herein2020

I for one prefer a larger camera because the weight makes hand holding steadier but you want to know what I don't believe in? External recorders. For me it has nothing to do with weight or size, it has to do with one more thing that can go wrong, more wires to carry, more batteries to charge, and external recorders are a single point of failure if their hard drive gets corrupt. I agree with @MrSMW and @Phil A as a hybrid shooter every single extra piece of equipment becomes a PITA when on set as a hybrid solo shooter. For my use case I am almost always shooting solo, on a single shoot I could be dealing with light stands, studio strobes, remote flash triggers, photo camera body and diffusers; I could also be shooting video clips from a tripod or handheld, monopod, and sometimes gimbal.....mixed into all of that of course are lenses, expo discs, ND filters, and sometimes audio which includes lavs, XLR adapters, and transmitters / receivers or XLR wiring. Lets not forget continuous video lighting, smoke machines etc.. let's not forget the obligatory drone which is needed for a few big picture drone video clips, and if a timelapse is needed that's a 3rd camera body, and lets not forget underwater if its a lifestyle shoot that wants to showcase their pool or a modeling swimwear shoot so that's a 4th camera body....all as a one man shooter. So you ask what has happened over the last decade? What happened is customers expect more than ever before but at the same time they pay less than ever before. In my particular area the local market is saturated with photographers and videographers all under cutting each other bidding on the same clients; those same clients that half the time feel like cell phone footage is probably good enough anyway so why bother hiring us to begin with. So yes, I absolutely will gladly use the absolute smallest simplest configuration possible to get the job done. This is why I got the S5, this is why I have an EF adapter to minimize my lens kit, this is why I don't use anything external if I can help it including recorders or even monitors, and this is also why I don't care as much about RAW as I do about 4K 10 bit internally recorded. Yes BRAW 12:1 would be nice when its time to edit the footage but 10bit 4K recorded internally to dual cards is WAY more important to me as is a single lens mount that will work on everything from my C200 to my 5DIV to my S5. Specs are great to read about or watch on YouTube. but they are a tiny part of the big picture and the realities you face working in this industry every day. And I'm not talking about the big name commercial production industry, I'm talking about the in between industry where you are a shooter like me shooting weddings, music videos, small business promo videos, corporate events, real estate marketing videos, etc. There is a ton of paying work in this space that simply doesn't pay quite enough to bring in entire teams and assistants.

Thanks for the info. It must have updated sometime in the last few days automatically because I was able to drag in a RAW file and edit it, I hadn't checked in awhile. The few stills I've shot so far with it look pretty good, especially considering it was just the kit lens. This camera just keeps getting better; now I need a few good sunsets to really test the DR with my Canon EF 16-35mm F4 L lens. Here is a quick landscape sunset shadow recovery test that I shot while waiting for RAW support.

EF-S lenses will not work on the S5. Even though the S5 has an APS-C mode for video it did not seem to make a difference, you could still see the lens barrel in the image I even tried PIXEL:PIXEL mode (no idea what that mode is but it sounded interesting) and I still couldn't use the EF-S lenses. I don't know about the Godox O line but I can tell you the Godox C line (Canon) works with the S5. I'm not sure about the TTL features since I never use TTL and only shoot manual flash but the Godox C multi flash triggers and the flashes themselves mounted to the hotshoe work just fine. I'm waiting for Lightroom and Photoshop RAW support for the S5 to start testing the photography features. I don't feel like hacking the metadata just to process the RAW images.

I haven't heard anything from Panasonic, I have written that lens off as something that I never expect to get. For US users they made it pretty clear that the chance of ever getting one were slim to none. I have never seen verbiage that vague when it comes to something like that. As far as lenses go, I'm loving the L mount to EF adapter, my gimbal lens is a Canon EF 24mm F2.8 and at 60fps that works out to 36mm which is perfect for my uses. For detailed handheld work I am using the Sigma EF 50mm F1.4, and for general walk around handheld work during daylight I am using the EF 24-105mm F4.0L. I already had these lenses for my 5D4 so I haven't missed the L mounts at all. I do find it a bit strange that it seems harder for me to manually focus with the S5 vs the GH5. Something about that screen that just isn't as clear as my GH5 and the focus peaking rarely seems to be visible. Hybrid AF works for most situations but trying to rack focus at F2.0 was nearly impossible today because I couldn't see the focus peaking on the screen and I couldn't zoom in while recording.

