MrSMW

100% I'd easily pick the II model over the III...and was considering it but scratched that itch with the Zf...and despite that being my favourite ever camera to shoot with, selling it, for the second time, but needs must. Anyone EU also want to buy a minty Zf?! 🤪

Nah, A7RV KILLS the A7CR. Unless you absolutely must have that body type, it has; better stab, MUCH better EVF and rear fully articulating LCD, twin type B CF Express with write back up (stills anyway, not sure about video) and is just a much better platform. I have one for sale if anyone wants one? EU only!! But that's not why I'm rating it well over the A7CR, - it's simply a much better camera in every regard except as above, unless you must have a rangefinderesque body.

I don’t know but it came from MPB UK with their standard 6 month used warranty and I doubt they’d deal in stolen goods. Most likely someone’s favourite YouTuber said, “actually, I know I just hopped over from Sony to LUMIX, but I’ve decided to now go to Nikon”. One of those talkers/collectors who never actually shoots, just talks and collects and maybe one day, when they have finally assembled all the right kit, will actually use it 🤷‍♂️

Well that is interesting… My ‘new’ S1Rii came with firmware v1.2 and Arri log C3 installed so some mug just bought and sold this camera pronto to MPB and I snaffled it for £2700. Unless I am the mug and they sold it to MPB because of some fault…but then surely they would have sent it back for a full refund to wherever they bought it on the first place? Someone probably lost over £750 in depreciation + Arri license… Not that I can use it because my other 3 Lumix cameras will never get option. Instead, looking forward to giving @Andrew Reid option a whirl, but it’s finding the time, - heavily bogged down with work at the moment…

It's arrived. First impressions = impressed. Feels like a very slightly chunkier S5ii and as it is taking over from a Sony A7RV (and a Nikon Zf), that is no bad thing. When it was first announced, I was disappointed on two counts... Count 01 = the body, - it was and is not a mini S1H. No top dial for one thing. Boo! Count 02 = it didn't have and still doesn't have the 61mp sensor from the A7RV/Leica SL3. Boo. Initially boo anyway. Count 03 = I am The Count and I like to count ha ha ha. (Bonus Count) But over time, these two 'issues' have become non-issues for me. The body first. Yes, I would rather it had the top LCD and was it's own design, but they have addressed my criticisms of the OG S5 and S5ii which were less than great rear LCD and horrible clacky shutter. It does have a sort of mini S1H feel, despite the lack of a top LCD. Summary, in reality, in the hand, I genuinely like it and everything works exactly or at least very similar to, how I am used to with the S5ii's, but just better. And the 44mp sensor over the 61mp? Came to the conclusion that 61mp was overkill anyway and was always shooting in 26mp mode so with the new Panny, I will actually be shooting in a higher resolution. Most importantly of all though, this has been an exercise in both downsizing my overall kit; this year from 5 bodies and 9 lenses to 4 bodies and 7 lenses, and then in 2026 (or poss later this Summer) from 7 down to 6 lenses. And all 4 cameras with the same batteries, menus and very close manual controls. Setting it up now for stills duty across 5 days from the end of this week and then it will also be on hybrid duty from mid Aug. Looking forward to pulling some 7.2...1k frame grabs.

...and then mere nano-seconds later, thought, nah. I am in the process of trading my Sony A7RV and Nikon Zf for a Lumix S1Rii. Why? Brings it all in house as my 3 video units are Lumix so it makes sense to have my stills camera also Lumix for cross compatibility. I will miss both however... The A7RV has been my workhorse 'pro' camera for 1.5 years now and it just delivers and never disappoints, at least when it comes to build, handling and most importantly results. HOWEVER, it has only one 'fault' and that is as much as I like and respect it, there is something missing, - that 'if a camera had a soul' thing. The Nikon Zf on the other hand is hands down the best shooting experience stills camera I have ever owned...and I have had dozens. BUT, only with small AF primes. It is probably fantastic with MF primes, but I have never tried and I didn't care much for it with the 3 adapted Tamron E Mount primes I have tried with it. Nope, works best with the Smallrig grip and the plastic fantastic 40mm f2 SE lens. If it's so fantastic, why sell it? Well at one point, I was hoping that Sony would indeed pop out an RX1Riii, ie, my A7RV in a 'rangefinderesque' style body, but probably at a stupid price. And guess what, they have done exactly that! Would I trade my Zf for that? Not a chance. Would I trade the A7RV for one? Are you having a laugh? But trade both for an S1Rii that kind of straddles the gap between the two...if you squint a little. Yes.

99% of the people on YouTube cannot be called 'creators' unless the word is applied after the word 'content' and that followed with, 'for the sake of' and more often than not, proceeded by the word 'banal'. An endless stream of copycats with very little originality. It does exist (originality) but there isn't very much.

