newfoundmass

The Panny 24-105 is an excellent lens and the stabilization, since it's a stabilized lens, on the S5ii is incredible with it since you get dual IS.

It might be worth waiting until you can afford the extra money? Or do you need it before then?

They'll sell more than a 100, I'm sure, but that price will scare off most folks. I'd love to have one, honestly, but not for $5600. I think I'd rather have a Digital Bolex, though.

I love my new S5IIX BUT I think, right now, it'd be the Nikon Z9 or Z8. I really, really like the images I've seen and it's excellent at photos and video.

Agreed on going the used route with MPB or one of the companies that sell used gear. Most of them will include a warranty, and some even offer extended warranties. MPB I believe includes a 6 month warranty, for example. The FX30 is about $1600 in like new condition here in the US on MPB. I would save up and just go the FX30 route.

I know over a dozen people who are news shooters and none of them use those cameras you've listed. The ones that aren't using camcorders or older ENG cameras use their phones. The local CBS affiliate uses Panasonic DVX200s, for example.

What a weird thread, honestly. There's no real argument being given for why things will go to HFR, @zlfan just keeps repeating the same thing over and over. What paradigm has shifted? There is no movement towards HFR filmmaking and previous attempts were unsuccessful. There's no demand for it, from Hollywood or viewers. You can't even really use YouTube as a reason, as most narrative (and even a lot of non-narrative work) videos on there are 24 fps. I only really see 60 fps on gaming and sports channels. Even so, history has shown that will have virtually no impact on how films are shot. I mean, you're talking about the paradigm shifting while we've got an endless number of YouTubers filming themselves in their guest bedroom "studios" in 24 fps because they think it's cinematic! It's silly! I think it's cool if your preference is HFR video, and I encourage people to create whatever they want if that's their vision, it just never will become more than a personal preference.

whoops, my bad! it's £1,899, not euros.

I just gave you a link to a S5ii with 24-105mm for under 2,000 euro. But their auto focus on their camcorders are fine/on par with the Sony camcorder you were looking at.

If a camcorder is what best fits your needs, then it doesn't really matter if the technology is outdated or not if it has a good image and gets the job done. In your price range you'll have a hard time finding a camcorder-esque camera that has a 1" sensor and can do 4K 50/60p. You'll need to compromise somewhere. Panasonic HC-X1500 might be the closest, as far as having 4K 60p and being under $2,000. It however doesn't have a 1" sensor. The Panasonic AG-DVX200 can be purchased used for under $2,000 on sites like MPB. It's basically a GH5 in a camcorder body, has 4K 60p and is a M43 sensor. The FX30 is a great deal, though depending on what you mean by run and gun the stabilization might frustrate you. Looking at a UK dealer, this seems like a really good deal: https://www.wexphotovideo.com/panasonic-lumix-s5-ii-digital-camera-with-24-105mm-lens-3128170/ That looks like it's £1,899 inc. cashback? I've never heard of TDimension but I've never bought anything without a warranty if I could help it. In fact I often do the opposite: I always try to get an extended warranty.

I'm sure in the future there will be films released in HFR as a stylized choice, but I can't see it becoming the standard. I don't think it's what the industry or the public really wants. If the way people consumed all other media had an impact on cinema it'd have switched over to 4:3 30 fps when broadcast, cable and satellite television changed the entertainment industry forever. After all, people watched more television than films and their fancy camcorders all used that aspect ratio and frame rate!

Again, the issue wasn't the displays. The 48 fps version was limited to only 450 theaters because it wasn't well received. And, again, people will differentiate cinema from the video they watch on their phones, just as people always did with 30 fps on television.

Yeah and most people watched them in 24 fps 🤣

A new generation of viewers will still be able to distinguish between cinema and video seen on social media, just as the generations before did with film and television. It's fine if your preference is high frame rate content, but it's naive to think it will ever become the standard for cinema based on that argument. Peter Jackson tried it a decade ago and it was almost universally hated by movie goers. The issue wasn't the display technology, it was that it went against an entire lifetime of what people associate with cinema and that bothered people.

And how many films followed the lead? You were in the minority. Most people hated it and most theaters showed it in 24 fps because of complaints.

I don't expect this to be another S5ii variation. I think they view the S5 line as their affordable entry level full frame camera and a high resolution version would be anathema to that, even if it was competitively priced in the $3000-3500 range.

Even if the content wasn't always great, it's a shame when stuff just disappears and isn't preserved somewhere.

It's a damn shame that it was all deleted, and completely unnecessary. Shams on whoever made that call.

Plz don't remind me!

I'm so sorry for your loss! And I understand completely!

A f2 will give you an extra stop of light over a f2.8. That can be quite handy when you're a wedding or event shooter. I suspect that's the primary reason why he'd want it.

@MrSMWhave you considered adapting Canon lenses for both the Lumix and Nikon bodies? The Sigma adapter seems to give native (or near native) level performance in video. It might be a solution to help cut down on how many lenses you have to carry. I'm debating selling my two other S5 bodies to get a S5ii to go with my S5iiX and getting the adapter and some EF lenses. It never made sense to before because it didn't really work well for video with the S5 but with the adapters and some used EF lenses it will be cheaper to get a matching set up for multicam shoots than it would to go with native lenses. I'd like to get 2 Sigma 28-70s but it'd be considerably more expensive, I think. If nothing else I'm fascinated in seeing how the adapter opens up possibilities for me.

I hear that a lot too, and I see it with my own eyes. Panasonic just has a much nicer image, in my opinion.

I do wish Panasonic would ditch the traditional DSLR body and do something different when releasing these video focused cameras. I think it is easy to think the grass is greener on the otherside, but having had the opportunity to use the FX3 there were just so many little things, in addition to just not liking the image as much, that I just didn't enjoy the overall experience. Something as simple as not having shutter speed was enough to drive me nuts! Granted, these are things that I am sure that you would get over eventually, but I just want to make the entire process as easy as possible. And no one really does that as easily as Panny Boy.

I am definitely in the camp of people who thinks ProRes' time has passed. There are not a ton of reasons to use it outside of it being the current industry standard for larger productions. That isn't to say that I think support for it should be completely dropped, merely that releasing a camera with it, even ones touting themselves as cinema cameras, is fine if it cuts costs or makes development easier. The more I thought about it the less I cared about whether or not it this camera had regular ProRes recording. Outside of its ubiquity in the industry there aren't a ton of reasons why it is better than h.265 or why it'd be difficult to switch to h.265 in 2024 and beyond. The biggest issue, outside of people hating change, I think would be the impact on those running older hardware that can handle ProRes but would struggle or not be able to handle h.265. But I'm not sure that's enough of an argument to keep things the way they are. I began the process of transcoding most of my archived ProRes footage to h.265 in 2021.