canonlyme

@mercer since I haven't seen you / been on here for a while: How is it going with your minolta lens journey? 🙂 I am contemplating buying a 100mm 2.5 minolta to complete my minolta set. If I remember correctly you and your friend on the harbour sold me on some of the minolta lenses couple years back. 

Talking about softness with the S5, I am happy to show some images from my stay in italy at a local chestnut and wine fest (chestnuts 1 Euro, Plastic Cup of loca wine 1 Euro) which I shot with the S1 (same settings as S5) and the minolta 50mm 1.4. I focused only by hand, not perfectly, and I believe I had the ISO at 3200 even. The noise together with some extra grain & softness is quite pleasing I think. Would not throw away the footage! 😄

Talking about softness with the S5, I am happy to show some images from my stay in italy at a local chestnut and wine fest (chestnuts 1 Euro, Plastic Cup of loca wine 1 Euro) which I shot with the S1 (same settings as S5) and the minolta 50mm 1.4. I focused only by hand, not perfectly, and I believe I had the ISO at 3200 even. The noise together with some extra grain & softness is quite pleasing I think. Would not throw away the footage! 😄

Talking about softness with the S5, I am happy to show some images from my stay in italy at a local chestnut and wine fest (chestnuts 1 Euro, Plastic Cup of loca wine 1 Euro) which I shot with the S1 (same settings as S5) and the minolta 50mm 1.4. I focused only by hand, not perfectly, and I believe I had the ISO at 3200 even. The noise together with some extra grain & softness is quite pleasing I think. Would not throw away the footage! 😄

It's learning...

1000mm in case those damn flying saucers appears, never seem to have enough reach when I spot one with my tape recorder.

I doubt that getting soft footage with the s5 is to blame on the camera.. 

Never mind just saw that you actually liked the article. Also for saying you were wrong, you were not, I just misunderstood your post 🙂

The S1H is just fantastic but... even though I consider myself something of a minimalist, in order for me to do what I need to do, I use on every job:
Stills camera (S1R)
A cam video (now S5, was S1H)
B cam video (S1H, was S5)
Each of the above has a principle lens and an alternative lens based on circumstances.
Back up and BTS cameras (ZV1 and Action 2)
Drone
3 tripods, 1 monopod, 3 lightstands, 4 lights, 6 pieces of audio capture gear.
You know those, "what's in my camera bag?" videos, well I have 4 bags 🤪
Sounds a lot but only at certain times am I using most of it at once such as during wedding speeches, I will have my 2 principal cameras on me, roving, (as I do all day anyway, ie, I never take them off other than to eat) while the B cam, back up, BTS, lights, off camera flash etc, are all tripod or light stand mounted and set up during quieter moments.
I draw the line at flying the drone while attempting anything else though as I'm paranoid about crashing it into a tree. Or a granny. As I have done several times. (Trees, not grannies).
The S1R is a big enough beast and having the S1H on my other strap for anything from 9-15+ hours is just that bit too much and the S5 is just a lot easier to handhold all day with cage and additional grip.
The principle I believe with one area is yes, you generally 'point' that in the direction of your subject and if it's a face, it should switch to face tracking/pick it up and track as such.
I need to give it some more time as I've only just switched to it from 'normal' face detect only, but in some back to back tests, it does seem better.
I'm not sure what Quick AF is. Or I've forgotten. It's not a stills thing is it...?

Yeah, understood. I admit to having little experience on other cameras with CAF (or V-Log) but have read the Sonys are 'better' but I do wonder how much better in the conditions you describe (V-Log etc)? If 85% = 0%, in effect for certain situations, what percentage success is OK, as none of them work 100%? We do ask quite a lot of these machines!

My impression from the OP was they wanted a cam for holidays and stuff and I would say the S5 CAF is totally fine for that (yeah you get a bit of pulsing too but not much and only really notice it if you look for it which most people wont). Maybe this is the difference - total professional reliability versus more general use, use where some technical failures don't matter. The question I would have there, is the S5 a fully 'professional' camera to be totally relied on? Given the price, I would say it is definitely not and so should be judged accordingly

For those interested here is a Spec Ad I shot with my colleague Greg Latham last year. A mix of S1/S5 with canon FD primes, the Lumix 24-105 as well as some Sigma 70-200 EF long lens stuff. Still amazed the quality these cameras produces for the price.
 
