Former GH5 videographers, what did you upgrade to afterwards?

[TomTheDP]

8 hours ago, MrSMW said:

Panny for me has be the combo of the S1R/S1H/S5 with tweaked AF as a whole, but no single body is quite right. The closest out there however. They need to have a threesome and make a child.

 

How about the S1? S1H with tilt screen and slightly smaller body.

[PannySVHS]

34 minutes ago, TomTheDP said:

How about the S1? S1H with tilt screen and slightly smaller body.

There is the possibility of moire. The S1H is the safe bet for any grooms suit.:) I find the monitor on the S1 a bit unpleasant to handle. It´s connection is very solid but due to that not very smooth to move. A few times I find the EVF bump to be in the way when shooting from certain angles. S1H being 350g heavier than the S1 makes it indeed a very heavy Lumix. GH6 seems like the perfect body.

Btw, GH6 in low light seemed to hold onto colours much better than GH5s and though noisier, detail was reained better as well, coming from some youtube tests. So it is a mini S1H in many regards and way beyond in others.

[TomTheDP]

34 minutes ago, PannySVHS said:

There is the possibility of moire. The S1H is the safe bet for any grooms suit.:) I find the monitor on the S1 a bit unpleasant to handle. It´s connection is very solid but due to that not very smooth to move. A few times I find the EVF bump to be in the way when shooting from certain angles. S1H being 350g heavier than the S1 makes it indeed a very heavy Lumix. GH6 seems like the perfect body.

Btw, GH6 in low light seemed to hold onto colours much better than GH5s and though noisier, detail was reained better as well, coming from some youtube tests. So it is a mini S1H in many regards and way beyond in others.

I agree though if you are happy with the S5 image but want a high quality tilting LCD, the S1 is kind of the answer. I do wish it had an OLPF, though I haven't run into moire yet.

[MrSMW]

24 minutes ago, PannySVHS said:

There is the possibility of moire. The S1H is the safe bet for any grooms suit.:) I find the monitor on the S1 a bit unpleasant to handle. It´s connection is very solid but due to that not very smooth to move. A few times I find the EVF bump to be in the way when shooting from certain angles. S1H being 350g heavier than the S1 makes it indeed a very heavy Lumix. GH6 seems like the perfect body.

Btw, GH6 in low light seemed to hold onto colours much better than GH5s and though noisier, detail was reained better as well, coming from some youtube tests. So it is a mini S1H in many regards and way beyond in others.

Yup, moiré can often be a wedding suit issue and when you have a whole row of fellas in them. All day…

The S1 for me is the least desirable of the FF bunch followed by the S1R, but the S1R has a place in my kit because it’s stills capability is right up there with anything. It’s superb in that regard and because I paid just 1500 euros for it…!!

The S1 though is not as capable as the S1H for video, equal for stills and not as small or light as the S5.

If I had to pick one for everything for all 3 bodies, then the S1H. Easily.

But for pure video requirements, maybe the GH6 equals or in certain areas, beats the S1H.

I don’t think any 4/3rds can for stills however and it’s 50% of what I do.

No kit and a reasonable pot of cash, I might go GH6 for video…but then then it doesn’t have a OLPF so actually maybe I wouldn’t.

Conclusion for me is that the GH6 edges the S1H in pure filmmaking terms but the S1H probably wins for wedding videographers.

[webrunner5]

Lightroom and Adobe Photoshop both have this enhance thing that quads your photo resolution. Works wonders on my 12mp files on my A7s II. Might be an option, surely you would not need to do every shot you take.

Heck the GH6 is 25mp, not really wimpy.

https://helpx.adobe.com/lightroom-cc/using/enhance-details.html

[MrSMW]

For me it’s only partly the megapixies…

Going from APSC Fuji XT3 26mp to FF S5 24mp, I noticed a marginal difference but nothing I would call a quantifiable advantage.

In fact, I’d give the nod regarding colour to the Fuji files, but that could just have been familiarity with a system I’d been working with for a long time.

But the S5 had/has I reckon a good 1 stop low light advantage.

The S5 purchase for me was really against an XT4 where for me in more areas, the S5/L Mount system, edges the Fuji.

The files from the S1R are whole other level though. Quantifiably above 24mp FF.

I have tested and used the ‘quad’ thing but the reality is it’s for certain types of landscape and studio work, not weddings.

The question though re. 47mp over 24mp is would the client notice?

Nope, but I do and there’s an element of professional pride and craftsmanship.

I could go back to 24mp FF easily enough and maybe even 26mp (or more) APSC and APSC/S35 is the sweet spot for me for video, but I’d really struggle with going 4/3rds for stills.

But if anything was going to convince me, it would be GH6 or OM-1.

