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I have tried a number of cheap/crap 28-80ish lenses on the GFX 100 and they all have a knack for covering the sensor perfectly if you zoom in past 35mm So the Makinon I am interested to hunt down in Berlin and try... The Nikon in theory has the perfect focal length for the GFX 100, but I am not sure I share our YouTube friend's enthusiasm for the flare... The Makinon was much nicer to my eye

f2.8 on M43 is kinda a sweet spot though, don't ya think? Are are you trying to Spielberg it?

That is all. Thanks for coming to my TED talk.

Sorry if it was already mentioned but the Canon R50V ($699USD) seems like a no brainer. But also depending on when you need to squeeze the trigger, Canon is rumored to be announcing a new Cinema cam with the R50V compact form-factor next month: https://www.canonrumors.com/canon-to-announce-new-compact-cinema-eos-camera/

Good luck. Manufacturers changed coatings every time they went to the bathroom. They were always getting tweaked. Granted, they often had similar looks. You can find some very unique f/3.5 constant zooms that will do the job. Some of them are sharp and cheap with magnificent and crazy flares. Here are some that I found interesting. I have the Makinon zoom lens.

https://www.techradar.com/cameras/drones/new-dji-mini-5-pro-leak-suggests-it-could-be-perfect-travel-drone-thanks-to-these-two-features

I usually use normal white balance but some venues have the most bizarre mixed lighting and it’s very hard to nail WB. That’s the only time I used AWB. If the lock feature was more sticky it would be great. Unfortunately it seems to randomly turn itself off! As for being perfect, where’s the fun in that? 🙂

Nope, only have the 40-80. The only things I don't like about it are the highlights are a bit too glowy and it's a heavy little fucker!

Have you compared it to the replacement 35-70mm? The latter lens is very handy on the GFX 100 and filmic looking.

Try it. It’s basically your any 5 personal settings at the turn of a dial. OK, in C3, also requires a menu selection of 1,2,3 but still, far FAR quicker then fannying about with actual settings etc. The only real issue in shooting hybrid as in flipping between stills and video, is ND’s. The options are: A. Shoot either higher shutter speeds, or with a greater depth of field, or, B. Flip up VND, or, C. Shoot stills with a VND, but on it’s lowest setting so if it’s a 2-5 stop, pretty OK actually, but if it’s a 6-9… I have tried all 3 and could make a case for and against all of these and use C. It’s OK usually with short clips, but longer stuff or matching multiple camera angles which always have a different WB… Each to their own, but you might as well pick an outdoor WB and am indoor WB and get consistency. It’s never exactly the same just as it isn’t with stills unless it’s just one single light source, but it rarely is and instead a balance of artificial and ambient and proximity and angles and all that physics stuff. Vlog and a baked in LUT has been a game changer for me. I still haven’t quite dialed it in and it will probably always be a work in progress but getting there and more than happy with it. It’s not Hollywood or even Indie movie colour grading, but I don’t have the time and am not being paid enough! Nope. Never shot in anything sub 4k even though I deliver the longer form stuff such as ceremony & speeches in 1080. The 7.2k out of the S1Rii looks fantastic to me and it’s my next area of exploration… 1. Nail down the tools. Check (finally) 2. Work on the next level of creativity from a purely storytelling perspective. 3. Work on the capture quality and grade ie, bringing that beautiful 7.2k into the process and that grade I’m still working on. I think we get to a point where we are at about 90% with every and anything and that last 10% is always a work in progress…

I'm going to try the C1 etc set up. I've been a bit lazy to try that. It makes sense to start with auto ISO when switching to video, I hadn't thought about that. Heat is a big thing here and the S5iis handle it perfectly! I sometimes use AWB with AWBL (lock) in very tricky lighting. The AWB does a good job but the lock seems a bit random. Sometimes it says locked for a good while and other times it turns off and I haven't worked out why. I have no desire to go into RAW. I'm just starting to use VLOG and built in LUTS! Have you ever tried 3.3K 4/3?

