omega1978

OK, no problem.
1: Shoot with intent in the first place. I rarely shoot anything 'just because' and if I know it's going to be garbage, don't bother in the first place. Once I know I have what I want which is typically, A: the obvious and B: the more creative, I stop shooting that/any scene and move on. Net result, from a typical wedding day, I might come back with 300+ clips.
2: I'm shooting 2 cameras: The first is designated 'filming' and is for capturing clips and is on a freestanding monopod. The other is designated 'video' and is for longer stuff ie, the ceremony and the speeches and lives on a tripod. The latter also records the master audio using Rode Wireless Go.
3: Get back from the job and download cards.
4: Start watching footage straight from the folder and I simply note all clips that have potential and scribble a few notes if needs be in regard to how/where I am going to use certain clips or something else specific.
5: In Premiere, dump the ceremony footage and audio onto the timeline. Add the ceremony lav mic audio. Auto-sync. Cut & delete master (the Go material) when and where individual lav mic material is better such as readings and vows. 
6: It's a single viewpoint piece, so there is no visual material to mess with, just the audio. Add a fade in and add a fade out. Export, job done. There's no 'grading' as such as I don't shoot log though I may make a global adjustment to exposure or contrast etc, but nothing that takes longer than a couple of minutes max. Seconds normally.
7: Repeat same process for speeches. Couple of hours max and these 2 productions are finished.
8: Chop & copy the vows out of the ceremony plus a few key lines from each of the speeches and dump all of these onto a new timeline for the 'Wedding Film'. I have already chosen which 2-3 tracks I will be using which I did on the previous job I was editing photography on, ie, I listen to Artlist.io whilst editing photography and marking favourites for potential future wedding film use. I then group tracks into blocks of 2 or 3 to make approx 8-12 minute productions and choose one for whatever film job I am about to start based on 'feel' such as "this one felt a bit more lively" or "this one suits something more gentle" etc.
9: So dump my 2-3 tracks on the timeline which now has these tracks plus synced/finished footage/audio from vows and speeches.
10: Start dragging over clips and building the story based on 2 factors; chronological order of events and the soundtrack. It doesn't take long to add and cut 50-100 clips.
11: Tidy up all the material into one cohesive whole other than any grading or transitions or ducking etc.
12: Tweak each clip in order as in 'grading' except in my case, it's not really grading as such as all I am doing is making a few minor scopes adjustments mainly, add any transitions and duck anything that needs ducking.
13: Export and watch through and then go back to make any final adjustments and add titles.
I can't think of anything else really.
The bottom line for me is that having come from being a photographer, I think and work like a photographer who just happens to be capturing longer versions of my photography in addition to my photography. It actually requires very little thought, barely more time on the job and obviously more time in the office, but not these weeks and weeks I hear some folks talking about.
And as I said before, I don't overshoot, I don't dither, I don't procrastinate and naturally am very efficient, do not get distracted easily and work extremely quickly compared to most.
I hope that helps!
 

What other mobile acquisition can give you this?
 

Interesting...and I appreciate this is a slight digression, but for me 8-12 hours filming = about the same in the office.
Commercial or wedding, within 1 working day, I have started, finished, exported and uploaded a typical (for weddings anyway) 9-12 minute wedding film plus second full ceremony & speeches production.
I will however typically spread that workload over 2 days just because I can and won’t deliver to clients for at least 7 days if not longer because I tell them it’s about a week’s work to give my worth more ‘value’.
This could be because I am a very efficient person by nature, do not procrastinate and work to my own brief and no one else’s.
Yes, even commercial. 
 

I’m not sure which did it, but I did calibration as well as firmware update, and the noise has disappeared.
I’m pretty impressed so far, especially for photos, I never would have imagined using the pocket for photography, other than maybe panos. Look at the crop of this 64MP photo, blown out sky, yes I know, but the detail is pretty great-

Zebra must set to 85% for Vlog 

Well here's my first use of the S5.
Neutral profile, no tweaks to any in camera settings, SOOC, 4k 50p shot in shutter priority 1/100 with the 20-60mm kit lens.
Clips imported into Premiere and only adjustments have been to the speed which is 50% for the visuals.
Password = Woodworker
 

Normaly i work from blacklevel upwards, that i lower just before legal clipping point.
Than lower whites and raise shadows, always in the range of 16-235 in the RGB parade. 
Finally add contrast and exposure of your taste and ad saturation if nedded.