 

[TomTheDP]

3 hours ago, MrSMW said:

Yup, moiré can often be a wedding suit issue and when you have a whole row of fellas in them. All day…

The S1 for me is the least desirable of the FF bunch followed by the S1R, but the S1R has a place in my kit because it’s stills capability is right up there with anything. It’s superb in that regard and because I paid just 1500 euros for it…!!

The S1 though is not as capable as the S1H for video, equal for stills and not as small or light as the S5.

If I had to pick one for everything for all 3 bodies, then the S1H. Easily.

But for pure video requirements, maybe the GH6 equals or in certain areas, beats the S1H.

I don’t think any 4/3rds can for stills however and it’s 50% of what I do.

No kit and a reasonable pot of cash, I might go GH6 for video…but then then it doesn’t have a OLPF so actually maybe I wouldn’t.

Conclusion for me is that the GH6 edges the S1H in pure filmmaking terms but the S1H probably wins for wedding videographers.

The GH5 did not have an OLPF and had zero Moire.

I think you might be surprised by the S1. The tilting screen on it is awesome and the weight increase is marginal IMO.

2 hours ago, MrSMW said:

For me it’s only partly the megapixies…

Going from APSC Fuji XT3 26mp to FF S5 24mp, I noticed a marginal difference but nothing I would call a quantifiable advantage.

In fact, I’d give the nod regarding colour to the Fuji files, but that could just have been familiarity with a system I’d been working with for a long time.

But the S5 had/has I reckon a good 1 stop low light advantage.

The S5 purchase for me was really against an XT4 where for me in more areas, the S5/L Mount system, edges the Fuji.

The files from the S1R are whole other level though. Quantifiably above 24mp FF.

I have tested and used the ‘quad’ thing but the reality is it’s for certain types of landscape and studio work, not weddings.

The question though re. 47mp over 24mp is would the client notice?

Nope, but I do and there’s an element of professional pride and craftsmanship.

I could go back to 24mp FF easily enough and maybe even 26mp (or more) APSC and APSC/S35 is the sweet spot for me for video, but I’d really struggle with going 4/3rds for stills.

But if anything was going to convince me, it would be GH6 or OM-1.

 

I think for the GH6 its partly a question if the dual gain sensor applies to stills. One of the downsides of an M43 camera in general is the lack of dynamic range and color depth. That might solve it.

I noticed a difference in detail when it comes to Fuji vs Panasonic but I think its the weird X-trans filter thing more than sensor size.

I have found there is so much detail in the 24mp S1 Raw files that I can't imagine ever needing more than that for any application. I have cropped in on an eye from a portrait shot and found there to be enough detail for the image to be usable. The most I'd ever crop in for something is like 50% and its got that covered easily.

[webrunner5]

4 hours ago, TomTheDP said:

T

I have found there is so much detail in the 24mp S1 Raw files that I can't imagine ever needing more than that for any application. I have cropped in on an eye from a portrait shot and found there to be enough detail for the image to be usable. The most I'd ever crop in for something is like 50% and its got that covered easily.

Hmm that is an interesting statement. There has to be a combination of several factors for you to think that. Above resolution, maybe clarity, colors, weak filter array on the sensor, etc. etc..

[MrSMW]

8 hours ago, TomTheDP said:

I noticed a difference in detail when it comes to Fuji vs Panasonic but I think its the weird X-trans filter thing more than sensor size.

It’s been and still is quite a polarizing situation.

I suspect, as has been the case with DFD AF, there has been a lot of negative hype regarding Xtrans from people who gave it little or no time.

Personally I had zero issues with it. Either because it suited me more than some others, or perhaps because I took the time.

Probably both.

It’s taken me a lot of time and effort to get my Lumix colour to a level I like as much as Fuji, but the length of that time has mainly been down to Covid reducing my workflow by 90%.

But otherwise I think you can extract more from a FF S1/S5 file than you can any Fuji Xtrans.

I can definitely report moiré from the S5 sensor, for stills anyway.

The only wedding I didn’t also shoot video last year, I shot a pair of S5’s and by the law of sod, it was shiny suit day!

I’m not sure if this is 100% true or not and I have no evidence either way, but I believe using a 1/8th mist reduces or eliminates moiré as it takes away some of that digital sharpness.

 

[TomTheDP]

16 hours ago, MrSMW said:

It’s been and still is quite a polarizing situation.

I suspect, as has been the case with DFD AF, there has been a lot of negative hype regarding Xtrans from people who gave it little or no time.

Personally I had zero issues with it. Either because it suited me more than some others, or perhaps because I took the time.

Probably both.

It’s taken me a lot of time and effort to get my Lumix colour to a level I like as much as Fuji, but the length of that time has mainly been down to Covid reducing my workflow by 90%.

But otherwise I think you can extract more from a FF S1/S5 file than you can any Fuji Xtrans.

I can definitely report moiré from the S5 sensor, for stills anyway.

The only wedding I didn’t also shoot video last year, I shot a pair of S5’s and by the law of sod, it was shiny suit day!