I really wanted to like it, the specs are impressive and it beats the Mavic's specs in every way, but DJI is just so good at what they do and they have so much experience at it that I have never seriously considered getting anything else. Drones come with so much liability, you have to really trust that no matter what happens the drone is not going to come crashing down on someone's head or damage something around you. For me, DJI is the only one that I trust at the moment. I also get the feeling that DJI will do what they do best...find a way to beat the EVO PRO in every way possible if they decide that it is a competitive threat. Personally I'm still flying the Phantom P4 Pro, My P4P has hundreds of hours of flight time, still rock solid reliable, and has probably paid for itself more times over than any other gear I own. I have the Mavic Pro as well but it's only used on small jobs because it does not do 4K60FPS and it cannot handle wind like the P4P can.

That sounds like a good decision. I'm so impressed with the S5 I'm thinking about picking up a used S1R for photography.

I think at this point you are focusing too much on things at the pixel peeping level that won't matter to most people. 60FPS is pretty much the new standard and will probably look identical between the S1H, S5, and GH5 as well as most others that shoot 4K 60FPS when all else is equal (DR. Color Science, etc). I have always considered the high frame rate stuff where it does it in camera to be a bit of an exotic workaround that will never yield the same results as doing it the traditional way by increasing the framerate in the file. Also, are you planning on using the new body 100% for video and don't care about the size and weight of the S1H, if so I'd get the S1H. If you have any photography plans at all, or you are trying to setup a light travel/docu kit then the S5 would probably be the best bet. I really think either camera has the specs needed to exceed the capabilities of most filmmakers and it will really come down to how well each one meets your individual needs or fits into your current or planned workflow. I did a ton of my own research on the S1H, the S5, and the R6 prior to choosing the S5 and at the end of the day the S5 simply met my needs better in more areas than the other options. A final selling point for me was using the S5 on a gimbal. The S5 with the EF adapter combined with the Canon 24mm 2.8 is actually lighter and smaller than my previous GH5 setup.

Don't forget the S5 has a mini HDMI port vs the S1H with the full HDMI port so if you use an external monitor a lot that could be pretty important. For me personally, the S line never interested me until the S5 due to the cost of the bodies and the lenses. With the S5's reduced cost and the EF lens adapter, my two main reasons for not considering the S line were removed. For the S1H specifically, I was never sold on the fan either. Of course it prevents overheating when shooting video, but for hybrid photo/video shoots I felt like too much dust and moisture could get pulled into the body via the fan. As far as All-I goes, most if not all of the tests that I have seen say there is no difference in 99% of the scenarios, supposedly All-I is easier to edit since there's a keyframe for every frame, but the data rates are so high that you need special cards to support it, storage is up to 4x more required, and it is still LongGOP compression; I would rather create temp proxies than deal with the headache of All-I. For All-I data rates I'd rather skip straight to raw if I'm going to deal with that kind of headache.

Yes that's strange. I shot 4K60FPS 10bit 4:2:0 for 60 seconds straight, then switched the dial to the M position and immediately shot 10 images....no delay at all.

Ok, after reading your post I just tested that as well. I shot video then hit the stop button and immediately started taking pictures and it was still instant. I still think this may be the type of memory cards that are being used. I've had my cameras go haywire if the memory card is too slow or there's something about the format that they don't like. I have attached a picture of the exact memory cards that I use, I also always format them in camera right before a shoot. These are the same cards in my C200, GH5, and 5DIV....I've never had a single issue with them.