I exported 2 different 4K versions of this, one best for Vimeo and one best for YouTube.  I don't have a CFast card yet, so this is limited to v90, and had issues with gear and couldn't get RAW this time (well add both RAW and the higher options once I get my CFast card.  On my monitor the vimeo image looks better, it seems to have more details in the white water section.
Here is the YouTube video: https://youtu.be/PgS_RUuPun
Here is the Vimeo video: https://vimeo.com/464041748
Besides not having my longer HDMI cable packed (missing out on RAW footage), I also broke the 75mm spider of my trusty Induro GIT304L, which ended my ability to use my motorized Jib/pan/tilt setup, and had to revert to the much lighter slider.  Was able to somewhat hold up the tripod with the slider on it to do dolly out and slides, but it was very sketchy.  This also kept from using my Ninja V and getting some RAW because I only had a 14" hdmi cable and couldn't hold it and the tripod and the slider together.
I will get back out there and next get the higher quality 4K/120fps and HD/240fps as well as RAW.  
But in this video, you will see 4K XAVC S-I 24fps and 60fps, 4k XAVC HS 120fps, and 4K XAVC S 120fps from 100mbps to 600mbps; the first two with audio.  For each clip I provide all of the details of the shot (camera, lens, all exposure settings, codec, gamma, gamut, frame rate, file size, size per second of video, etc.
 
 

Less than 5% of my weddings in France are legal Steve as in they are ‘destination weddings’ so all bar a few locals, already done the legal bit in their home country.
The result of this is instead of the typical 1/2 to full day wedding (500+ of which I did previously in the UK over 16 years so know exactly what you are talking about!) here tend to be more relaxed 2-3 day affairs.
They all still go through some form of ceremony, either with an official celebrant, or a priest or a friend more often than not, but these things tend to be more like 15-20 mins.
Unless it’s a local and then it’s 60+ mins of Catholic mass, but that’s a rarity.
Speeches same as everywhere though so principally 3. Unless they are Canadian and it’s more like 13. Or Scandi and it’s open mic time, singing and taking another shot.
None of which I know has anything to do with the S5!

VERY TEMPORARY 4 channel RIG, fully wired up, with Timecode from the Atomos Sync.
Since I have a shoot next weekend, I needed to throw something together that was functional UNTIL Kondor Blue has those beautiful Ultimate Rigs ready to ship in a week or two.
This is fully wired up, so you are seeing 4 audio feeds coming in (1 from a boom to #1 XLR, 1 from on camera #2 XLR, and #3 and #4 are 2 sets of Rode Wireless Go.  That beautiful blue braided cable is Kondor Blue's 14" full hdmi to full hdmi braided cable.  I'm running a USB-C to USB-C cable from the FxLion NANO TWO V Mount battery to the A7SIII for PD charging (it is keeping it at 100% as I use it).  Also, running a locking cable from the Ninja V dummy battery to the FxLion NANO TWO.  Obviously the Sony XLR-K3M is powered by the A7SIII through the MI shoe.  The matte box is just a Tilta one I had laying around with a cinema soft filter (4" x 5.56") mounted on the provided 82mm ring to the Sony 16-35GM.  And in the first picture is a "poor mans" EVF, very similar to how the FX9 is doing it.  This is just a 5" Loupe from Kinotehnik that magnetically attaches to the Ninja V.  I'm VERY pleased with the fit to my eye and function of this, however, I am having difficulties with the metal strip staying attached.  Magnetics is fine, but the adhesive sucks.  I'm going to try and fabric a hinging mechanism that attaches to the top of the Ninja and then just screws into the plastic shell of the Loupe.
Without a proper cage I do not have anything where I want it exactly yet.  Like the Ninja V will be more to the side, the Wireless Go will be elsewhere, etc..  But this will do for next weekends shoot.

Kaboom, it's arrived!
Sorry, no YouTube unboxing video or reading of spec list, just an initial impression whilst the battery is charging.
I've come from 8-9 years of Fuji as my main cameras with some dabbling in 1" Sony and M4/3 Panasonic but have otherwise never owned a full frame mirrorless before.
I had Nikon DSLR prior to Fuji for stills with a D7000 for filming...but things have moved on since 2010!
First of all, it feels superb in the hand. In terms of size for handling and my use, just about perfect.
Weight, perfect and I currently have the 20-60mm 'kit' lens attached I bought it with which will become my personal travel lens and my stills work wide angle.
Build quality. Well all my old gear has now been sold but I'd say it's all a step up from Fuji and I had no complaints about that, but the build and finish are superb and the way the dials click and operate etc.
Next up, some stills and video tests to get a feel for how it all works etc and that all important AF test..., but so far, it's all looking good!

So UK got S5 body already.. first in the world?  The kit lens will be shipped next month ughh.
 
How many S5 owner here going for Anamorphics?  I had my ISCO ready!  Gonna miss the 6K anamorphic from the GH5 though.
 
