MrSMW

I think they would probably be pretty comparable? The ZV1 doesn't have a viewfinder of course, but I found that with my ageing eyes, I couldn't really use the V version I had viewfinder anyway. I use the back of the screen pretty much all the time these days on all cameras, photo or video, - it's just more convenient switching between video and stills, tripods, monopods, gimbals, handheld...

I've lost 4kg/8.5lbs since Jan 1st. Does that count?

No IBIS no bueno. Absolute number 1 deal-breaker for me. If I can't handhold it near rock steady 90% of the day, it's a fail. But otherwise I would agree in principal that if anyone wanted to really know if a bit of expensive kit suited them, to rent it first. If possible. Unfortunately very such opportunities exist in France other than a couple of the big cities. And I don't live anywhere near them. I don't vlog. I don't use anything wider than a 35mm. No wobbles in my world 😜 But don't get me wrong, I don't dislike the R5C. It will be a really great option for a specific market. I'm just not that market due to the specific spec of this particular bit of kit.

I don't know if anyone else has seen it, but presume some have and that is the series VOIR on Netflix. OK, it's not uber-high brow viewing but more an upmarket piece of fluff, but I'm enjoying it. The tag line is 'for the love of cinema' (or something along those lines). I just watched I think Episode 4 the other day which was a piece about cinema vs TV. All pretty obvious really...but at the same time, sometimes you need something really shoving in your face for it to click. The difference between the TV shows and the movie versions was HUGE. The TV show that span off into the movie Heat. The Crown 'TV' series vs the movie about HRH, The Queen. The production levels of some of the series on Netflix or Prime etc is in growing proportion, insane. Visually stunning. Which reminds me of that little S1H sci fi short film, admittedly shot with gazillion dollar lenses, but it's 'Hollywood' level visuals. Budget budget budget, I know. Manpower. Lighting. Yada yada, - the camera is almost the least important component these days. Maybe has been for some time...

I wouldn't kick a pair of R5's out of bed other than... The cost of flipping to a totally new system...and I'd still need a 3rd body but my biggest concern would be trading less than brilliant AF for less than brilliant heat management. Which is the lesser of the two evils, some occasional but rare OOF footage vs 10K+ after trade in and cameras that could potentially shut down on a typical mid/high 30 degree day I shoot in? Plus the companies shenanigans. It isn't an absolute deal-breaker for me, but irks me... If this kind of thing was a deal-breaker, I wouldn't use Apple products, Adobe software or Amazon, so sometimes we choose to put up with less than stellar business practices. Canon would and could be on my list, but doesn't/can't top it. Yep, S1R on most recent firmware and purchased 'as new' for 1500 euros. S1H is underrated as a photo camera but excellent. In fact, of the 3, the R the H and the S5, it's my preferred body. By quite some margin. There are small but fundamental significant differences which means it beats the S1R and destroys the S5. In my opinion. An S2H would be 'The Dream'. Identical body to the S1H please (though if it was 10% smaller and 10% lighter, I would not complain), had: PDAF or massively updated DFD that was reliable for tracking AF. Up the megapickles to at least a Sony equiv 33 but do not exceed 50. FF 4k 60 and 120. Internal VND. If I could live without one thing, it would be the internal VND. The second would be the megapixel count capped at 24 still. Take my money now Panasonic. End game camera for me also. Well at least 4-5 year camera anyway... I can dream... Right now and for all of this year, I can't and won't change a thing in my kit line up. It will have more than earned it's keep by the end of the year and only over the Winter will I even consider changing the system which as things stand would be: 1: A next gen L Mount system for the most minimal transition (ie, could retain lenses etc). 2: A complete flip back to Fuji if the above did not exist but the XH2 ticks enough boxes. 3: Nikon Z9 based system or if it's filtered down, Z6/7iii option 4: Canon or Sony 5: Sony or Canon 6: Career change

I was having this same/similar conversation with a camera student doing some basic tuition yesterday. 2/3rds sensor bridge camera with built in zoom wondering why "even at f18 the pics weren't sharp?!" There are limitations to everything and providing you understand what those limitations are.. I noticed an 'aesthetic difference' switching from 16mp Olympus 4/3rd sensor to 24mp Fuji XH1 1080 to 26mp Fuji XT3 4k and the again moving to Panny S5/S1H 4k full frame. But what is this 'aesthetic difference'? Hard to put in words isn't it and we all have different tastes... Plus it's not just the camera, but the lens, any filters, your technique, the settings, the software used for productions, your own personal grading, the calibration of your monitor, the upload resolution, the quality of their viewing device. The variables are enormous but the one thing I don't think anyone can argue against is that the bigger the sensor/film stock used, with lens choice and other factors being more or less 'equal', there is a fairly distinctive difference in look. I'm drawn ever more to the larger sensor look. There's just 'something' about it that appeals to me.