A little bit of trial & error plus fine-tuning in the final (all LUMIX) line up and I really did think the 28-45 would be perfect and Job 01 I was kind of OK with it but Job 02, it was niggling me and I flipped to the 50mm f1.8 just to see the difference and the penny dropped. I think even if they popped out a 45-90mm f1.8 with internal zoom, I wouldn't bother now as with a 35 and 85 (which is how I used to work pre L Mount, 90% of my work), I can real world do anything a 28-45 + 45-90 pairing can, but at 1/3rd the weight, 1/2 the size and 1/2 the cost. It doesn't but you can do exactly the same thing with C1/C2/C3 etc. For the brief period I used the S5ii for hybrid, I had: C1 outdoor stills (5600K) C2 indoor stills (4500K) C3-1 6k 30p 5600k Low auto ISO outdoor video mode C3-2 6k 30p 5000k High auto ISO indoor video mode C3-3 4k 60p e stab on 5600k auto ISO, gimbal-like / slow mo mode (obviously goes into crop mode for this) The photo/video switch on the new bodies simply gives you 5 options for each instead of 5 total as with the S5ii. Those were the 2 lenses and for the same reasons, I was using the year before last. I wouldn't trust the S1Rii statically, on a tripod, in direct sunlight, on a 30+ degree Celsius day, say filming a ceremony. Not tested it, but no need because I have no need and the S5ii does it just as well if not better, so right tools for the right jobs and all that. Unless you need above 6k video or stills above 24mp, absolutely no requirement for either the S1Rii or S1ii and even the S5ii can shoot raw for anyone that needs it to with a paid software download. I think if I had 10+ years left in the industry, I'd be at least looking very hard at raw video, but I haven't got 10 years and don't want to get into a whole new learning curve and massive hardware/storage updates for something my type of clients would never notice, so nah. Your plan for a pair of S5ii's with an S9 makes sense. I could live with 3, but having 4 in the end I decided now makes most sense with 1 permanent static (the S5ii) and 1 semi-static (the S9) with the pair of S1Rii's hybrid in the hand.

Sounds like you are finally getting what you were looking for! I'm still mainly video but still have quite a few video and photo events. I think I've decided that I prefer having one camera set up for video and one for photo as the S5ii doesn't have the photo/video switch. I've been using 6K OG 30p and it's good but I miss 50p. I'm starting to test the 3.3K 4/3 50p. It's apsc but I think it might give me a happy medium for horizontal and vertical filming with 50p, kind of a OG lite. This means I'd have my 28-70 2.8 as my main photo lens with the Lumix primes for special moments and I think I'll test a second hand Sigma 18-50 2.8 apsc lens to see how that works for video. It would give me similar focal lengths on both cameras. If it works well for company events then I'll try that at a wedding when i get my next hybrid one (this year they are 95% video only). If that turns out to be a good combo then I might look to get the Sigma 17-40 1.8 for video. I've decided the new Lumix's are not for me at present. It's too hot here to make use of the video features so I'm going to workout how to get the most out of the 2 S5iis and if it all works out, get a 3rd camera, the S9 and the Sigma and that's me good for a few years.

Minolta MD 35-70mm f3.5 + Minolta MD 24-35mm f3.5. Minolta MD 35-70mm f3.5 is very good, Minolta MD 24-35mm f3.5 just OK. For video both are sharp enough,both relatively small and compact and two touch operation. Only drawback for me is that Minolta MD 35-70mm f3.5 zoom is most extended at 35mm. You can add also some of the tele zooms but they are all push pull type. IMHO using zooms would be the best approach as all brands had zooms in the f3.5 to f4 range. If you are willing to use zooms with non constant aperture you'll have much more options.

Carl Zeiss Vario Sonnar f/3.5 40-80 ‘push-pull’ zoom. I have that as my ‘oddball’ lens and used it a few times with an EF-L adapter with built in VND. Quite a few focal lengths covered there in a single lens!

I'm not sure of the current prices, but I have an old Elmar 35mm f/3.5 which is one of the most gorgeous pieces of glass I've ever seen or used. Also, I have an old Elmar 90mm f/4 collapsible which is pretty gorgeous. I'd take the 90/2 'cron over it any day, but I'd shed no tears if the 90/4 were the only portrait lens in my bag. Sorry neither one is even remotely adaptable to EF, though!

