Mark Romero 2

Cheers mate! 😊
90% of the shots is the Lumix S 50 1.8 and I've used the 20-60 kit lens for the wide angles.

Nice compositions.
What lenses did you use?

This is veering somewhat off topic so all I will say is I operate within a niche within a niche.
I have worked very hard for over a decade to be in this position.
I'm not being bigheaded about it, but I'm not going to give or piss it away for either nothing or a fast buck.
And I have no obligation to share that knowledge, paid or otherwise.
As above, way off topic so I'll shut up about it 😘
But no John, it's terrible! 

Hello everyone,
just wanted to share a little travel film I shot in Valencia on my first trip with the S5IIX, hope you're gonna enjoy! 
 

Thanks for the reply!
Darn, if the Sigma 28-70 f/2.8 only had lens stabilization, it would be a no-brainer for me. Partly because, in the USA at least, Sigma will replace lens mounts free of charge, so if I decided to move from Panasonic to Sony at some point, then it would be an easy swap.

And while I think of it, the only other lens that really stands out for me in L Mount land is the Sigma 18-35mm f1.8 which of course is crop mode only so more like a 27-52 which for those not really requiring anything longer than 50mm, IMO is a gem of a combo.
I came very close actually to doing just this and opting for it’s forgotten brother, the 50-100mm f1.8 other than for the fact that the S1H AF is not as good as the S5ii and the 50-100 has shit AF AF!
Maybe…just maybe, if the ‘S2H’ is the absolute dogs for stills and video, I might be tempted next season, but then again, that ship may already have sailed and I might consider replacing my remaining L Mount gear and going all in on Nikon next year with Z6iii…

The perfect lens IMO, at least for my needs, whether 28-70 FF or 42-105 in crop mode, stills or video.
Personally, I always shoot stills FF and use longer lenses for reach with say 24mp, but with something 60+ like some of the more recent Sony’s, I’d be quite happy to keep my lens sizes down and crop instead.
In fact, I am fairly sure that the Sony A7RV in crop mode is 26mp so a little bigger than the native 24mp FF sensors.
But the Sigma. Perfect size, weight, reach for me. I’m not much of a wider angle shooter and if so, I have a 20mm for that very limited (but still needed) requirement and prefer to shoot slightly longer lenses so 28 over 24, 40 over 35, 90/105 over 85 and rarely (but do need) anything over 150 and for that I have 180.
I shoot this combo crop mode all the time now as whilst I don’t need every bit of footage slow mo, some bits I do want to slow to 75% and other stuff to 50% and remembering to change back and forth between 25p and 50p when also shooting stills has caught me out too many times and the quality difference is marginal.
In fact, if you want better AF, shoot cropped.
Liked the 20-60 that came with my original S5, but really only used it as a day time wide, otherwise a bit slow for my needs and tastes, so sold it.
I’m an f4 day, 2.8 night, at their slowest kind of guy. I will generally shoot video wide open, but not always and stills generally the same or stopped down a bit, but a lot of my work can be low light and slower than f4 is a hard no from me.
That little Canon is a great lens. I had that adapter on my Fuji XT3 as a ‘75’ and  it was a great cheap workhorse.
I do prefer primes in principle and would shoot them exclusively if it was practical for me to do so, but being able to be shooting at 180mm, rotate to 70mm and then flip (camera) to 40 and then 20, over 2 bodies, well it would need 4 bodies + 4 primes or a very handy assistant to do that otherwise!
But the Sigma 28-70mm f2.8 is a 💯% from me.
The Sigma f2 and f2.8 Contemporary primes are also A Grade as far as I am concerned with better build, feel, style and character over the Lumix f1.8’s plus have aperture rings and AF on/off switches on them.
It’s above 90mm where L Mount loses me…

