MrSMW

Ah, I don't have one but assumed that because it has a stills/cine switch, it could store different settings. My bad. XT3 (as above), I used the silent video mode and flipped all the time. With my S5 and S1H, I simply have an indoor stills mode set to C1, an outdoor mode set to C2 and then 3 video modes, C3 1-3 (4k 25p, 4k 50p and 1080 100p).

Fuji XT4, Nikon Z6/7, Pan S5/S1, Sigma FP all do...and maybe others.

Depends how long I have to wait! Right now, things are slack but when it does start, it will be full steam ahead. But when is the big Q right now...

For me, it’s the lenses that took me away from Fuji. I’d have a 50mp version of this for stills in a heartbeat...as a body, but could only justify a single unit so would need a zoom and that would be the 45-100mm f4 and it’s massive/too big for me. And a teeny weeny bit too slow, even if it is medium format. XH2 or at least my version of it, would be perfect for video...but even worse choice of single (zoom) lens, but could probably get away with the 16-55mm f2.8. Just. I like Fuji a lot, but they just currently don’t make anything that suits my needs, so ‘other manufacturer’ full-frame is my sweetspot.

My current issue... My PC could not handle the 4K coming from the Fuji XT3 so had to convert to pro res first. It handles the Pannyboy 4K better SOOC, but struggles. Anything more or layers on layers etc and it just bogs down. I need a new system and currently debating Mac mini m1 or Mac Book M1. Laptop I think because I have an increasing need to work on the go due to changing times within my own niche.

No ND’s here, fixed or variable. I own one but don’t use it. Aperture wide open unless I specifically want a less shallow DOF. All my lenses are f2, f2.8 or f3.5. ISO as low as poss, so 100 most of the time. My exposure variable is controlled manually by thumbing the shutter speed. Anything from min 1/100th to 1/8000th, stills or video. I ignore the 180 degree shutter rule willfully. I use a combination of histogram and my own eyes for exposure, ie, if it looks right, it is right and any minor adjustments can be made in post, but as there are at least 3-4 stops possible in either direction, it’s no big deal. Unless you blow the highlights, so that is my conscious priority, ie, not to do so. S5 and S1H combo, though the S1H is dedicated to video capture and the S5 hybrid, but more stills oriented now I also have the S1H.

I’ve been ignoring it my entire career and no one has ever noticed. Or at least commented. Without an auto internal ND, it makes true hybrid coverage very difficult...which is what I mostly do. I’ve never chased the next ‘latest & greatest’ spec. Chased certain standards at times yes and for the last few years, that has been 4K 60P plus great SOOC picture quality (stills & video) that can easily be lightly graded. 8K? No thanks. Raw video? Yet to be convinced for my needs. Super shallow DOF. I do like a shallow DOF and have done my whole 20+ year career, but the main reason I personally prefer faster lenses is more because of the lesser need to crank up the ISO and introduce unwanted noise. Because sensors continually improve in that regard, f2 & f2.8 are now my go to’s whereas just a few years ago, it might have been f1.4 (for full frame). Great colour SOOC is not negotiable with me however. Anything that requires extensive work to look good isn’t for me. And in all of the above regards, I’m done camera spec-wise for at least 3.5 years unless something breaks in that time. As with all these things, it’s just finding that balance of the tools that will best do the job that you need them to do within a certain budget. Anyway, my tastes must be different to the masses as I took the blind test and Sony didn’t win for me 😜

When Toneh Northrup did a blind test on all major manufacturers, didn't Sony come out on top there also? I seem to remember...

Sorry yes, meant 24mm.

Posted 3x for effect 🤪

I’ve seen some utter trash (a lot of what is out there) and some really wonderful stuff. What it comes down to is what it often/usually comes down to and that is the skill of the operator + the glass used + the grade. The typical reviewer tests will rarely showcase anything to it’s best other than by accident, but those folks who actually own something and work with and at it, can demonstrate something far superior by design. I don’t claim to be any kind of expert but with the combination of camera choice (S1H) + lens choice + diffusion filter + tweaked profile in camera + basic initial tweaks in editing before final light grade, using a LUT I created from a photography Lightroom preset I created, used at 25-30%, I’m getting a consistent end result that I really like. And the YouTube anyway... All kinds of nasty compression etc. I only upload to Vimeo and in 4K. It’s all still a work in progress, albeit somewhat limited progress because of the limited chances to actually get out and shoot real projects that are almost impossible to recreate from home.