@MrSMW @elgabogomez I stick to the 180 degree rule most of the time especially outdoors. To my eyes if you are filming pretty much anything with a lot of motion in the image it looks almost like the image is stuttering when the shutter speed is too high. Where I do ignore it however is on the opposite end. With the GH5 I did everything possible to not go over ISO 1600...so if the lens was wide open and it still wasn't enough light I would try dropping the shutter speed to match the frame rate to get a tiny bit more light before having to increase the ISO. This trick worked for me quite a few times. I also ignore it for drone work. With the wide lenses of the drones and high up in the air nothing is moving fast enough to make it obvious that the motion blur does not match. Maybe the delay is switching between the C modes. When I switch from Photography to Video even if the video frame rate is set to 60FPS there is no delay. I don't use the C modes though. Or it could be one of the other settings that causes a delay like auto ISO or auto shutter. All of my settings for both Photo and Video are manual so maybe with auto it calculates the proper values prior to showing you the new setup.

That would make sense. The part I don't get though is why e stabilization in $3K mirrorless cameras is nowhere near as good as GoPro's Hypersmooth. I get the GoPro's sensor is tiny by comparison (maybe that is the full explanation), or maybe it is too costly to risk the R&D costs needed to make it work with no guarantee customers will buy into the system just because of the feature. I can see this being the next area where cell phones start to overtake dedicated cameras. They can already livestream, email, record pictures and video at the touch of a button, etc. They also already have all the sensors and processing power needed to make this work. All Apple needs to do is implement the same AI that GoPro did and you'll have Hypersmooth type footage coming from cell phones. I always say cell phones are our biggest competition; not bit rates, frame rates, WB, shutter speed, resolution, <insert the gear you don't have here>

Yes I'm reaching the same conclusion...so much for an "alliance" it seems like Sigmas on the Panasonics are worse than Sigmas on the Canons. The behavior that you describe switching from stills to video is interesting; I don't have that at all, it is instant for me. The only way to know it changed is some things on the display change. It does seem to freeze a bit when I hit the playback button but that's it. Also, I haven't observed any writing delay, what memory cards are you using? Mine were formatted in the camera and they are the Sandisk Extreme PRO 170MB/s class 10 256GB cards. I'm hesitant to buy any L lenses, that would conflict with my C200 lens mount and I would be back to two systems. I'm hoping the free 45mm lens offer was not a complete bait and switch and that it actually shows up in the mail one day. If so then I'll probably use that and the kit lens for all photography work if I need continuous AF and EF lenses for all other video and photography scenarios. I also discovered yet another really cool feature in the camera and something I've been wanting for awhile: aspect guides. Instagram requires a 4:5 aspect ratio to post without the having to crop or have black bars, and the S5 actually lets you add a 4:5 guide to the screen. No more guessing how much crop space to leave. This little camera continues to amaze me.

As I have used the S5 more, I have discovered a few more things that I like and dislike: THE GOOD - BASE / RANGE Zebras - There is a pretty cool feature in the S5 which is the BASE/RANGE option which lets you set a zebra pattern based on F stop which maps to a VLOG percentage. So from now on when exposing for people with no gray card I'm going to turn that one on until there are zebras on the people's faces which means they are properly exposed. - Vertical Video - I found by accident that the S5 even does vertical video. So if you are shooting something that you only plan on showing on Instagram...something like a quick BTS for a shoot, you can film it vertically and it will play full screen on Instagram. -Gimbal Setup - I combined the S5 with the Canon EF 24mm F2.8 and I now have a smaller lighter gimbal setup than I did with the GH5 and the lens itself cost less than my Voigtlander manual lenses. The downside is the manual focus ring doesn't feel anywhere near as good as it did on the Voitlanders. THE BAD - Checking Focus While Recording - it is not possible to zoom in while recording to check focus. This isn't a big deal for b-roll and gimbal work, but its definitely not a good thing when doing interview work or long form recordings such as for long events. I read that due to the fundamental design of their processing pipeline it is impossible to do without burning the action into the video being recorded; so it sounds like to me there is no way to fix this with firmware. - Lenses - This is turning into a bigger problem than I thought. I have the L mount to EF mount adapter but it does not support continuous AF. To get continuous AF you need to buy native glass...which of course is very expensive and limited. So if I truly want to consider this camera to be both a 5DIV replacement as well as a GH5 replacement I'll need to invest in L mount lenses since I need Continuous AF for photography. - Lens Behavior With Adapter - With the Sigma adapter different EF lenses behave differently. With a Sigma EF lens and with some of the Canon lenses the punch in to check focus works automatically when you turn the focus ring. With some of the Canon lenses you have to manually push the zoom button. Also, the focus throw distance and speed settings only work with native L mount glass. CONCLUSION The camera is still worth every penny to me, but as usual when it comes to using adapters there will be tradeoffs. For photography no Continuous AF is a big deal when trying to film moving objects and for video no punch in to check focus while recording is a big deal, you could use an external monitor but then you are dealing with the mini HDMI port, more gear to carry, more batteries, etc.