All. The. Time. "Hey kids, this week we are comparing Camera A with Camera B and Camera A will have a fast wide prime lens (because that's all I could get my hands on) and Camera B has a kit zoom lens (because that's all I could get my hands on). So guys, let's go out and shoot! My back wall! And my cat!" I suppose in one way, 'real world tests' are of folks back walls and cats as that's all they seem to shoot. Maybe there's a market for this kind of thing...

No, they will perform exactly the same , - the variable is with different sensors not with the filter. A crap filter will always be a crap filter no matter how good the sensor is. It's no different to putting cheap Chinese remould tires (filters) on your Porsche (camera body) with it's 5k worth of upgraded alloys (lenses). The ONLY outcome is less performance/handling/braking, - nothing but negatives except in one single regard, - you paid less money for your cheap tires/filters. And let me just clarify something about the Gobe filters... I said they were 'the best' of the cheap filters I tried but 'the best' doesn't = good. They were OK at most. A bit more colour shift than I'd ideally like and with the VND's, especially at the stronger end. Would I use them now? Nope. Would I recommend them? Nope. But as with most things, there does tend to be a compromise and that compromise is often quality vs cost. I've gone somewhere down the middle with the Freewells because in my opinion, they are more than good enough for my needs and though not cheap at about 100 Dollars/Pounds/Euros, are a good investment for my needs. Try a Gobe by all means, but maybe from somewhere like Amazon with a returns policy and if it's good enough for your needs, then great. But if not, you can return it and get something better?

I've tried all kind of different set ups and in the end it came down to having: Nisi 1/8th mists on all my video designated lens of which I have 3, plus 2x Freewell VND (2-5 stop) slightly over-sized so step up rings on the mist filters so the VND's can be screwed on or off as required. I went screw on instead of magnetic in the end as I use the VND's all day long until we hit dusk/the point when they are no longer required/ISO is getting pushed higher. Mists all the time for consistency whether in daylight or after dark, indoors or out...because they do just take that digital edge off 4k footage. On my stills camera, no filters ever, but considering maybe getting a CPL again for some landscape work... I have also played with a system of 'how it would work if I used my cameras in a true hybrid style', ie, flipped all day long between stills and video with the same cameras. For that system, I'd use primes instead of a mix of primes (video) and fast zooms (stills) and use the flip up Tilta system with Freewell VND's with built in mist. So I'd just flip up the Tilta/VND when shooting stills and flip it back down when in video mood. Not much of a faff at all but it does look a bit rubbish having what looks like an over-sized gunsight on the end of your lens when in photo mode!

OK, probably worth doing anyway as they sometimes have side benefits such as being quieter they don’t mention.

My spider sense tells me that both are going to be announced ‘soon’ for late Spring/Summer launch?

For me, the ‘best’ lower budget ND’s have come from Gobe. The ‘best’ medium budget ND’s from Freewell. I have zero experience of high end filters. I use Freewell VND (2-5) with my FF system and as has been mentioned above, camera/lens brand has nothing much to do with it.

The other thing about crap YouTubers, is they make the good one’s look even better. It’s all about balance in the end. And opinions. But the only opinion that really accounts is yours, to yourself, after you have personally tried something.

That 8 second delay (never mind the lack of IBIS) kills it for me. Currently, although my 3 cameras are all hybrid and variations of each other (S1R, S1H, S5) I use each either for photo only or video only. Next time I switch (urge) it will be…and only be, to a system of 3 identical bodies (with primes) or 2 identical bodies (with fast zooms). If I did choose to use my current kit in hybrid form, I’d say the delay was between 1-2 seconds. I simply have photo mode set as C1 and video mode as C2 with saved custom settings and then an option video mode as C3. The other big issue switching continually between stills and video is filters though, specifically VND’s. Outdoors on a bright sunny day, not a problem, but indoors where you might need a VND, you almost always do not for photography. An internal switch in switch off VND is the holy grail in that regard! Canon do have the drop in option for use with EF lenses in the RF mount and there is a flip up filter system I have tried (but looks shit) and is currently the best (and only option other than magnetic QR filters?) for hybrid shooters who need minimum delay such as us event shooters.

Personally, shooting Fuji APSC for around 9 years, I did find ‘magic’ in the system…but it varied between sensors (first there was the Bayer 12mp and then I think 4 versions of Xtrans going through 16, 24 and 26mp) dépendant in the lens choice, focal length, Jpeg or raw, how the images were processed and how/where they were viewed. Basically a gazillion variables and certain combos would shine just as some wouldn’t. For photo. For video, difficult to call… I liked the output mostly, but prefer the results I am getting these days from Panny FF. I guess the only way to really test anything side by side would be with the most comparable and basic set up possible, but unless we are ‘scientifically’ testing anything, we aim for the best combo of everything. Could I go back to cropped sensor now? For stills or video, easily. I think it’s relatively easy to take a step in a single direction without noticing a huge difference but it’s when moving 2 steps we really notice such as an APSC user moving to MF or a FF user moving to 4/3. Back in the day, I did shoot plenty of MF film photography and it definitely had a quality over 35mm but I haven’t shot MF digital so can’t comment but would expect it to be pretty special. I think my ultimate combo would be digital MF for stills and APSC for video. Maybe Fuji next year with a GFX100s (stills) and an XH2 (video) combo…

But then I do shoot weddings where loads of slo mo and shallow DOF are compulsory 🤪

FF f2 is my thing 😜

Well the two never crossed paths for me because I sold the RX100 5.5 years ago and picked up the ZV1 about this time last year. But without consulting spec sheets, I’d say yes.