 

After reading that the minolta mc 28mm 3.5 lens is a secret keeper that's often overlooked due to its speed, I was really pleased by it's sharpness and look after some lens tests. Payed 30 bucks for it. Which is still a normal price today. When shooting a short film in Norway, I wanted to challenge myself with just one lens. I went with the 28mm 3.5 on my pocket 4k since that would be about 35mm in super 35, which scorsese for example loves and other filmmakers have sticked to during longer periods of a film. I find the 28mm 3.5 a tiny bit sharper than the minolta 28mm 2.8's I have tested. 

Well here is the result and I am quite happy with some of the images. 
 
 

looks good man! some things could be simplified in the edit, and if you had a bigger crew you couldve polished some shots a bit more. glad to see some people are actually trying on here

After reading that the minolta mc 28mm 3.5 lens is a secret keeper that's often overlooked due to its speed, I was really pleased by it's sharpness and look after some lens tests. Payed 30 bucks for it. Which is still a normal price today. When shooting a short film in Norway, I wanted to challenge myself with just one lens. I went with the 28mm 3.5 on my pocket 4k since that would be about 35mm in super 35, which scorsese for example loves and other filmmakers have sticked to during longer periods of a film. I find the 28mm 3.5 a tiny bit sharper than the minolta 28mm 2.8's I have tested. 

Well here is the result and I am quite happy with some of the images. 
 
 

The old nikon 28-70mm 2.8 with speedbooster is a f1.8 Lens uf you want to compare it to native m43 lenses. 
Buy a copy with broken autofocus, it should cost around 200€  
It's actually pretty good.

I know this is probably not anywhere close to the real quality, but if anyone wants to watch the video on a phone i shared it on instagram. Feel free to have a look or if you want high quality screengrabs tell me or alternatively I can upload it to vimeo. 


 
 

I know this is probably not anywhere close to the real quality, but if anyone wants to watch the video on a phone i shared it on instagram. Feel free to have a look or if you want high quality screengrabs tell me or alternatively I can upload it to vimeo. 


 
 

It's a blazing lens. Glorious. Still totally undervalued. I got my Canon EF version for £200. The AF even works well on the Fringer Nikon Z adapter (pictured below) for stills. Not so much video as the AF motors are clunky and old, very noisy... Optically though, it's glorious.

 

I cut together GH5 and G85 footage all the time.  No worries from me.  It works fine.

I also use the GX85 as a b-cam / backup to my GH5S.  Works really well.  Gives me access to IBIS too!

The image is very good.  It's feature-packed.  Obviously where it lacks is in overall ergonomics and usability as it's a little compact thing, and thus a bit fiddly.  But I can squeeze it into awkward places, carry it on hikes and trips, and throw it into my camera bag as a virtually weight-free backup body.  Awesome.  

Just an experiment really. I had a visible light cut filter for my lens and wanted to shoot the piece only in infrared wavelength
Also had memories of taking out the AA filter from the 5D3 back in the day which let some more IR into the image, when mixed with normal light it gives you a nice warmth to certain colours and brings up the shadows.

Awesome thread! For a camera this size it has very good ergos I must say. So in its own right, it is one of the coolest cameras for the cinematic moments on the fly. Almost a 4k pocket cinema like Andrew wrote in his review. It only lacks in super low light with mushy noise reduction and high light roll off for the perfect perfect "cinematic image". I think it produces a "rec709 cinema image" if one can say that.:) @Andrew Reid Hallo Andrew, like the posters before me, I would enjoy to see your IR footage with this camera. Btw, the black and white image is nice in L Monochrom, with extreme color temperature  and a bit of Davinci.

Has anybody tried taking the IR cut filter out of their GX85 yet
I did for the EOSHD low budget camera challenge
I broke mine but second attempt went well on a body I found for under £200.
Should really share that footage some day

Those little Panasonics are great. I had the GX7 for years and later on had the G80/85 which is also really quite small and light. I found them to have particularly good images in woodland type areas. Nice shots, well done!

Of course, I will share the video. I agree with you. Though with AVCHD I did not see my image break apart nearly as fast as I am used to. But knowing the noise level I also tried overexposing 1 or 2 stops, so I exposed to the right while still trying to fill the histogram. 
 
Thanks Indeed I made a vibrance note, because it is a great way to increase the look without going to far. I used a key to pick the less saturated part, skipped the skin tones and desaturated the rest.