I'm still hoping for something like that too. GoPro's Hypersmooth and DJI's RockSteady technologies are pretty incredible. A lot of the mirrorless cameras might already have the necessary technology since most of them have an electronic level, I'm assuming that's tied to a gyroscope. Of course this will never happen, but if they all collaborated on an open standard metadata file (kind of like the subtitle srt standardized format) and NLEs got on board as well, it would be awesome to be able to just import the footage and the metadata file and dial in the level of stabilization in real time instead of having to analyze the footage.

I've only got one question...does it return to center after a pan? I was a DJI fan after using their drones, but the Ronin S and their refusal to fix a rudimentary feature of any gimbal has made me feel the same way about them that I feel about Canon deliberately crippling the R5 and R6's video features.

According to the guide that I linked, it says there is information up to 109 IRE when shooting VLOG. In DR I've had the wave form off the Rec709 scale and it let me bring it back without clipping, so I figure 90% or 95% leaves me plenty of headroom. 85% sounds too low to me. I think the main thing is to get the subject/talent properly exposed.

What is your reference for that? Everything I've read talks about 42% for middle gray with a color chart but good luck using that at an event or a hybrid shoot. Every guide I have read is also always vague when it comes to scenes that should be dark. This is one of the best guides I've found and it is for cameras with 14 stops of dynamic range (like the S5) and VLOG. This guide says to set the zebras at 90%. https://na.panasonic.com/ns/253602_V-Log_Excerpt.pdf After watching a few videos though, I do have a new strategy for quickly getting exposure for the two toughest types of scenes that I typically encounter (events with changing lighting conditions where people need to be properly exposed, and venues with bright windows). - BASE / RANGE Zebras - I found another awesome feature in the S5 which is the BASE/RANGE option which lets you set a zebra pattern based on F stop which maps to a VLOG percentage. So from now on when exposing for people with no gray card I'm going to turn that one on until there are zebras on the people's faces which means they are properly exposed. For venues with bright windows I'll just expose to where the zebras are on most of the objects in the room. - Vertical Video - I found by accident that the S5 even does vertical video. So if you are shooting something that you only plan on showing on Instagram...something like a quick BTS for a shoot, you can film it vertically and it will play full screen on Instagram. I think gimbals definitely have their place, like @TomTheDPsaid, there's going to be shots that you simply cannot get any other way. Dolly in/out, Crane up/down, extended left/right trucks, follow, orbit, underslung.....you name it, there's simply no other way to get those shots quickly and in a way that is smooth without a gimbal. I use my monopod to the hilt to get every bit of organic motion that I can but its never going to replace a gimbal. I do think gimbals are overdone for a lot of things, just like drones; nothing more boring than your average drone video with nothing but drone shots, but they both can tell parts of a story in ways that are impossible any other way for a one man band. Also, maybe I am just way shakier than everyone else, but filming hand held for me is really difficult with these smaller cameras. No matter what technique I use, I always seem to need to add a little post stabilization or slow motion to get enough of the clip to use.

To me it looks like it does, if you are in VLOG and the top of the WFM starts going flat that's how I tell its clipping. I also set 95% zebras which I use after a quick WFM check because the WFM is so large you can't shoot with it turned on for many shots.