The final line up for the 2024 season. 
From left to right…
S1H with battery grip, 70-200 f4 (not shown, Rode WG2) permanently on tripod shooting static full length ceremony & speeches, manual focus, 4k 25p.
Z6ii + adapted Tamron 70-180 f2.8 (not shown battery grip arriving tomorrow) with option Tamron 20-40 f2.8, stills only but can do video in an emergency. Sling on shoulder.
S5ii + cage + Sigma 28-70 f2.8 + Rode Micro as my all day run & gun, gimbal ready, 4k 50p unit (so 42-105mm equivalent). Right hip.
Zf + 40mm f2 candid stills but can also do video in an emergency. Left hip.
Single backpack with all lighting, all other audio, all spare batts, cards, power bank, chargers, gimbal etc, but actually lives in my cart along with the 2 big light stands, 40m extension reel and 500W portable power bank.

This!!!

Magic Lantern, how about 12-bit RAW on the Panasonic Cameras 😉
 

I've had both for at least 2 years each. If your priority is size, I'd go with the GX85. If your priority is features, the E-m1 ii blows away the GX85 in almost every regard.

G9 has a super nice S16 mode like the GH5 and it's a classic I would love to try. Maybe sell all my stuff except my BMs and F3 and get a G9 for a good price. Though the EM1II is a pretty camera!

I would add that - and this is just personal - if you could live with the wonky autofocus, then I would probably go for an original G9 over the E-M1 II. I really like 10-bit video, and 4K 60p is nice. Also, I find the menus on the E-M1 MK II a bit baffling. But that's just me. 

I haven't used the G-series of cameras from panasonic, so I can't compare directly. But I do have an E-M1 MK II with a version 3.0 firmware on it (which allows for phase-detect AF in video mode).
It is pretty good. Handling is nice. IBIS is great and rather simple to use. 
I basically loan it to my son for his school video projects and he often has another student (who has never used a real camera before) use it to film him, and they are able to generate in-focus, steady footage (despite the fact that they have little to no technical training, nor any artistic training).
For being an 8-bit m43 camera in 2024, it is pretty good. I've used it as a C Camera with my Panasonic full frame S1 and S5 cameras, and while it is hard to match the Oly to the Panasonics, it is pretty easy to match the Panasnics to the Olyumpus (as long as you are shooting in 10-bit V-LOG on the Panasonic bodies).
Hope this helps.

Back then I used a Hlg to Vlog conversion lut from Sage who created the emotive luts for arri color and rolloff for Vlog and went on from there. I really liked how Hlg responded in Grading, both on the GH5 and the S1.

I've owned both (and the E-M1 iii, G80 and G9).
1. E-M1 ii is larger & heavier but has (for me) superb ergonomics and build quality. It's just a really nice camera to use.
2. E-M1 ii sound via the internal mics is way better than the GX85. It also has a mic input and headphone jack.
3. E-M1 ii 4k UHD is full sensor width (no crop) whereas the GX85 is cropped.
4. E-M1 ii has great battery life.
5. E-M1 ii IBIS is better than the GX85.
If you are seriously considering the E-M1 ii and video C-AF and IBIS are important to you, think about the E-M1 iii instead if you can afford it - it has better video C-AF and a choice of IBIS settings (the +1 setting is almost tripod-level).
Another cheap (used) alternative to the GX85 worth considering is the G80/G85 - same sensor in a larger body with better IBIS, larger battery and a mic input.
Provided the size is OK for you, the G9 is superb value used, and easily beats any of the above cameras for video quality (it also supports 10-bit video and 4k 60p, which none of the others do). Here in the UK, the E-M1 ii and G9 cost about the same used.

If you're doing the colour grade yourself then here's my advice:
If it looks good, it is good (and it doesn't really matter how you got there) If you're not sure what a setting does, and it doesn't make the image clearly better, then probably just leave it at whatever the default was That's literally it. 
As you gradually get better you'll build up a sense of what tools make what situations look better, and you'll get that from trial and error / reading forums / watching tutorials / etc, but as soon as you start using the word "should" a lot then you need to go back to the first bullet point above - if it looks good then it is good.
The goal of the tech is to learn it enough to start thinking about other more creative aspects.

