herein2020

Any camera will go blurry if you put a plain white piece of paper in front of it, cameras need some kind of contrast to achieve focus. Cell phones aren't as obvious because they have really wide angle lenses but they would go blurry as well. For your setup my tips will work perfectly. Before putting that paper down, make sure there is something with texture and contrast like the desk or an object for the camera to focus on. Press the shutter button half way until it achieves focus, then flip the lens switch to manual focus. You will now be able to film everything and it will all stay in focus as long as you follow my other tips. Trust me, the GH5 is way overkill for this project, you just need to learn more about how to get the most out of it and how to set it up for this type of project. It will never be a point and shoot type of camera like a cell phone. The nice thing is, after you have it all setup, if you never move the GH5, all you will need to do is press record for future videos.

Here is my entire wish list for DaVinci Resolve 17....it's a long one: - Make the Fusion tab as stable as the edit tab...ok that's all

My approach doesn't rely on AF at all, I've been using the GH5 for years and use tricks like these all the time to still get an acceptable output.

Another option is try bringing in more light, setting your ISO around 3200 and shooting as stopped down as possible, also manually focus at the midway point to how close you think you will bring objects to the camera and use a wider lens. If you can bring in enough light to shoot at F8.0 while keeping the ISO from going above 3200 and shoot with a 12mm MFT lens you may be able to get your setup to work for you. Not ideal, but I would try that before getting a whole new camera and lens. Also, if you output your videos at 1080P, you can shoot in 4K and zoom in up to 2x without losing resolution. The goal is to have your entire workspace to be in focus by using the deepest Depth of Field (DOF) as possible and to move the objects only half as close to the camera as you need to while punching in up to 2x to get closer shots when needed without losing resolution. I know that's a lot of tech talk for someone who's not a camera person so I'll try to simplify.... 0 - Mount a MFT lens that goes as wide as 12mm (like the 12mm-35mm Panasonic MFT lens) 1 - Set the F stop to F8.0 2 - Set the ISO to ISO 3200 3 - Set the shutter speed to 1/30 (I know this isn't 2x the frame rate but since this isn't fast moving action cheating a bit here won't be noticeable) 4 - Set the resolution and frame rate to 4K 29.97FPS LongGOP 5 - Mount the camera to whatever overhead position it will be mounted in 6 - Add as much light as needed until the exposure meter is in the middle (properly exposed) 7 - Sit a static object in the frame and flip the lens focus switch to MF. Adjust the focus until the static object is sharp. The object should be about 50% less close to the camera as the closest point to where you plan on bringing objects to the camera 8 - Film your video 9 - When editing the video use a 1080P timeline and whenever you need a closeup punch in up to 100%. That's how I would film something like this with the GH5 so that I didn't need AF. Of course this won't work if you are trying to be cinematic or have bokeh (a blurry background) or razor thin DOF (i.e F1.4).

Sample 85mm F1.8 L mount images from DP Review. I have never owned an 85mm, I always feel like I'll get into too many situations with the 85mm where I won't have enough room to get back far enough to get the composition that I want, so I prefer the 50mm, I've been on plenty of shoots where I had problems making even the 50mm work especially for boudoir where bedrooms and hotel rooms aren't that big so I'm more interested in the 50mm than this one but the images out of the 85mm do look nice: https://www.dpreview.com/sample-galleries/4485951356/panasonic-lumix-s-85mm-f1-8-pre-production-sample-gallery/7497596978

I did the same thing, I got the Sigma adapter and can now use all of my EF mount FF lenses with no problem on the S5 and out of all of my lenses including APS-C lenses only the EF-S 10-22mm does not work. The focus peaking kind of sucks, very hard to see and for me a lot of the time its just not visible at all and combine that with the fact you can't zoom in to check focus while recording and the focusing situation when using EF lenses in general isn't that great; I am sure the native lens experience is better. As long as you aren't filming with a razor thin depth of field and not filming anything fast paced its workable but definitely not great.

Have you considered switching to Davinci Resolve? For the brief time that I had the R6 I was able to create proxy files with no problem for the H.265 footage.

Lets not forget....using an external recorder makes it worse, and no ability to zoom in while recording to check MF is a real pain at least for me.

I agree, the S1 just started looking a lot better; Panasonic just found a few new ways to differentiate the S1 from the S5 without crippling a single feature. 5.9K 10bit internal is pretty incredible for a $2500USD camera body. I know Panasonic wants to sell native L mount glass, but I think if they released a native EF adapter and a native RF adapter that worked seamlessly with Canon lenses to include continuous AF they would sell a lot more bodies. Panasonic is without a doubt in my mind providing the most value right now for both photography and video but AF and their L mount is still holding them back, not to mention Canon and Sony have them beat by a long shot in the marketing department. In my area, you can't go to a single big box retailer and pick up any Panasonic bodies and I live in a major city. You pretty much have to buy the Lumix line sight unseen.