I’ve seen some utter trash (a lot of what is out there) and some really wonderful stuff. What it comes down to is what it often/usually comes down to and that is the skill of the operator + the glass used + the grade. The typical reviewer tests will rarely showcase anything to it’s best other than by accident, but those folks who actually own something and work with and at it, can demonstrate something far superior by design. I don’t claim to be any kind of expert but with the combination of camera choice (S1H) + lens choice + diffusion filter + tweaked profile in camera + basic initial tweaks in editing before final light grade, using a LUT I created from a photography Lightroom preset I created, used at 25-30%, I’m getting a consistent end result that I really like. And the YouTube anyway... All kinds of nasty compression etc. I only upload to Vimeo and in 4K. It’s all still a work in progress, albeit somewhat limited progress because of the limited chances to actually get out and shoot real projects that are almost impossible to recreate from home.

I’ve seen some utter trash (a lot of what is out there) and some really wonderful stuff. What it comes down to is what it often/usually comes down to and that is the skill of the operator + the glass used + the grade. The typical reviewer tests will rarely showcase anything to it’s best other than by accident, but those folks who actually own something and work with and at it, can demonstrate something far superior by design. I don’t claim to be any kind of expert but with the combination of camera choice (S1H) + lens choice + diffusion filter + tweaked profile in camera + basic initial tweaks in editing before final light grade, using a LUT I created from a photography Lightroom preset I created, used at 25-30%, I’m getting a consistent end result that I really like. And the YouTube anyway... All kinds of nasty compression etc. I only upload to Vimeo and in 4K. It’s all still a work in progress, albeit somewhat limited progress because of the limited chances to actually get out and shoot real projects that are almost impossible to recreate from home.

Well if you only shot the wide end of the 20-60 @ 50p it’s going to be a 30mm equivalent FOV and at f3.5. For me, it’s about as wide as I would ever go and at f3.5 isn’t too bad even in low light. I’m really enjoying the 28-70, but on the job I did last week (lockdown 3 starts here today for the next month...) but I used it stills only on the S5. For video, I went Sigma 45mm f2.8 on the S1H and it was much better than I thought it would be, which bodes well for the 65mm f2. There are a few options to go wide(r) native L Mount or adapted but the 23mm f1.8 should be coming soon that is; compact, light, reasonable price, fastest AF and decent aperture?

It all looks pretty awful as does everything I have seen from any phone unless it's thumbnail/IG size. I've given up on phones myself as a camera, unless it's just a snap for social media/friends & family. But for everything else, just nah.

Bring back V10’s to F1 would be my vote.

Unless it's Wonder Woman 1984 when just watching the trailer only (ie, not the movie) is your best course of action.

"Quality wise, Sony is the McDonald's of the camera industry". Who is KFC then?

Always ask, always receive permission (in writing) and always credit. Not so much video, but it doesn't just piss me off, it actually hurts my business and benefits others when my work is posted without credit. The typical scenario is Wedding Planner X wants certain images from me. Despite having a contract with T&C's, WPX passes the pics on to Venue A. Venue A splatters them all over their website and social media and whilst usually not directly crediting anyone else (or anyone at all), has a list of recommended associates of which I am not one. I've also had many of my image posted without credit and then sneaky photographers spot that and post a comment that does not directly claim credit, but could be interpreted as such. I once had a venue request images from me for their brochure. I provided and they sent me a proof of the brochure before it went to print. They ended up using my pics for 42% of the brochure including every full page image. On the rear cover, they had a list of the NINE photographers credited. And I was not one of them. When I tackled them on this, they stated, "oh, you are not one of our recommended photographers so we can't credit you". My immediate response was an instruction to remove all my pics. They added me in response in 10th place. The reality was I should have been credited in bold at the top and in a larger font and then the other 9 listed below as a block in something smaller. Just one of many incidents in my 20+ years of dealing with such fuckwittery... 🤨

With the larger of the grips available, or the cage inc. grip from Smallrig, plus the EVF, pretty much...which is why you then have to ask yourself the question, "what does it do, that something else does not?" Maybe it's the colour science or some other aspect? Maybe because you are just one of those people that say "damn convention!" and just make it work. I've just looked at the work of twice voted best wedding videographer in Europe and he's moved to shooting the FP handheld from Black Magic. Some will want to rig it out, but for me, the appeal of it is pretty much straight out of the box, other than the smallest hand grip attachment which barely adds any size. Bare bones simplicity.