HLG isn't a standard, it's more like a semi-technical marketing phrase, however, rec2100 and rec2020 are HDR standards and you can use a CST to convert them to whatever you like.  If I shoot a clip in 709 and then HLG on my GH5, then the conversion from rec2100 to 709 is pretty close to the 709 version SOOC.  Close enough that the difference is irrelevant, because you're going to want to push and pull the image in post, and those adjustments will easily override the differences out of the camera.
It's easily tested - just record a clip in HLG and then in V-LOG and use the CST to convert both to rec709 and see which input colour space / gamma is closest to the V-LOG conversion.
The better you get at colour grading, the less you care about which camera or colour space was used, as long as it's a robust and efficient codec and has colour management support.

Anyone really loving the colour they are getting from their S line cameras? I liked the results filming in HLG better than in VLog, which I got after grading.

I decided with my GH5 that HLG was a better log space than V-Log, because in HLG the amount of bits for the midtones and saturation were higher (and therefore suffered less from the compression).  This comes at the expense of the shadows and highlights, but these are far less important than skin-tones, so I figure I'm making a good trade-off.

Actually..., really? You seem so "Nikon other than Panasonic" oriented - for good reasons. When I switched to full-frame (from Fuji), I expected to go Nikon but once I held the S1 and played with Vlog, that was it. Right choice at the time, but unsure I would do the same now (at least once the Z6v3 is released).

At risk of cluttering up the thread (but it seems these thread can range a bit from their titles), the X-H2s immediately resolves my main complaints with the S5: namely, the intermediately smaller body that never fit my hand well and a clatchy, miserable feeling mechanical shutter that makes my heart weep when I engage it (@MrSMW knows). The X-H2s feels wonderfully in my hand (just as the S1 does considering two quite differently sized bodies), it feels better built than the S5, and the shutter mechanism makes my angels sing. To me, much better than the X-S20 that I had intended to pick up...
I don't have enough experience processing RAWs form both cameras yet to know how easily the I can process them to have a consistent look, but I'm not worried. I have worked with enough Flog and Flog2 footage to feel confident that as long as I have my white balance close, I can get a good match with Vlog footage. If I set each camera to a color chart, then I'm not worried whatsoever - not for the work that I do anyway.
More additional context specific to me: for some of the product photography that I do, I really missed the ability to easily tether with Capture One (Panasonics don't) and having a bit more depth-of-field from an APSC sensor has its advantages too. 
I may have something more useful to add once I've worked with them both together over the next few months. 
Oh, and good idea on the monochrome preview lut. I'll experiment with that.

One downside is I think that you will be spending $700 on a modification for a camera that you would be lucky to re-sell for about US $800. (I got a trade-in quote from MPB for like $535 or something like that. Gonna pass on that. Thanks.)
I don't think getting the OLPF mod would help with resale value (might even hurt) as anyone shooting photos would probably balk at the idea of buying a camera with a third-party OLPF installed.
Of course, not a problem if you plan on holding on to the S1 long term. But with the second-gen S1 / S1H / S1R "likely" to come out this year, it might not be a great idea.
All this is just my long and convuluted way of saying that the 1/8th Black Pro Mist filter doesn't seem like that bad of a solution.