Oh wow. It’s been this price for at least a month now, surprised it’s still up. I was able to take advantage, had a mate grab it for me since I’m not in the UK.

I'm exploring the idea of assembling a set of "super slow" vintage primes with an f/stop of f/3.5 or slower for use on short films, personal projects, etc. Why super slow? Because I want the benefits of shooting wide open (circular bokeh & potentially softer image) without throwing the background totally out of focus. Plus, I've been trying to shoot at a deeper depth of field lately because it is a look that I find myself gravitating towards more and more. Plus, slow lenses shouldn't cost much and might even open up the opportunity to work with some real sleepers that no one really cares about these days. Ideally: Focal lengths: ~20mm, 28/35mm, 50/55/58mm, 85/105mm OR a super simple set like 24mm, 50/55mmm, 85/105mm f/3.5 or slower (preferably all the same f/stop) Same series of lens for consistency Preferred: Old and weird (single-coating, etc.) Adaptable to Canon EF mount Focuses the "right away" (focus scale to the left of infinity) Readily available and under $200/each Does anyone have any recommendations?

No additional functionality. I’m not really that bothered about it either currently but I figure for the price of a McDonalds then I might as well get it in case I do want to use it at some point. Also, when the price of this reverts back to £160 then for barely any money I’ve made my S5ii a bit more desirable/slightly more valuable when I come to sell it or part ex it.

For the S5ii, unless they slipped something in, no. And if they slipped anything in of slightest interest, they generally say, but I suspect they do sneak in little corrective things they don't wish to tell us about, but then again, probably only with the free firmware stuff?

Is there any other benefit besides the raw over hdmi? As i have no use for that.

More back-pedaling, it’s going back. Tried it for 2 jobs and actually, real world, I don’t actually like the size & weight. With the ability to take either 2 steps back or 3 steps forward, the less than 1/3rd the weight and 1/2 the size plus 1/2 the cost, 35mm f1.8 makes more sense. I ‘liked’ the 28-45 and really did think it would be perfect for me, but nah, going back to my roots and 100% primes for stills and hybrid but sticking with zooms for video. And sorry @Thpriest but that means keeping the S9! Shooting these last 2 jobs just reconfirmed what a joy it is to shoot free hand or on the freestanding monopod for all my run & gun clip work. Ridiculously light, quick and easy and probably the only thing I’d replace it with now is either a next gen S9, or possibly (but not this year!) third S1Rii. You can probably tell I am a bit of an S1Rii fanboy, but it just works for me…and I have barely touched the video side yet. Yes I would still rather it was an FX3/30 style body, but I’ll take what it can do what those cannot, every single day. If I change anything else this year, Mrs SMW will walk, so it’s; S1Rii x2 paired with any combo of; 18, 35, 50, 85mm f1.8’s (could do with something longer but not a ‘need’ as such) plus S9 with the Sigma 28-70mm f2.8 glued on plus, S5ii with battery grip and 70-200 f4 for all static longer capture duty. 4 bodies, 6 lenses, 1 system vs what was at the start of the year, 5 bodies, 9 lenses, 3 systems, so a BIG improvement in logistics. I do have a single mint S5ii for sale, EU only, €1000 inc postage for anyone that is interested or quick enough as Monday it’s off to MPB…

I think this is the first time the S5ii can do raw and it was X model only previously? Considering the prices of used S5ii’s now, that makes it some piece of kit! I have a minty S5ii for sale if anyone (EU only) wants one, for €1000 inc postage, or it’s off to MPB within 48 hours…

This offer is only for the UK. The SFU-2 software key provides RAW over HDMI for the S5ii as well as V-Log and waveform monitoring for the original S1. This offer from Panasonic is quite a bit of a drop from the £160 that it usually is and it’s available here for an undetermined amount of time. https://store.panasonic.co.uk/upgrade-software-key-for-lumix-s1-dmw-sfu2gu?___store=default