I like the Lumix 100ii and considered it myself but if I remember correctly, the ZV1 had it beat for video work. I loved that fiddly little bastard, the RX100v and filmed entire weddings on it. Mostly on a free-standing monopod and only 5-20 second clips without any dedicated audio. More to make little highlight freebie video pieces to help sell my destination wedding photography. Drove me mad as a photography camera however as did the ZV1 when I tried it on vacation last year!

Sorry yes, I realised you quoted me on the bones adaptor link but not the ZV1. Just assumed you weren't interested in my opinion or experience in regard to the ZV1 but my error. But just to recap, - I think it's a brilliant little bit of kit... Bigger than a GoPro or your alternative action cams but not as big as anything interchangeable which get disproportionally larger when you add 'faster' lenses. IMO, the ZV1 is The Pick of the pocketable cameras for video. Great quality output, great stability, great reliable AF. OK, a fastest prime 4/3rds camera is going to beat it in lower light conditions, but good luck with the AF... It's all use case in the end... It's main purpose for me is actually as a static long form video backup for me and can either sit on it's own dedicated tripod, or on another cameras hot shoe. Great bit of kit and it's only downside is it has Sony written on it 😉

To be fair, I do quite like Kotaro &...I mean Chris & Jordan. But as long as you understand they are not the be all and end all of reviewers and it's just a bit of fun. I like crazy Kai as well...and a lot of others. But as above, pinch of salt with most of them and have a very short list of specific folks who I do trust for a proper review and they tend to be specialists for: stills photography/cameras, video gear specific to weddings/events, a couple of drone guys. The one's I have the least time for are those that are constantly 'switching'. I can't take them seriously. And the one's I can't stand are the one's where it's more about them than the review. Summary is that there is a ton of incorrect info out there, a load of mediocre/spec reading info and only a relatively small amount of good info/reviews and it's just a case of identifying who is who.

So it seems did the OP who appears to have ghosted my efforts... Hey ho.

I have the same access as any/everyone... It used to be (6 years ago), I lived in the UK and travelled to Europe or beyond. These days I live in France and mostly get booked for France, but do still get jobs outside of such as this year, I have clients for weddings in Germany and Switzerland. I only have enough gear to do the job, nothing surplus. Actually, having said that, I do have a Sigma 45mm f2.8 I received for free when I bought the S5. I have used it a couple of times but it just does not fit in with anything now I have finalised my 2022 kit. I also have Panny's own 85mm f1.8 and again, have used it, but it doesn't fit it in anywhere. Currently, I am keeping it for the few times I get stuck at the back of a church and need something longer than the 65mm f2. I may switch this out for the Sigma 90mm f2 at some point just to keep the consistency of an all Sigma lens lineup. I just need this season to get going in early April so I can actually crack on with everything I had planned back in 2019! 2018 was the first year I felt I had really cracked hybrid coverage, but still had a huge amount of refinement and polishing to do. I thought I'd cracked that in the 2019 season, but ended up somewhat frustrated when I realised I was still well short in so many areas. 2020 was going to be 'The Year', but it turned out to be 'The Year That Wasn't' apart from one solitary, compromised wedding. 2021... Nah, really limited and just could not get any momentum. 2022 is going to be the year 😉

I presume no benefit for af users? I have the: 35 f2, 65 f2 (my filming workhorses on the S1H), the new tiny 18-50 f2.8 (for static tripod and gimbal video work on the S5) and the still relatively small, 28-70 f2.8 (paired with the S1R) for stills. Might pick up the 90 and the coming soon 20 this year depending on need… Big fan of recent Sigma glass with L Mount!

C and thanks, I hope so! 33 couples booked in with an average 2 days coverage each mostly and away 60+ nights during the Summer. So as long as there are no new super-variants, Russia doesn’t invade Ukraine or aliens invade, it should be a good creative year. That’s been the worst part for me, the near stagnation of creativity for 2 years. Yes I could go shoot other things, but the reality is I have little to no interest in shooting ‘other things’ so that would just be forced and doing something for the sake of it. No, I need to be back in my proper saddle again, have a good, (if stupidly busy) year and then next year settle back into my normal routine of max 24 jobs per annum.