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By eatstoomuchjam · Posted
In general, I think FF is the sweet spot for a lot of stuff - not that the format is intrinsically better than anything, but because that's where most of the research/development goes. Lens makers and camera makers put the most work into those systems and lenses for those systems. S35 is just behind it with one vendor putting almost all their eggs in that basket and, as you said, it being the default for a number of video-focused things. Unless the gimbal is camera-integrated, they sort of end up being the worst for lots of stuff. Everything ends up being harder than it should be, including stuff that should be simple like accessing camera menus. I'm really enjoying the focus rat bag. It's a lot less involved than putting on my Ready Rig and if I have an image stabilized lens, I can get stable enough footage. If I were shooting Panasonic and lighter gear, I wouldn't even need/care about that! -
Nope, that is exactly where I am; I've had more seasons than Kiefer Sutherland in 24 who only managed 9 seasons, - I'm closing up Season 26, the last 15 of which have steadily become increasingly hybrid with the last 5 being approx 90% hybrid packages. In 2027, it's 100%. The format of these events has barely changed in the last 26 years, - more fashion and annual fads, but the core of it is the same; two people get ready, meet for a ceremony, drinks & snacks after, then they eat, there's some talking stuff and then they dance. Having said that, the variety of things to capture is high with so many genres of capture required including; landscapes, architecture, still life, candid moments, food & kitchen, bands, formal elements... But aside from that, yes, my biggest driver kit-wise has been 'smaller & lighter = faster = better'. The compromise is always 'quality (of output) vs volume, size and weight of kit' and I could make a strong case for M43, APSC, FF or MF but the sweet spot for me is FF stills and either FF or APSC/Super 35 for video. M43 doesn't really have the ultimate low-light quality I need and MF doesn't really either, especially when we are looking at lenses such as Hassie's 35-100. Folks often suggest things to me that seem so obvious to them but my question back at them is, "do you do this week in week out, all season long, as a one man band, because if not, I appreciate the thought, but nah". I'm still exploring even after all this time. For example, I picked up my 4th gimbal recently after quickly returning every single one previously...and once again, absolute failure. It's not me, - it's the tool...and yes, well aware of the saying about blaming the tools, but sometimes it really is the tools, so selling the gimbal and a camera and doing something else instead because the simple reality is, the stability in LUMIX cameras is now so good, I can actually get better...or rather, more consistent footage, NOT using a gimbal, but using just the camera. (What's wrong with the gimbal? Simply having it and then having to operate it whilst not being able to do anything else is a fucking pain in the arse!). So yes, the tools are critical and am I at 'peak camera'? Absolutely, - I just need to be at 'peak operation' of said tools and I pretty much am with just a few niggles such as gimbal type work as in I don't want or need 'a gimbal', but have a need/want to be able to produce 'gimbal-like' footage at certain times, so it's a case of need/want driving choices, rather than buying tools and then trying to make them work/fit. My decisions are also not cost driven, ie, if the Hassie R2D2 actually made quantifiable sense, I'd find a way to fund it. In fact I had a plan and that was to take 2x more jobs in 2027 than I wanted plus the sale of some kit, which would fund it. We're talking an extra 2-3 weeks work in total, for something that would last years and maybe I could market & milk to death and be part of any future model launch, but my conclusion remains and that is it would not allow me to do anything I already cannot and therefore makes zero sense other than on a pure 'want it' factor. -
By eatstoomuchjam · Posted
Sure, I love my Fuji, but I'd be delighted to use an X2D II and tell people that I liked it if they wanted to send me a free one. Ergonomics are one of the absolute top criteria for any camera. If I were presented two cameras, one 45 megapixel and one 61 megapixel and told to choose one, my first response would be "either, that's a lot." My second would be to pick them up and shoot a few frames. And even that ends up subjective - if I'm using light pancake lenses, I don't care much if the body has no grip and I just have to wrap the bottom 3 fingers on my right hand awkwardly down the edge of the camera. If I'm going to put a 24-70/2.8 on it, the body with no handgrip just got pretty unpleasant. A 70-200/2.8 and now I strongly dislike it. And yeah, that's why there's a 24-70/4 and a 70-200/4. I have the former in EF mount - and I've been trying to get accustomed to shooting with a Focus Rat bag these days (third-party cinesaddle that I got from the B&H deal zone). The EF 24-70/4 is on it a lot more than the 2.8 - I can actually hold it pretty steady with the IS turned on (and the EF 24-70/2.8 has none). I have the 70-200/4 RF as well - can't use it on the Ursa (no RF mount), but it's fantastic on the R5 or on my handheld Komodo setup. I don't find myself wishing I had shallower DOF very often with either. Especially if I'm handheld on the focus rat, having a little more DOF is more of a feature than a bug. Biggest problem is just that I'm always shooting from chest height and I'm only 5'9" or so. If the talent is 6 feet tall, there are gonna be some nostrils. Next thing will be experimenting with setting my elbows on the bag and using a shoulder rig so that I can get a little more height. But a 30-pound camera setup on the shoulder is... not living the dream. Better to use the R4D at that point. Anyway, for the style you've described shooting, you really are basically at endgame/perfection now. It's always tempting to swap out for other, shinier gear, but especially now that the prices on everything are going up so much, it's hard to imagine buying anything new. I'd guess that part of any interest in new gear is also a game to keep the job interesting - you've been doing weddings for a long time, haven't you? Can't really change the format of weddings, but you can at least change the tools that you're carrying around them. That might just be me projecting, though - that's probably where I'd be after a while. I'm basically not buying anything new and I'm just watching the cameras that I find even remotely interesting until the used stocks increase to the point where price starts dropping. ZV-E1 or A7CR for $1,300ish? X-M5 for $500-600? S9 for $700? I'll be interested. Upgrade from my R5 to an R5 II? Refurbs caught my interest last week or the week before - something like $3,500 - but I'm assuming that also means that trade-in on my OG R5 will be like $800 and I'm not spending $2,700 for a bunch of incremental upgrades. -
Yes, I am more of a 200-400 metre kind of guy. But sherioushly speaking, I am a fan of the larger sensor, - the 40mp and above because it does limit the size & weight of the lenses I need to use. Back in Ye Olden Times, at 24mp or less, I would have been shooting with a 24-70 and a 70-200, but even a 24-70 is a bit of a chonker today for me and a 70-200, no thanks...which is why I like stuff like Tamron's 70-180 and their even newer 35-100. I've been using my Sigma 28-70 in hybrid zoom mode (which I think is an S1Rii only mode?) which allows you to set various levels to punch in. It's only on the Jpeg and the raw file is still the same size but it allows for better composition at the time with some scope for jiggery pokery in post and turns how I use that 28-70 into more like a 28-105...but a pretty compact and light 28-105. But then again, I've gone back to primes in recent months and much preferring them. I've been looking for the 'one & done' solution, ie, one lens and one body, but below a certain weight and size, it does not exist. The Hassie with the 35-100 was the closest and next best for me would have been either the A7RV that I used to have or the new VI or even the Nikon Z8 with something like the (adapted) 24-50 indoors and 35-100 out, but next to the S1Rii with 28-70 (as anything else in L Mount is too large or heavy), what would I really gain? Real world, nada. I tried the 28-105 from Sigma but it's another chonker so went straight onto the S5ii for static duty which is what I intended it for, but thought I'd give it a go on the S1Rii as a 'one & done' hybrid set up, but nah, especially as it needed a battery grip for all day use. A twin body with primes set up is on paper a heavier set up, but it's in the hands that counts and as I might have mentioned multiple times on this forum, I can't find a better solution. And it's not just from a technical stand point, - the thing is damn good in the hands and to operate. The size, the weight, the controls, the rear LCD. Yes I would prefer it if it had a prestigious LEICA badge on it just because and better still, if it was in some kind of rangefinderesque body a la ZR or FX style, but it is actually a joy to use. Also, those Sigma f1.4's, - I don't really care about those f1.2's as in how much shallow DOF does one really need and the f2's I used to own are nice, but the more metal (than the Lumix f1.8's) and actual aperture rings for me are the sweet spot. I was building a case for myself with the Hassie V primes and would happily have bought 3 of the things...if they sent me 2 bodies to 'try out and keep'.
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By BrandonWalsh · Posted
I am definitely curious about this one. A 14 to 24mm f/2.8 is a really useful range if the size and weight stay reasonable. For me it will come down to the price and how it performs at 14mm, especially in the corners. Samyang has made some very good lenses, but I would still wait for a few proper reviews before ordering. If the price lands well below the usual alternatives and the autofocus is solid, I can see this becoming a very tempting travel and landscape lens.
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