 
 

With S1 Sigma mc 21 and Tamron 24-70 G2 VC Control works nice together with the Ibis

With S1 Sigma mc 21 and Tamron 24-70 G2 VC Control works nice together with the Ibis

Needs quite a strong ND the wider open you shoot on a bright day!
I've been using a variable Gobe, but it's not great at the stonger end...
I was going to replace it with the Polar Pro, but because it now seems to have Peter McWotsits name on it by default...and I am sure I would be paying a premium for that unwanted 'privilege', so I'm looking at the Freewells that come in 1-5 and 6-9 flavours as a set which would be great for cloudy/indoor and sunny days respectively.
But actually, right now, not spending anything as the way things stand, yes, shot a wedding last week, but that does not mean my next 4 spread over Sep & Oct will happen and if they do not, it's May 2021 and that could be; XH2, Z6s or A7Siii time... Or it might still be XT3 but right now, the new Sony has a lot of appeal for my specific needs...

The mighty FD 1.2 55mm Apsherical was sold right after listing it in my shop. I only had a single day to spent with it. All shots here are with 1.2 to demonstrate its performance. I used Panasonic's Nicest 709 VariCam LUT with basic lumetri corrections. All handheld.
The Aspherical version of this lens is indeed quite sharper fully open in comparison to the only S.S.C. 55mm. Sadly, it has also become quite expensive and rare.
 

I search once in a day or two for Panasonic S1 in youtube to watch every recently uploaded video. It is always nice to watch others works with same camera as yours. I feel inspired by videos like above which also in my opinion shows what an incredibly "easy to start rolling and delivering big time" camera the Pana S1 is. Especially with vintage glass! That was my main convincing strong point to choose it. You can throw anything on this beast and it handles colors, flair and color casts always perfectly!
I bought a Canon EF camera last week with an attached 1.2 55mm where I couldn't see the front ring in the photo because it was closed with a cap. Very fortunately, when I opened the package, it came out to be one of the rare Aspherical beasts! I will make a video with it but just wanted to share a few images shot at F1.2 with Raw and edited in PS. Added contrast and some saturation but colors are AWB without any tweaking. It manages this old elusive beauty perfectly.
 

You must use a powerbank with PD(powerdelivery), so it charge the battery when the camera rolls.
https://www.amazon.it/dp/B07YBVW4NN/ref=cm_sw_r_sms_apa_i_il4aFbR8WQME6

i had the same problem 1 time with the battery under cold condition.

I have a the 50 1.8 FD
 
so maybe i will give it a try..found an offer o eBay, not the best one 
https://www.ebay.it/itm/Soligor-MC-Zoom-Auto-f2-5-3-5-35-75mm-Macro-Lens-canon-FD-mount-EXCELLENT/274355031522?_trkparms=aid%3D111001%26algo%3DREC.SEED%26ao%3D1%26asc%3D20160908105057%26meid%3D13e63790ef5143729bf8dcb3486e3ede%26pid%3D100675%26rk%3D1%26rkt%3D15%26mehot%3Dnone%26sd%3D274355031522%26itm%3D274355031522%26pmt%3D0%26noa%3D1%26pg%3D2380057%26brand%3DSoligor&_trksid=p2380057.c100675.m4236&_trkparms=pageci%3Ad036df93-97a0-11ea-9f61-74dbd180f9a5|parentrq%3A1eb00ade1720ad4a6ba3a3b7ffa7e0e4|iid%3A1
 

Indeed. Just for FD mount though. You can get the lens for less than 20 usd. I also have the version with separate focus and zoom rings, which I think is preferred. It is creamy and still pleasantly resolving. Highly recommanded. My FD adapter is from cieco, an adapter manufactor from Poland. It is pretty unique in not having a locking ring like the other FD adapters have. Beautifully build.

https://na.panasonic.com/us/panasonic-cinema-cameras/varicam-lut-library

The NX1 with the hacked firmware after 72-74 min goes in a programming overrun and stop recording. The clip is corrupted after, and you can only restore it with a recovery program, and then are artifacts and audio distortion in it.

The NX1 with the hacked firmware after 72-74 min goes in a programming overrun and stop recording. The clip is corrupted after, and you can only restore it with a recovery program, and then are artifacts and audio distortion in it.

Forgot to add my pic...
XT3 with Meike battery grip. I would prefer not to use a grip but it does transform the handling and triples the battery power and when shooting 4K...
Sirui freestanding monopod about 3 years old because I still can’t find anything better.
16-80mm f4 lens which is a bit slower than I’d ideally like (have some f2 primes if I need them) mainly for the range and OIS for handheld stuff.
It’s also got a Gobe variable ND on it that is controlled with a marked up rotating Nikon lens hood I glued on.
Good old Rode Micro for a better audio to sync to from up to 3x Sony pocket recorders and lav mics. Fluffy for outdoor use.
For dancing stuff at weddings it’s just a case of whip off the mic and put an LED on the hotshoe.