I’m not sure if this is 100% true or not and I have no evidence either way, but I believe using a 1/8th mist reduces or eliminates moiré as it takes away some of that digital sharpness.

 

Yeah I never had an issue with Fuji files but I did find when cropping in at insane amounts the Panasonic seemed to hold more detail. I really never crop in on photos much so its not really a problem.

[Amazeballs]

Went with A7siii 

I would serioslly consider GH6 if it would arrive at least a year and a half earlier. It took them too long.

[Rinad Amir]

On 3/23/2022 at 7:10 AM, Amazeballs said:

Went with A7siii 

I would serioslly consider GH6 if it would arrive at least a year and a half earlier. It took them too long.

15stops of Dynamic range and lowlight is what got me in to Sony family and yes Autofocus was big win as well.

[kye]

3 hours ago, Rinad Amir said:

15stops of Dynamic range and lowlight is what got me in to Sony family and yes Autofocus was big win as well.

Well, we all know how optimistic those manufacturers dynamic range specs are, but yes, Sony are up there in DR.

[projectwoofer]

12 hours ago, kye said:

Well, we all know how optimistic those manufacturers dynamic range specs are, but yes, Sony are up there in DR.

Exactly, 12 to max 13 stops in reality for the A7S3.

[kye]

30 minutes ago, projectwoofer said:

Exactly, 12 to max 13 stops in reality for the A7S3.

Yeah, and actually the absolute DR doesn't really matter either - what is important is having the same people test the other cameras in the same way so that the relative comparisons are valid.

I read an interesting comment about the Alexa Classic on the CineD test for it, which basically amounted to it testing at about 14 stops of DR, but that was RAW and with NR it could get another few stops above that.  Interestingly, a lot of the other cameras they test aren't RAW and so already have the NR (and smoothing from compression) applied - so if you're comparing a h264 camera with an Alexa then potentially the Alexa might actually have 17 stops in comparison, but maybe when comparing it to a RAW shooting camera then 14 is the relevant number.  

That struck me as being another whole variable on top of their numbers that they didn't seem to talk about much (I've read lost of their lab tests when I reviewed camera DR and put together my spreadsheet for it) and I also don't know that much about either.  Fun stuff.  I should really go read the technical manual for the software they use so I understand the charts better.

[webrunner5]

Yeah but there is and was a reason so many company's used a Sony sensor was they had good DR. A Barbi Cam had better DR than Canon cameras had years ago.

[MrSMW]

All I know about any of my cameras is that they all came with dynamic range included.

’It’ could be 7 or 17 for all I know.

Are the files SOOC good to work with? Yup.

Can I give it a light grade? Check.

Job done, regardless of what the number someone says something is.

[webrunner5]

You must squint a lot lol. If you have Ever owned a BMPCC and shot in Raw you have seen the light and the dark as they say. You Ain't buying some fucking early Canon camera unless it shoots Magic Lantern I can tell you that.

I grew up when TVs probably had 5 stops. Not going back to that shit.

[TomTheDP]

On 3/25/2022 at 6:20 AM, projectwoofer said:

Exactly, 12 to max 13 stops in reality for the A7S3.

Yeah the A7S3 is nice but nothing crazy. Its definitely not 13 stops if the Alexa has 14.

 

20 hours ago, webrunner5 said:

You must squint a lot lol. If you have Ever owned a BMPCC and shot in Raw you have seen the light and the dark as they say. You Ain't buying some fucking early Canon camera unless it shoots Magic Lantern I can tell you that.

I grew up when TVs probably had 5 stops. Not going back to that shit.

 

23 hours ago, MrSMW said:

All I know about any of my cameras is that they all came with dynamic range included.

’It’ could be 7 or 17 for all I know.

Are the files SOOC good to work with? Yup.

Can I give it a light grade? Check.

Job done, regardless of what the number someone says something is.

I really think it depends on the scene. I can get a really nice shot on my iphone if the dynamic range of the scene is small. There are definitely times where my Alexa and any other given camera are hard to tell apart, but when you get super strong highlights it's game over. Even something like the BMPCC with lower dynamic range just looks better in high dynamic range scenes as the texture is so much better. Pulling shadows out of compressed H264 never looks great. RAW just looks better usually. My S1 has better dynamic range than the old RED Scarlet. But the Scarlet's shadows just look better.

Over all the current full frame cameras are pretty crazy good for most people's needs.

[webrunner5]

A lot depends on what race or nationality you shoot. You shoot mixed races together and you had better have some damn good DR. New smartphones are doing better than they really are because of stacking and HDR. But they don't always work so that is a touch and go option.

 I am surprised how far we have come video specs wise but overall, I don't think we have moved as far as we think, look at the earliest BM cameras. great DR  for the time. You still now have to buy some big ass, expensive as heck camera to get great consistent DR and great midtones.