I completely loathe my Ronin-S as well, in fact, I posted so much on the DJI forum about its complete failure to return to center that I got banned there; no other gimbal on the planet has this problem and DJI completely refuses to acknowledge or fix it; in fact no other gimbal that DJI makes including their drones, the Ronin M/MX, Ronin etc does this......but that's a different rant for a different day. It is without a doubt the most annoying piece of gear that I own. I don't like the Crane either; the shape with the permanent low slung handle just doesn't appeal to me; the gimbal that I really want to try is the Lotus Helix but almost no one talks about it. There is a guy in LA that shoots amazing dance videos and he uses it, but that's the only one I could find. So I'm stuck with the Ronin S, I've fiddled with the settings and calibration endlessly and now I have 3 modes programmed in that work for me (real estate, general purpose, and music video). As far as locking up the camera, personally I would never attach any of these gimbals to the camera. I feel like DJI and the rest of them came up with a hack to get the AF to work in ways that is not supported by the vendor. I'm perfectly fine with MF on the gimbal; sure its more work, and sure you will have to throw away some footage, but its better than frying your camera or having the AF drift off to the background somewhere during a critical moment. This past year, my gimbal use really declined, I shoot more and more footage with just a monopod or handheld.

I already took it back......the whole situation was unbearable for me, I live in a very hot humid climate which is like that 8 months out of the year; I can't wonder before every shoot if the camera will make it through the shoot. I did try pulling the battery once while it was on and changing the date just to see if the timer would add time...but I probably did it in the wrong order or something so it did not work for me. For my particular situation the R6 simply was not fit for anything but photography. I now own the Panasonic S5 and so far it is amazing in nearly every way. In case you haven't seen my review, you can read more about it on this thread:

It has to do with the way you are dragging it. I made the jump to Davinci Resolve (best thing I've done in a long time) but I used to use Premier. When you double click a clip in the media pool it will show in the preview window. If I recall correctly somewhere below that window there is an icon to ensure the audio stays linked when dragging the clip to the timeline. Premier does not show all of the possible icons by default so you may need to add back the linking icon. If you do make the switch to Davinci Resolve its even easier, you just hover over the preview window and if you drag the whole window you get audio and video, as you hover over the window two semi transparent icons will show up and if you drag the first one it is just the video, the second one is just the audio. I dislike change as well, but Premier Pro was like death by a thousand cuts...that subscription was eating into my revenues whether I had a project that month or not, and Premier was so unstable it was practically unusable. DR is rock solid, a little harder to learn but actually way easier after you get used to it, and you get more features. DR's biggest weakness is the integrated version of Fusion; if you do any special effects work you will come to hate Fusion.

Yes for the Rec709 LUT I don't want anything too strong to make it harder to match with the other cameras. The GC LUT seems to strike a nice balanced starting point for a more aggressive grade if desired. The 10 bit out of this camera is fantastic. I never shot 10 bit in the GH5 because I was typically shooting at 60FPS, it definitely lets you push it around more, that and of course the DR of the sensor.

It would not let me edit my post...here is an updated picture with the ungraded VLOG as well.

I tried that LUT, I didn't like it, I don't know why the manufacturers LUTS are usually not very good. Obviously it is all subjective, but I think the maker's LUTS are always based on perfect exposure and proper lighting. Any run and gun shooter knows that those conditions are rare to never so the 3rd party LUTs when done properly, look better to me. I think I have found the perfect VLOG to Rec.709 LUT for my uses. This is a free LUT from Ground Control. For me, the VLOG to Rec709 LUT is always the most important since it lays the foundation for the color grade and it is what's needed to match it to other cameras. After that, I make slight adjustments to exposure if needed for each clip, then overlay an adjustment clip with a creative grade over the whole project. Below is the link to the Ground Control LUT, I went back and tested it on my Street Video test project and it added a little more contrast without crushing the blacks so the clips look like they have more DR. It also didn't completely crush the lows like the Panasonic Varicam LUTS did (Nicest 709 LUT and Aggressive 709 LUT from Panasonic). The main thing I look for in a Rec.709 LUT is one that isn't too hard to expose for (the Leeming LUT for example always seemed so difficult to properly expose for with the GH5) and one that results in the best starting point for the color grade across a wide variety of scenes. Ground Control VLOG to Rec.709 Free LUT https://groundcontrolcolor.com/products/free-sony-v-log-to-rec-709-lut Here is an example of the 3 different LUTS with the exact same scene and no other changes. I was probably a little under exposed for this scene because I was trying to protect the sky....the GC LUT nicely kept the sky and brought up the lows.