I've been working with the GH5 for the past few years and the fastest lenses I could get were F0.95 MFT which translates into F2.8, so these lenses look great to me. I do wish they had a 14mm or 16mm prime on the way for real estate work, but other than that, the 24mm for video and the 50mm for portraits might pull me further into the "alliance". If the 24mm outperforms my current Canon EF 24mm for sharpness and usability then I may go for it. I tested the Canon EF-S 10-22mm; and holy sh*t I stand corrected @Lux Shots, the Sigma 18-35mm EF-S lens does work on the S5, but not the Canon EF-S 10-22mm. I also tested the Canon EF-S 18-135 F3.5-F5.6 and it worked also. Maybe the EF-S 10-22mm does not report that it is a crop sensor lens and the rest of them do which is a real bummer because that 10-22mm would have become my real estate video lens. I'm still not sure why manually selecting APS-C mode does not make the EF-S 10-22mm work unless its a crop factor thing that gets adjusted when the lens reports its crop factor to the Sigma EF adapter. This little camera just never ceases to amaze me; Panasonic has got to be the best kept secret out there. All YouTubbers will ever talk about is the AF, there's so many more important things to a camera system than just AF.

I use FastStone for batch operations, it can extract the JPG file from the RAW file, but I'm not sure if it can actually convert the RAW file to a JPG (there is a difference). Also, there is a new version of codecs for Windows 10, you have to get it from the Windows Store, after installing this codec I am able to view 5DIV, T6S, and S5 RAW files in Windows Explorer: https://www.microsoft.com/en-us/p/raw-image-extension/9nctdw2w1bh8?activetab=pivot:overviewtab Also, not sure if you are aware...but just straight RAW to JPG conversion will usually not yield the greatest results since RAW files are usually generated to be further manually processed. Personally if I wanted the flexibility of processing the RAW files but also wanted the full resolution JPGs I would just set the camera to save each image as RAW+JPG....that will save you processing time later and will probably yield the best results if you don't plan on further processing the RAW files.

Maybe it will change with a firmware update, it would be really nice to use EF-S lenses as well since I have two at the moment. In the menu it has an APS-C option which doesn't make sense to me since Panasonic doesn't make any crop sensor lenses so I assume the APS-C mode was meant for another vendor's lenses but I'm not sure if Panasonic considers APS-C to be a 1.5x crop or Canon's 1.6x crop. Also, the APS-C crop option is only available in the video menu, not the photography menu.

I'm in one of the worst states in the country (Florida) the only good news is I'm not in Miami so yea I've been declining most jobs that are indoors or groups of people. Fortunately there's still some work that doesn't fit those categories but definitely far less than before.

It is pretty strange, I didn't pre-order anything, I just went to a very large retailer's site here in the USA called BestBuy and ordered it...got it within 3 days. I was actually surprised because the two main online camera stores in the USA; Adorama and BH did not have it in stock.

The rental houses there don't ship you the equipment? They don't have any good local ones here either, I just get everything from lensrental.com (no idea where they are located) and they ship it to me a few days before my project starts. Your setup sounds really compact, I keep evaluating my kit to try to get it down to that size. I think I can bring my kit down to a single backpack with the Canon 5DIV, S5, EF to L mount adapter, EF 24mm F2.8 for the S5, EF Sigma 50mm F1.4, EF Canon 70-200mm 2.8L, EF Canon 24-70mm F2.8L, EF Canon 24-105mm F4.0L, a few ND filters, S5 XLR module, lav mic, Sennheiser G4 wireless transmitter and receiver, and maybe fit the Mavic Pro with 4 batteries, iPad, and remote. Where everything gets bulky is when I also need to bring my tripod, monopod, Ronin-S gimbal, studio strobes, light stands, beauty dish, 300W video lights, flashes, diffusers, etc. I also have a Canon Rebel T6S that I use for timelapses and a GoPro setup for underwater footage. Not that every job needs all of it but sometimes it does. I think the S5's AF would be perfectly fine for photography but that would mean I'd need to buy L mount lenses which I'm trying to avoid. One day I may ditch the C200, 5DIV, and Canon Rebel, and go with 3 or 4 S5 bodies and L mount lenses, but for now that sounds more costly than I am willing to spend so I'm stuck for now with my odd mixture of equipment, but I'm used to it since the only thing that really changed was the GH5 was replaced by the S5.

I returned mine so no idea, before returning I upgraded to version 1.1.1 and tried the battery trick and it did not work, so either they have closed that loophole or I did it wrong.

I watched this video just for the comedy factor. Just watching the video started giving me a headache. The Panasonic S5 is such a joy to shoot with compared to the R6. It's like Canon is selling a sports car but puts a limiter on it, rations the amount of horsepower it can put to the wheels at random times, then expects you to thank them those few times you can actually drive it like their marketing material said it could be driven.

That makes sense, I rarely shoot weddings they just don't pay enough in my area, but I do shoot a lot of random weird projects that typically need b-roll that I can use from a different project. Also I live in FL...we don't have a winter or a summer it all looks the same year round, so even that works for me. Its always interesting to see how other's workflow works based on their geographic location and the types of work they do. For weddings you definitely cannot reuse most if any of that footage so I'd skip metatags too in that scenario.