And the industry is fairly confident it's the same sensor in the S1Rii, so I have exactly the same thing, albeit just like an octopus that has had 7 of its 8 limbs removed. Kind of...

I think it will come in a firmware upgrade. Or from Santa Claus at Christmas if I'm a really good boy for the rest of the year. I'm sure of it.

7.1k even. I was getting a bit carried away there referring to 7.2k…

Sorry, another Q re. cards... So for stills, pretty sure I'm OK as I was using these cards for S1R previously but it's 7.2k 30p video I am thinking about more. I'd rather avoid dropping a ton of cash on this, unless I absolutely have to, but I have: 3x Prograde 256GB 250/MB/s (V60) cards and I 'presume' 7.2k (and what I suspect is 300 Mpbs?), will write to these OK (as back up) with the primary files being written to my single Prograde 256GB 1700 MB/s CF Express card? Or is this CF Express not good enough for 7.2k footage?? The other option...and especially because CF Express is soooooo much cheaper than SD, is to pick up a Prograde 3400 MB/s CF Express card at €226 for a 512GB or €392 for a 1TB and switch out the SD's if they become full. But you can get, what 4 hours of 8k Vlog on a 256GB card and shooting purely clips, even over a full weekend, I can't see that ever happening...so a 1TB CF Express is probably massive overkill? My other 3 cameras are quite happy writing 4k or 6k to 128GB 'silver' cards and I have plenty of storage in that regard so it's only the new big boy I need to do something with.

Does anyone know where I can find the Mpbs numbers for the S1Rii? They have an extensive data sheet here: https://av.jpn.support.panasonic.com/support/global/cs/dsc/connect/sd/dc_s1rm2.html And they go on about not exceeding 600 Mpbs, but where exactly is that data?! I'm pretty sure the 7.2k 30p is below that (300 maybe, but guessing) for Vlog, but I ought to check before splashing the cash...

I should add that I will NOT be shooting raw but 7.2k 30p open gate Vlog when I do get to using for video. Raw I think is just a step too far for me and as my other 3 cameras do not support it, no point.

Eek. Well mine is coming used from MPB so maybe it's one that you sent back 🤪 I'll see how it goes but for me it's really intended as a 'secondary/occasional' use lens, almost exclusively outdoors in good light. I'm still not 100% I even need it but as I transition over to fully L Mount, it fills a gap. For now... What cards are you running? I have an older Prograde 256GB 1700 MB/s CF Express and a Prograde 256GB 250 MB/s card that I was using in the old S1R. For my next 2 jobs, (5 days in a row from this Friday), I will only have these for the S1Rii on it's first two outings and will ONLY be shooting stills, so these should be fine.\ But beyond that, from mid Aug, I will start shooting hybrid and as I have to invest in some new cards, it would be a good idea to get something 'approved' just to help minimise any potential overheating. I'm also trying to do the math on what size cards as it's generally cheaper to buy more smaller cards than less big (capacity) cards...

Good to know. This is not going to be a ‘workhorse’ lens for me, but rather something to ‘fill in holes’ if you know what I mean and much more for photo than video and especially as a walk around one stop shop landscape lens. Yes I think it will work very well. I considered the 70-300 but decided I wasn’t really gaining anything over the 70-200 I already have except a less good lens. Also the Samyang 35-150 but I’d need (want) the battery grip for that and were back into big boy territory and no thanks. 28 and 40 are my to ‘go to’ focal lengths below 50 that I prefer to work with. They have a certain kind of look and especially with 28, it’s about as wide as you can go before any distortion begins to appear. So yes, ultimately and as soon as possible, I do want this lens because it ticks every single box I have below 50mm. Exactly why I chose it over the f2.8. Optically it’s very good and it’s actually OK in low light. And I think it’s slightly lighter even than the 28-45 Sigma?! Real world about the same but about as big and heavy as I prefer to go. I think so. Pretty confident that it will comfortably replace the A7RV and Zf, both cameras I love. The combo of glass, slightly less but I am going from 3 different mounts/brands to 1 single and that is a big deal plus 1 less body and 3 less lenses. It’s a good decision. I’ll find out next week when I am using it, but today (I’m on a job) back to the Sonykon’s!

I’ve just picked up this lens. Or at least it’s arriving Monday. There are still some big black holes for me within L Mount glass but I came to the conclusion yesterday that this lens could have a place in my kit. I have been back and forth on the 28-105 and the 28-45 and would 100% have gone for the 28-105 had it been internal zoom which for anything 1kg or over, is a 99% must have. But it isn’t and I’m not going to say never to this lens, but right now, it doesn’t suit me even though the focal range and aperture are great. The 28-45 is probably happening, but going to shoot a few weddings on the new all L Mount set up first because it could work in isolation, but really I would like to pair it with a lens that does not, )but I hope will soon) exist; the 45-90mm f1.8 internal zoom. But in the meantime, I have the 70-200mm f4 (internal zoom!) for indoor work and will now have the 28-200 for outdoor, more stills than video I think, but we’ll see… I hate the external zoom but on a lens that weighs sub 500g, I can live with it. Also, by limiting myself to these smaller primes and zooms, I can skip the battery grip which for something like the 28-105, becomes essential to me for handling purposes, but I would rather keep everything as compact and light as possible without sacrificing too much performance. 4 bodies + 3 primes + 3 zooms gives a lot of options/combinations and as things stand is not only 1 less body than I have been using to date, but 3 rather than 2 less lenses so an even bigger bonus.

