm and I just rent those. Oh and in case you are wondering....yes the 24-105mm F4.0 Canon EF lens will balance on the Ronin S gimbal at least for the Panasonic S5 camera body with EF adapter that I use but the 24mm F2.8 prime is the only gimbal lens I use if I have it with me. The most expensive lens that I regret is the 24-70mm F2.8. I don't shoot many weddings and that is really the only time I find that lens useful. Also the EF mount 24-70mm F2.8 has a different outer diameter so I cannot use any of the ND filters that work for my other lenses so its a PITA all around.

So I am back to my original statement....you did say the exact same thing that I said....IBIS is great for small camera movements....not great for larger ones or walking. Also, you first said you were talking about parallax errors caused by the IBIS then you went to Z axis instability....two different things caused by two different sources of instability. Regardless, in the grand scheme of things we both agree this is for shooters who shoot mostly gimbal stabilized.

No I get your point, my point is, it does not happen if you use proper technique. The problems you describe are from bad technique or from trying to perform camera movements that are simply impossible to stabilize without a stabilizer (i.e. dolly, crane, truck, etc.), not from the IBIS system. If you maintain multiple points of contact with the camera, use heavier rigs, optimal focal lengths, and properly correct for camera drift when/if it occurs then you stay well within the capabilities of the IBIS system and its corrections are not noticeable. The whole "bounce" that you describe is when the IBIS has to correct for a problem that is beyond its capabilities. For example if the IBIS provides 5 stops of correction but you ask it to correct for a 7 stop jerk you will have problems. If you use proper technique and can keep a 5 stop IBIS system within 1 or 2 stops of correction then the corrections are not visible or they are reduced to the point of being statistically insignificant in the grand scheme of things; this is no different from combining an IBIS system with a gimbal; the purpose of the gimbal is to provide stabilization that falls well within the capabilities of the camera with or without IBIS. A great practicing technique is to turn on the cross hairs of whatever camera you own, turn off IBIS and point it at a spot and practice keeping those cross hairs on that spot while performing different slight camera movements. Your technique will improve pretty quickly. Of course side handles and a heavier rig help here as well. Yes this gimbal has Z axis stabilization, but you can get very close to the same results by using proper technique and using your arms and the ninja walk to reduce z axis instability in a gimbal that does not have it so I wouldn't call it a huge upgrade. A glidecam in Devin Graham's hands shows the art of the possible when it comes to making the z axis bounce disappear without an electronic gimbal. Pixel peepers will always find something wrong with every second of footage that they look at; but the reality is as long as the paying client is happy or if the footage is for personal use and you are happy with the footage that's all that really matters at the end of the day. Overall I think this camera is a cool concept and for someone who shoots most of their footage on a gimbal this might be a serious contender but there's plenty of run and gun shooters like myself who much prefer smaller kits, faster setups, and shoot mainly handheld.

Although I have no intention of getting one, I am curious to see more detailed tests for dynamic range, low light capabilities, how well the AF works in more real world situations etc and of course some sample footage shot with it by working pros not just the campaign videos. Also, I would imagine that due to its weight for longer takes it would still need to be mounted to some kind of rig that moved the weight from the arms to the back and shoulders. I am liking the fact that they will release an XLR module as well, since at the moment it seems to be lacking that. It is way too bulky and ill fitting for my particular use cases, but definitely a really cool concept overall. Also I wonder if it has any focusing system other than the LIDAR one; does it also have CDAF AF capabilities or is the radar unit required for all AF. I think my biggest dislike is that it is just so married to that gimbal. If anything goes wrong with that gimbal you have a perfectly working camera but no way to use it. And with that form factor it just doesn't look very durable to me.

You pretty much said exactly the same thing that I did....I shoot handheld when the camera does not have to move much and only use a gimbal when I want to move with the camera; since most of my type of work does not need the camera to move much I almost never use a gimbal which is exactly why this type of camera is ill-suited to the type of work I typically film. Of course Hollywood has a focus on stabilized shots...their cameras do not have IBIS and they have multi-million $$ budgets. For the run and gun shooter the handheld aesthetic can actually be more pleasing than gimbal shots when done properly if you know your IBIS's limits. Also, IBIS jitter that you are describing only happens if you try to make large or quick movements with the camera handheld. As I mentioned I don't do this...but I also do not try to keep the camera perfectly stable either. If you have proper camera holding technique you can prevent the IBIS wobble/jitter while also adding a natural handheld look to the footage. The ability to do this is why people still like glidecams for certain shots vs gimbals...sometimes gimbals and IBIS are a little too steady.

Like others have said, if you are starting from zero you are better going straight to RF. Before I even finished reading all of your use cases the 24-105mm was all I could think of. It is the most hated lens in my collection but if I could only take a single lens on a trip (and I have done just that before), I would take the 24-105mm. The 24-105mm F4 is my most hated lens because the barrel falls down (or up) if you don't hold the zoom ring (EF mount version not sure if RF fixes this) and it is a very boring lens; not fast enough for low light situations, not shallow enough for great bokeh, and not long enough to really reach anything far away. But....if I could only have a single lens it would be the 24-105mm. For lowlight you just have to crank the ISO a bit, for that shallow depth of field you just have to punch into 105mm at F4 and you'd be surprised at the bokeh if you are close enough to the subject, and for those times when you need that wide shot you are really thankful for that 24mm end. Of course the other problem with the lens is it overlaps nearly every other lens which is just as annoying as every other attribute of the lens, but it truly is the best all around general purpose walk around lens out there. I have filmed landscapes, talking heads, detail shots, tourist attractions, car shows (really great for car shows where you want to film the interior then get a shot of the lineup with a single lens), conferences, etc. all with this single lens. If I truly don't know what I am walking into, I take the 24-105mm.

You said it perfectly. I love the concept and DJI really thought outside of the box for many of the features in this camera but it is so bulky with the permanent gimbal attachment that I have no wish to ever own one and ironically it is not well suited for shooting handheld. I love shooting handheld now and rarely pull out my Ronin S these days with IBIS being as good as it is. I only pull out the Ronin for walking shots, dolly, truck, crane, etc movements. For everything else I go handheld. Having a camera permanently married to a gimbal is the last thing I would want. Also, my gimbal is the biggest PITA when I'm shooting than most of my other gear combined. I have to balance the camera on it, there's no easy way to store or carry it, it is one more battery that needs to be charged, and I have to calibrate it each lens change or after taking the camera off of the gimbal. It also greatly increases my traveling footprint. I still say the next evolutionary step forward will be when something like GoPro's Hypersmooth technology is applied to mirrorless cameras. With Hypersmooth 4.0 they now have horizon leveling and truly amazing stabilization. If that technology ever comes to mirrorless or pro cameras then gimbals will almost be a thing of the past and you will be able to dial in how smooth you want the footage to be even when walking or driving. The LIDAR AF looks pretty amazing, it will be interesting to see if later generations get smaller.