Just realized you're not using a proper boom pole or any real shock mount either!! 😮 😮 😮 
Near the top of the list (either just before getting a shotgun mic, or just after getting a shotgun mic) should be getting a shock mount and a real boom pole. 
Such as one of these:
https://www.bhphotovideo.com/c/product/554999-REG/Rycote_041107_INV_7_InVision_Indoor_Microphone.html 
https://www.bhphotovideo.com/c/product/880280-REG/Rycote_041118_INV_8_Microphone_Suspension.html 
Or get a Radius shockmount (they're new company set up by the ex-Rycote people). 
https://radiuswindshields.com/ (B&H is not stocking them yet) 
Here is are dirt cheap Boom Poles you could get:
https://www.bhphotovideo.com/c/product/1384773-REG/airo_abp1_boom_pole_1.html 
https://www.bhphotovideo.com/c/product/1601173-REG/proam_usa_boom_sq_10_telescopic_boom.html
https://www.bhphotovideo.com/c/product/1266050-REG/e_image_ba12_11_5_section_telescoping_aluminum.html
https://www.bhphotovideo.com/c/product/1666142-REG/digitalfoto_solution_limited_bm01c_carbon_fiber_microphone_boom.html
https://www.bhphotovideo.com/c/product/1374872-REG/came_tv_ms300c_carbon_fiber_microphone.html
https://www.bhphotovideo.com/c/product/1504170-REG/proaim_bp_12c_12_carbon_fiber_boom.html
Or spend a little bit more for:
https://www.bhphotovideo.com/c/product/326966-REG/K_Tek_KE_110_KE_110_Avalon_Series_Aluminum.html
https://www.bhphotovideo.com/c/product/625156-REG/K_Tek_KE_144_KE_144_Avalon_Series_Aluminum.html
https://www.bhphotovideo.com/c/product/1606022-REG/auray_bp_59a_5_section_aluminum_boom_pole.html
https://www.bhphotovideo.com/c/product/1773622-REG/k_tek_kc108_essential_5_section_boompole.html
https://www.bhphotovideo.com/c/product/1490197-REG/k_tek_kp9_klassicpro_graphite_6_section.html 
https://www.bhphotovideo.com/c/product/1639167-REG/k_tek_kp10v_boom_pole_carbon_removable.html 
https://www.gothamsound.com/product/qp-slim-short-quickpole-boom-pole (my personal choice here) 

Why not use the exposed lav I can see on him? (which was the Tascam DR10L? btw, perhaps get this: https://www.bhphotovideo.com/c/product/1444316-REG/remote_audio_urs_furtangblk_ursa_tangle_cut.html , or even: https://www.bhphotovideo.com/c/product/885674-REG/auray_wlw_fuzzy_windbuster_for_lav.html or https://www.bhphotovideo.com/c/product/253753-REG/Rycote_065501_Furry_Windjammer_for_Lavalier.html )
No wind protection??? 😮 
Ballsy!!! Just rocking it bare naked. 
That should be #1 on your purchase list to get next. 
Don't you still have the stock foam cover for the Samson mics? 
Something like this, you could wrap around on top of the foam windscreen to give a lot of extra wind protection:
https://www.bhphotovideo.com/c/product/1551649-REG/auray_wsw_vmntg_custom_windbuster_for_rode.html
Alternatively, this here should fit the Samson C02 (they're both 20mm width):
https://www.bhphotovideo.com/c/product/1541174-REG/auray_wsw_vmicro_custom_windbuster_for_rode.html 
Yikes!
But maybe if your mic had been a bit closer.... 
Phew! That BTS pic looked scary far away. 
But even 50cm is rather far away. 
Thanks for the detailed info you gave in your post, much better than people normally do when asking for feedback!
I'd say your priorities should be:
1) wind protection for your Samson CO2 mics, as this is super dirt cheap
2) upgrade your boom mic(s), getting first of all a shotgun (lots of choices! Some lower budget but high quality choices are: Rode NTG5, Sanken CSM1, DPA 2017, Audio Technica BP4073, & Deity SMic3. Get one or two), with wind protection (if the mic doesn't already come with it. Such as the Rycote Softie: https://www.bhphotovideo.com/c/product/207238-REG/Rycote_033052_Standard_Hole_Softie_Windscreen.html Making sure it's the right size for your mic of course!)
3) get a blimp for it for high wind situations 
4) upgrade your boom mic(s) take two, getting now a hypercardioid microphone (or two... depending on your shooting needs/style), with wind protection for it too. 
5) upgrade your Tascam DR10L to a Sony UWP-D21 or Deity THEOS, so that you can monitor your lav audio too. (send the boom mic to your left ear, and radio mic to your right ear, while recording both in your DR60D)
6) get a MixPre or Zoom F Series recorder
You can see upgrading the recorder is the very last thing on this list. 
Just go through this plan step by step, as funds allow it.