The 7.2 will be my new go to over my current slightly less than 6k from the S5ii. At least I think it is… 5.9 or something? Anyway… The 8.1 limited to 24p is a bit of a bummer but hey ho. I have not done any ‘scientific’ testing, but switched to that approach 1.5 years ago for other reasons, but I felt my work looked better immediately. Also using a 1/8th mist VND I am sure is responsible for zero moire. Ever. Plus ability to bake in the LUT plus twin card recording caused 4 winning points over Nikon, but Nikon does counter with superior lens options, especially with adapter E Mount as part of the equation. Super-tight call for me but the 4 winning points narrowly beat out the glass for me. They have 2 holes in the lineup for me: An equivalent of the Tamron 70-180mm f2.8 which is MUCH smaller and lighter than the Lumix or Sigma 70-200’s and there is NOTHING in L Mount even close. An equivalent to Sony’s 50-150mm f2. Grail lens right there for me. I now do not care about the weight because is just the PERFECT lens for me but in order to have it, I’d need to build a Nikon or Sony based system around it and Sony doesn’t even have 6k (yet, but less than great 8k in the A7RV and then you have to go AII or whatever it’s called) and with Nikon, a ton of stuff I’d need to give up. For pure stills, Nikon. For pure video, Lumix. For hybrid, I could make a case either way and have done based on capabilities for my specific needs sacrificing my perfect lens to do it with Lumix.

Bingo. If you are a paid up member of the L Mount Alliance, then you use an S5ii for this specific task. Otherwise the rest of this overheating hype is just that, over-excited hype. OK I get the expectation that just because the S5ii or the FX3 can do X then the new Lumix cameras should, but actually maybe not and the S1Rii especially is a photo-centric hybrid that can do excellent video and even the S1ii is not really a ‘cinema’ camera but a hybrid. Just use the right tool for the job!

If I understand correctly what you mean, I think so... I have used stills previously, but not 'matching' stills. What I am proposing going forward is ensuring my video and stills match perfectly in the grade and if frame grabs intended to be used as stills, identical to that exact frame in the video. The primary intention and purpose is to cut back drastically on stills photo capture in the first place and therefore also editing time and move towards a more cohesive and less time intensive approach. So currently I'll do a full capture, cull and edit etc on both photo and video. Going forward, I'd like to capture even more video and reduce the stills capture back to just certain elements, mainly details and family groups. Pics will be captured in raw + Jpeg 3:2 ratio with my LUT baked into the Jpegs (which is the same LUT I bake into my video footage in camera). I normally bin the Jpegs and use the raws, but I am proposing using the Jpegs and simply keeping the raws as backup just in case. Edit the video timeline to the point where it's still in 3:2 open gate format and then pull the frame grabs for use specifically as stills, rather than to insert back into the video. I can then go back into the timeline and put my more 'cinematic' 17:9, or 2:1 or whatever crop on it, and add all the twiddly bits that are video specific such as any text, transitions etc. Et voila, a finished wedding film plus a set of stills that look like frames from a movie. As intended, ie, when someone says, "your photos look like frames from a movie", it will be because most of them are. Anyway, I am going to give it a go as all last year, this year so far and the next 2 jobs, I've been shooting stills on the A7RV and Nikon Zf with 90% of the footage for my wedding films coming from the S9. After these next 2 jobs are in the bag, the A7RV and Zf get replaced with a single S1Rii shooting 7.2k 30p clips and the S9 which was shooting video exclusively at 6k 30p, will be shooting a mix of some stills and some secondary video. Pretty sure it will be a good set up based on the kit I have and some of the trials I have attempted, but as with all these things, it's only when you climb out of the trench and charge the enemy, with bullets flying, you truly know. Or you step on a landmine and it all goes tits up.