I was looking for one camera to do it all. Well 3x identical bodies anyway as I like to use the same in that regard if I can, or at least very similar. The S5 and S1H are similar, especially as I have the battery grip on the S5 now which makes it actually slightly bigger and heavier than the S1H. I never intended to mix the Sony footage in with the Panasonic because to me, that is like crossing the streams, especially 1" sensor stuff with full frame. It's bad enough when it's the Mavic Air footage but at least it's a completely different type of footage and viewpoint. And no, I don't want any 'better' drone as I don't much like using it (the capture) but it plays a part in the package and clients like & want it, so... But at least keeping it all FF has appeal and within the L Mount family, even more so. Plus in my use case it is essentially just 2 long static pieces which is easier to match than 50 clips from X and 50 clips from Y. It just makes sense and I like things that make sense. It was always an outside bet it was going to be the FP as a 'one and done' body. Certainly not with the original. Could I have made it work? Of course/probably...but there would have been major compromises. Now it's simply going to be 1 of 3 principle parts of the jigsaw.

I think my problem with this camera is that although I really liked the concept of the original FP, it did not cut it for me as a hybrid. I had high(er) hopes for the FP-L but was still thinking hybrid. I am no longer thinking hybrid. Well I am, but not in the same sense as I previously was as it can’t replace the combo of my S5 (approx 75% documentary photography where 24mp is enough and 25% video use, ie is my B cam in that regard). It can’t replace the S1H as my video workhorse. It could for someone else, but with the current available spec, nope. But I do have the Sony ZV1 for static full length ceremony & speeches at weddings and having a 1” sensor, has low light limitations. The Sony is also supposed to be my personal and travel camera but it doesn’t inspire me. In fact, it’s boring as fuck. It’s perfectly decent but that’s about it. So as I was cutting my grass this afternoon, I made the firm decision to sell it along with the 24-105, chuck a couple of hundred into the pot and go for an FP-L with the little grip and nothing else. I will use it in the static role at weddings for full length ceremony & speeches and then simply have fun with it as a personal and travel camera as it will inspire me to shoot whereas the little Sony does not.

This is where I was most...and still am, interested in it, ie, not as a pure video tool, but a photography one with a hybrid element. The fact that the new model is 60mp makes it more appealing to me than the original because one of the elements to my overall kit requirements, is for something 50mp or above for hi res stills. The static/tripod 96mp files from the S5 cover that off in some regards, but then there is this middle ground between the standard 24mp and the hi res 96mp for handheld hi res pics which none of my current kit offers. Toying with the idea of this L model in that regard... Not the viewfinder though whilst clever, defeats the size of the thing for me. The 24-105mm f4 despite being relatively compact and light for what it is, I have decided is too big and too slow for my needs so being sold. I can add the Sony ZV1 into the sales pot also and cover off most of the costs of the body alone FP-L. I have my Sigma 45mm f2.8 I was thinking of selling but would make an ideal partner for an FP. I don't 'need' as such, but would like a compact, light, 50mp+ stills camera and if it can cover off static video, even better and better still, if it's L Mount so it can share lenses with my S5 and S1H. Still thinking about it but I reckon it's actually a good option for my needs.

Something that is quite interesting and I missed previously is the ‘pinch to zoom’ capability with no loss of quality giving a fixed focal length prime a 2.5x range. That is pretty neat. I think you have to come at this camera from another angle and that is what can it do instead of direct comparisons with anything else.

I think ^this^ is the key to this camera. You need 2 things: A: To think out of the box a bit and not try and compare it with anything else and B: Have a bit of a willful, left field spirit about you. I like to think I am, more so than most, but at the same time, do play a little safe. Just a few too many quirks and workarounds with this one for me.