MrSMW

The ZV E10 has only been out a few months… It all sounds a bit crazy, but the combo of factors is quite possibly enough to tip it all into a spin.

Good stuff and roll on ‘22

I think the only thing not making the new Z9 my ‘perfect’ camera.

Well I use an S1H as my A cam and a ZV1 for my static longer form stuff, so an even smaller, simpler and cheaper solution. However, I don’t mix the footage but use it for a separate purpose. I picked it up to replace my previous same 1 inch sensor camcorder that had been my workhorse for the same purpose for the previous 5+ years, sacrificing the much longer zoom lens (didn’t need anyway) for the tiny size and better AF. I think the only way you are going to know if it will work for you however is to try one and see? I tried my S5 in this role for all of this years 6 jobs (should have been 30 so fuck you Covid, but that’s another matter) with the ZV1 mounted on the hotshoe to capture the same scene. Used the ZV1 footage only on each occasion. The Pros: Smaller, lighter, cheaper, very good 4K 25p footage, excellent AF, no recording limit and can be powered off a power bank whilst recording. The ‘Cons’: The footage is not as malleable as it is with the majority of cameras as it is ultimately a 1 inch sensor, but you are looking at it’s newer and slightly larger sensor brother so… I think as tempted to change myself to the ZV E10 but then asked myself why? I can’t find enough reason to upgrade but if I was starting from scratch I’d probably go ZV E10.

There's no mention of how many minutes shooting time before it catches fire?

Just because you can... ...doesn't mean you should. I have an argument (with and for myself) for a 100mp stills camera (Fuji GFX 100s) but that is an absolute upper limit and only because that specific camera has desirable features that the GFX 50sii is lacking, mainly PDAF. I did notice a quantifiable and welcome jump in resolution moving from 24mp FF sensor to 47mp FF sensor which I did not notice so much between Fuji's APSC 26mp and Panny's FF 24mp. There was/is a difference in the latter, but it's tiny and arguably the Fuji has marginally better colour, but 200mp or larger sensors just leave me cold. There will be applications where it will be useful, but for my kind of work (social), nah.

I have both the Pan 24-105mm f4 and the Sigma 28-70mm f2.8 and would say that the Panny is the better video lens…just…but…if you don’t mind the size/weight/length it extends over the Sigma. Plus it has greater range…but sacrifices a full stop. So pros and cons. I personally find the 24-105 just too big for my tastes. If it was 2.8 and even if it cost twice (or more) as much and was slightly bigger and heavier still, I’d then probably go for it because if I was a Canon user, I’d make a case for their 28-70mm f2 despite the cons. But based on what exists, the 28-70mm f2.8 from Sigma is currently the sweet spot of: range, f stop, size, weight, how far it extends (not very) and cost, though the latter is the least most important factor to me. Folks often criticize the S1 series for being ‘too big’. With smaller lenses, I disagree. S5 with 24-105 compares size & weight with an S1 with Sigma 28-70, but I feel loses out on balance and handling. The bottom line…as is always the case, is that word ‘compromise’, because it always is a factor! And yes, comparing the looks/feel/build quality of Sigma’s f2 primes with Panny’s f1.8 primes, it’s no contest, - the Sigma’s are on another level. I suspect the Sigma’s are also optically ‘better’ but cannot prove that statement though I own the Panny 85mm f1.8 as well as the Sigma 35 and 65 f2s. Again, compromise and as above, if I was shooting on paired bodies, I’d go Panny…because it makes more sense (for me), but shooting specific bodies tasked for specific shooting (S1R stills, S1H video and S5 hybrid) using the Sigmas works better right now.

Excellent. If I had a pair of 24mp bodies, I’d run the Panny lens pairing of: 24 + 50 indoor and 35 + 85 outdoor. But I don’t and use just the one S1R body as my primary and only stills body so utilizing the 47mp capability, happy to use the 35mm as both a 35 and as a ‘52’ or ‘70’ indoor and the 65mm outdoor as; a 65, a ‘100’ and as a ‘130’. Some might consider a 65 too long in itself, but in this day and age of social distancing, whilst my subjects may not be practicing it themselves, I can myself…and outdoors, a 65mm can be quite wide for social work without too much distance. But having said all that, may go 28-70 next year as it offers a bit more flexibility for stills and shift the primes back over to dedicated video use or even pick up that new APSC Sigma 18-50mm f2.8 which might be perfect for my 4K 50p needs…

Hmmm, yes, define ‘kit lens’ but the Panny 24-105 is in one though a pretty exceptional one.