I just start a new timeline with the finished production as a single entity. Or rather that is what I have been doing to date with the few attempts I have made. I think what I will do now, for the rest of this year at least, is introduce a new chapter as it were in my process which is after culling, importing, colour grading, while the clips are all still 6k 30p on a 6k 30p timeline, but prior to any speed changes, transitions, graphics, text etc, is export a 3:2 6k copy and then pull the stills from that. These will then match my same baked in LUT stills also in 3:2. I can then import the results from both into Lightroom as a single set for any final grading and reexport as JPEGs. The only thing I hoped to do other than this was have AI find, select and export 350-500 frames from clips for me…amd maybe that software exists and if it doesn’t it should as that will be one of those things worthy of the title ‘game changer’. Kills or at least severely limits the photographer in me, but hey, choices…

I’m not sure how much of this ARRI log C3 is over-hyped… Having looked at some of the footage shot side by side with standard log, very little difference and with some samples, I prefer the standard log. And anyway, the Phantom LUTS by Joel F are designed to ‘mimic’ various versions of ARRI. I’m more than happy with those and think they look better than the standard log…which itself to me looks better in most cases than this new cost option download. None of these things will turn your $3000 mirrorless into an actual ARRI camera, but then how many can afford, never mind need an ARRI 35? Not a fan of subs either. Pretty sure it’s not for me.

Very logical, for my specific needs anyway. I had even considered going back to the S1R and never wanted to part with my S1H, but both would have been a compromise in my current and future workflow. And yes, for the kind of work we do in the conditions we do, the S5ii (or X) is a better option. Well straight out of the box anyway as there are some workarounds such as dummy batteries, recording to SSD and in some folks cases, simply having the right fan settings on in the camera in the first place! Or even do what I do and that is if I am going to have my static’s outdoors in direct sunlight for any length of time, prior to switching them on, I chuck a white handkerchief over each with an elastic band. Makes a HUGE difference. Costs literally nothing except the thought process in the first place. It does seem though very much a case of the user error stuff aside, having these mega sensors, writing to CF Express (which tend to get hotter than SD) in a body that has not increased in size, has resulted in a big chunk of post-release negativity which has the diehard Sony Boys laughing and pointing. 99.9% sure that it won’t affect me due to my intended use, but I guess I’ll find out over the rest of this Summer eh? Also, the launch price put me off. That coupled with the fact they did not take the body as far as I hoped they would, but I picked up an open box unit for £2700 which is not far off what I have been offered for the A7RV, so even with my next 2 lens purchases, with my 2 body plus 4 lens sales, depreciation aside (I’ve had my fair working use out of my kit), this whole deal is not really costing me anything. And the icing on the cake for me is that I get to keep and use the S9 alongside it as a sidekick. I shall call them Batman & Robin.

I am going to try Andrew’s free version and see if that works in any way for me. I need to take a look at Lumix’s LUT stacking feature as I need to burn it in due to the way I work, ie, bake in both the conversion and a creative LUT. Not down that before so will need to investigate… I also need to be able to do it for my stills from the same camera as everything needs to match perfectly going forward.

I looked at the R5C and the C80, - I looked at EVERYTHING, before pinning my colours to the Lumix mast, but nothing else either made the cut or was financially realistic. The closest based on availability today, would be a Z8 + Zf + pair of Z6iii’s and it was very very close… The Z8 probably just pips the S1Rii for me and for stills, the Zf easily beats the S9, but I still prefer the S5ii over the Z6iii for video…and overall, anything Lumix for video over anything Nikon. That might change in the future with the tie up with RED, but right now, it’s just 4 LUTs and Nikon video is lacking for me in 3 areas: no second card write back up, no bake in LUT and doesn’t have the multiple frame markers (I don’t think?) of Lumix. Canon had elements of my needs, but as an entire system was/is just too compromised and the cost to change was massive. I am pretty sure that before this time next year the game will have moved on, but I’ve got the opportunity to do something right now that suits me and will still have been a good move regardless of the future, so I’m more than happy with that.

Not especially no, but then maybe that’s because I am a hybrid wedding shooter and not a serious filmmaker? I mean it is/was on the list, but in no way would I switch to a camera purely just because it has marginally better highlight roll off when it isn’t so great in other areas, or completely misses the mark. My criteria as I stated was I am replacing both a 61mp and a 24mp cameras for a 44mp one. For stills which are 50% of my work, absolutely no way would I be considering a 12mp camera as a viable alternative. Does the A7Siii meet my requirements for ‘all in one system’? Sure as does the A7iv, the A7RV and well…any/all A7 and FX bodies, but do any of them meet my requirement to shoot 6k open gate video? Nope, not a single one. As I outlined in my reasoning, I have a minimum set of requirements in order to make any change and one of those was not better highlight roll off. I don’t think you are necessarily being ‘that guy’, but you completely ignored my requirements and instead posed a question based on what I guess would be your main priority. And that’s cool. But regarding highlight roll off specifically, have I considered it? No, not really. I’ve used full-frame Lumix now for 4.5 years and at no time have I considered it an issue and looking at the footage from the S1Rii that I have seen, haven’t noticed anything untoward. I haven’t looked at or even aware of any comparisons in this specific area either. So back to my best Scooby Doo voice, “Idunnoknow” 🤷‍♂️