That is pretty cool, I've never considered BM a viable option for me though, since I shoot 50/50 photos and video.

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My C200 shoots RAW and I've never shot a project that needed it. As others on this thread have mentioned, personally I think RAW is overrated, the H.264 options are good enough for my clients and everything I do in my workflow is for speed. I use folder organization for speed and storage efficiency, I use metatags for speed and searching efficiency regardless of where the footage is stored, etc. My camera choice and codec is not dictated by VLC at all, it just so happens that VLC has always been compatible with my camera choices and codec. For example I tested the R6, if it had worked out for me and was perfect for my uses I would have switched to the 5K player and kept the R6....but as it turned out it did not meet my needs in any way. I'm not shooting the next Hollywood blockbuster, I am shooting for clients that are not paying me 1 penny extra if I take longer to complete their project or if their project size is 500GB vs. 10GB, and those facts are what dictate my camera choices and workflow. I was perfectly happy with 8 bit from the GH5 and the only reason I am shooting 10 bit now is because the S5 can do 10 bit 4K60FPS. If internal RAW becomes the norm, by the time I start using it (5-10yrs from now) if ever, then there will probably be a way to add support for it in the Windows OS just like they support RAW photos so if I ever do make the jump to RAW my current workflow will probably support it just like it supports 8 bit and 10 bit LongGOP. If you WB properly and get the exposure within the limits of the sensor's dynamic range you can make most H.264 footage look just as good as most RAW footage. I went into more detail with my particular workflow here: https://www.eoshd.com/comments/topic/47655-davinci-resolve-lock-adjustment-layer/?tab=comments#comment-381308. This is just my opinion, but the spreadsheet approach sounds terrible to me, I'd much rather be able to just type into a search field and find every single clip with a waterfall in it across 100TB of storage and 6 different storage locations and hundreds of projects vs. looking at a spreadsheet; and my current workflow lets me do that. It also lets me clean up my storage once a year across all of the projects for the year by deleting every single clip and every single image across all of my storage devices that was not used in the final project. As far as VLC being quirky, the R6 was only the second time that I had any problems and that was because it shot H.265 which cannot be HW accelerated. The only other time I had problems with VLC was with the GoPro H.265 footage and for that I also have to use the 5K player.

My workflow is probably different from most; for speed I don't import anything into DR or LightRoom until I've checked it with an external app. I set up all of my organization in Windows Explorer and pull footage into the editing app after previewing it in VLC (video) or FastStone (Photos). For me this is faster than having to do this in the app and makes archiving, storage, and editing more efficient. My folder structure and metatags let me find almost any project and any footage within seconds across all of my storage devices without having to open the NLE or photo editor so if VLC couldn't read the video footage that would impact me quite a bit. This was yet another strike against the R6....the H.265 footage out of that camera nothing would play except the 5K player which I don't like, also Windows Explorer was unable to show the first frame of the video which is what I use to quickly locate source clips when editing a project. Its also why I would rather create proxy files than work with raw footage. That is pretty cool, especially if it has a Windows Explorer type interface that lets you see the first frame of all of the clips in the folder, I use this feature as well with Windows Explorer to quickly select clips to preview.

For me its still a PITA. 4K60FPS 10 bit 4:2:0 H.264 out of the S5 in Davinci Resolve starts dropping frames after a color grade and a few transitions are added even with a 14 Core i9 CPU and RTX 2080Ti video card. I find it easiest to just generate optimized media for everything. I'm thinking BRAW would be effortless but it would come with its own problems. I like to preview clips in VLC and Windows Explorer before importing them into the project, with BRAW that workflow would have to change.

Here in the USA it is getting bad again as well but I don't think they will go into lockdown again. Even without a forced lockdown, I'm starting to decline more jobs as this thing worsens. I would love for the S5 to be the one body to rule them all as you say, but I just can't get around the lens situation and AF. I have so many EF lenses and they work great on the S5 except for continuous AF which I use for photography; I shoot a lot of runway fashion shows and it is critical for that type of shoot. I do still love my 5DIV so for now I'm just going to stick with that for photography and use the S5 to replace my GH5 kit. That will let me reduce my kit since I won't need to carry MFT lenses. I'll probably never buy any L mount lenses, unless their AF improves to the point to where I think it would be worth it for gimbal work. Instead of buying all of the bodies for that test wedding, I don't know about in France...but here in the USA I would just rent all of the extra equipment I would need and add that cost to the client's invoice. That would let you see it all work together without actually buying any of it. I rent all the time when I need a lens that I don't have or the client wants additional camera angles. On hand I typically only have 1 body for photography, 1 for time lapses, 1 for small videos / B roll (S5), and one for higher end commercial video work (C200). Anything beyond that and I rent whatever is needed and charge the client the rental fee.

I am in the USA and I have this camera. You can read about my user experience so far on this thread: