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The EOSHD YouTube Channel (23,793 visits to this link)
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Internal 32-bit float stereo paired with lossless 120mm reach from a 20mm lens — all inside a genuinely pocket-sized 10-bit 1-inch sensor gimbal camera? 1 2 3 4
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Not to mention that you always have to carry settings over, and somehow no matter how well you sync the time, the captures don't always fall in perfect sequence! -
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I'm curious, why does it have to be the smallest possible, it's a new product, who was asking for this to be the measurement it is now? even a full Cm on each side would have still resulted in a small body, but if it offered full size HDMI and proper heatsink would make the product far more compelling to a lot more people. I think we also have to remember, there seems to be 2 types of users here, people who shoot and edit their own work and can have a voice in each step and people who shoot and hand off footage, I'm in the second camp and have to always make sure everything is as foolproof as possible, because if anything goes wrong after us, somehow it's our fault..... ( Ya I've had major clients on 6 digit campaign shoot complain about how flat and dull the video was only for me to see they just outputted log without any colour grade or even applying a technical 709 lut, and it's somehow our fault!!!!! 🤦♂️ )
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Had it for a year. Sold it. It wasn’t for me. OK outdoors but too slow indoors/low light and I’m not a fan of lenses that extend when zoomed out unless it’s a very small movement such as with the Sigma 28-70 but would much prefer internal zoom and that is a very high priority for me. I have the 70-200 f4 (the lens I traded the above for and it’s a ‘better’ lens but obviously a completely different focal range) but it’s currently not working. Dropped my camera bag and it hasn’t worked since and suspect it’s the OIS… Back to the ‘affinity’ though, us working pros have a different criteria to the enthusiast in that we don’t shoot on a whim, but because we earn a living from doing so. We literally can’t afford to have less interest on any given day and a lack of enthusiasm for any tool probably means we should at least be considering another option! Then there is familiarity and boredom. Familiarity is of course a good thing and there is always a learning curve with any new tool that can be a bit of a PITA. I’m always tinkering with a tweak here and a tweak there such as yesterday, disabling the red video button when shooting stills because I’m sick of catching it when flipping to portrait orientation and thereby not only wasting time and a possible split second opportunity, but it’s even more annoying when it’s a bit of crappy upright video! I have also finally found a baked in LUT look that I trialled this weekend which gets me SOOC something very close to the final image with virtually zero grading required, - combo of many factors including; the stellar image the S1Rii puts out over any other LUMIX camera since the S1H, lens choices, blending 2 different LUTS in camera; one specific conversion and one other at a certain percentage, with exposure and WB choices all pre-saved on the custom mode dial. That’s massive for me for workflow and can only come from familiarity with the tools in real world working scenarios, ie, whenever I test this stuff at home, it pretty much never works due to all kinds of reasons but mainly it’s tricky to replicate my working scenarios as anything other than work scenarios! Familiarity means the tools get out of the way allowing you to focus on more important stuff that is purely down to YOU, ie, subject, composition, DOF yada yada yada. And then there is boredom which is a lot more subjective and can often be combined with GAS. GAS is probably the wrong term as my interpretation of it is more stuff generally so ‘desire’ might be more appropriate as in which do I desire the most, an S1Rii or an SL3-P? No contest but when we take desire out of the equation, it’s a bit like that, f*ck/marry/avoid scenario, the SL3-P is the first, the S1Rii is the second and the ZR is the third, for there simple reasoning for me, that the latter has too many flaws for my requirements and I know I’d resent her compromises quite quickly. Any Nikon; ZR, Z6/8/9, the Megadap E Mount lenses are for me biggest draw, but only ‘equal’ to me the L Mount equation I am already in ie, would only ever be a sideways move at this time and sideways is really only viable of you have cash to burn. For me, it’s never been about a search for some kind of holy grail setup because it doesn’t exist. It is however getting very close and I just need the love child of a ZR with Lumix internals and Sony glass… -
I think that word “affinity” is actually more important than people sometimes admit : ) On paper we can reduce everything to specs, codecs, lenses and prices, but after a certain point a system also has to make you want to pick it up and use it. Sony can tick practically every box and still somehow not be the answer (I know exactly what you mean there : ) Since you are very much a hybrid shooter, and stills seem to matter at least as much as video, I would probably look at this slightly differently. On the L-mount side, before changing anything, I would certainly try the Lumix S 24-105mm f/4 Macro O.I.S. It is not an exotic lens, but for somebody moving constantly between stills and video it is exactly the sort of lens that can make a system considerably more useful: sensible range, stabilisation, very useful close focusing and one lens that can stay on the camera for most of the day. Sony is tempting for a different reason. Beyond the enormous stills AF lens catalogue, E-mount also gives you an unusually broad selection of genuinely affordable full-frame AF glass (the AF-AFF route, AutoFocus to Affordable Full Frame ; ) And then there is the increasingly interesting cine side. The compact Samyang V-AF primes are a good example. They are relatively affordable, matched as a family, and the 24mm in particular is interesting because it makes perfectly good sense on full frame while also becoming a very useful lens on something like an FX30 (a cam I am particularly used to : ) Add Samyang's 1.7x anamorphic MF adapter and AF becomes MF. But put something like DJI Focus Pro LiDAR [ 1 | 2] into the equation and you can effectively bring automated focusing back again (the AF-MF-AF route ; ) And you no longer even need to go through that slightly mad route if you simply want AF anamorphic. Blazar now has the Apex 1.33x S35 AF lenses and the Talon 1.5x full-frame AF line, while Sirui has its 20mm/40mm T1.8 1.33x S35 AF anamorphics plus the new Astra full-frame AF series. So E-mount is beginning to look less like a one-off anamorphic experiment and more like an actual affordable AF-anamorphic ecosystem. The interesting part is that some of this does not necessarily lock you into Sony either. The Samyang V-AF 24mm has already been shown working with AF on the ZR through the Megadap ETZ21 Pro+, so at least part of that E-mount investment could potentially follow you across. And Sirui already offers native Z versions of its S35 AF anamorphics. Blazar had actually announced Z-mount for the Apex originally too, although the production lenses have so far remained E/L. So for me the real attraction of Sony in your case would not simply be "better video AF". It is the combination of the huge hybrid/stills lens ecosystem, lots of affordable AF glass, the possibility of adding something like an FX30 without changing lenses, the Samyang V-AF route, and now a growing choice of genuine AF anamorphics as well. At the same time, the ZR increasingly looks capable of borrowing some of those advantages without necessarily committing yourself completely to Sony. Which, unfortunately, probably makes your decision harder rather than easier... ; )
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