Or you could get a used, but as new S5 for ballpark 1000 euros… Not that I’m a fanboy or anything, - I will use whatever I need to do the job and right now that is L Mount. I could easily make a case though for: A7iii instead on my S5 (though IMO the S5 is ‘better’ + A7siii instead of my S1H and A7iv instead of my S1R. But I could make that same argument with both Canon and Nikon and Fuji, so yes, cost has to be a consideration and buying used is a great way of making things work. I did buy the first of my S5’s brand spanking new at launch…but I was without any kit at the time and had a job coming out and was probably going L Mount so… But glass aside, I bought my last 3 bodies used and with the S1R especially, at a stupidly cheap price (1500 euros). So yes, price comes into it as it has to + use case + I have to say, enjoyment which is an important factor for me.

Opinion? Depends where I was already invested... If I was with Sony and had an A7iii, nah, not worth updating to a IV IMO. If I had an A7ii or something, then probably yes, the iv is where I'd go next. If I was with Panny and had an S5, nah, the S5 is a bit of a beast and especially for the price. What's the difference between the two? Basically the same size and weight as makes no difference. SOOC the Panny is 'probably' better video and the Sony 'arguably' better stills...but we're talking tiny, tiny amounts. IBIS, allegedly anything Panny is better than anything Sony. I think in the real world, there's nothing really significant between either of these two or several other peers. I think it comes down to which system has more appeal with these two? For me, it's Pannyboy and their Pony of Hope. Yes, their tracking AF could be a smidge better, but otherwise, far more appeal going...for me...for Panasonic.

I’ve just sold one of my S5’s… I had two, plus an S1H and an S1R, but don’t need 4 cameras. I still think it’s a great camera, but I’ve shifted into a B roll position now as the others are just too good not to use as my primary video and stills cameras respectively. I’m not ‘waiting’ but hope Panny do bring out a second generation of FF cameras…but ideally not until 2023!

Indeed. This is a feature of my full frame Panny cameras that I have been using recently. For stills anyway… For video, I’m already shooting APSC crop mode because I shoot 4k 50p as my default, but for stills I have a fn button assigned to crop mode which can be set as APSC or 1:1. With my S5, I’d set it to the 1.5x crop mode but with the S1R and it’s 47mp, the 1:1 mode makes for a great option with about the same resolution as your average 24mp camera! The added bonus is that when shooting raw, the full res image is preferred and you only see the crop in your image editing software. I shot my most recent wedding this way using the Sigma 35mm f2 as my indoor lens and at 35mm and ‘70’, plus the 65mm f2 outdoor as 65mm and 130. It’s like having a twin lens set up on your camera but ideally, the harder you crop, the more megapixels help with quality!

I've had a damned cough since visiting the UK 3 weeks ago. Not been ill once in the 2 years since my last visit...which was coincidently, when I last picked up something...

Oh and ps: I use a Freewell 1/8th mist on all my lenses these days as they take away some of that digital look, reduce contrast and soften the image slightly and make the Neutral profile I shoot more *cough* cinematic SOOC which suits my workflow.

It’s been my main workhorse in 2021 with my S1H. However, I am probably moving it over to stills photography on the S1R in 2022 and then going with the even tinier, new 18-50mm f2.8 APSC only, but that’s fine as I shoot 4k 50p anyway which is of course cropped. Not 100% decided on this set up but it does give me the best compromise of the best S1 bodies (S1R stills, S1H video) paired with the fastest and smallest zoom lenses, covering basically 28-70 in each case. However, I am in love with my 35mm f2 and 65mm f2 pairing… In my ideal world, Panny would produce for me the equivalent of the S1R merged with the S1H in an S5 sized body and I could go matched bodies…in which case I’d jump on their native 24/35/50/85mm f1.8 line up without question and shoot the 24 + 50 pairing indoor and the 35 + 85 pairing outdoor. But I’m dreaming a bit there… Character? Modern lenses don’t really have ‘character’ as such but are more clinically ‘good’/sharp. I’m just happy with a nice clean image to be honest and all the Sigma lenses deliver that. The 24-105mm f4 is great, the IS superb, but to me, it’s just about tolerable when not extended, but when zoomed out, too much. I have used it for work purposes a couple of times, stills and video and it’s arguably the best all round lens for hybrid, but I am not keen on it’s size. For travel and landscape however, it’s my go to. I just want one body one lens and it’s a good compromise of wide enough angle, but much more reach than a 24-70. But back to the Sigma 28-70mm f2.8, I think it’s a fabulous compromise option and prefer it over any full size 24-70mm due to it’s much more compact size with no real world loss of image quality. In short, it gets out of the way. I’m looking forward to that even tinier 18-50 which I suspect for video work I will like even more and paired with the so-called ‘massive’ (it isn’t) S1H, will make a superb and pretty compact pairing with great 27-75mm equivalent range.

I should try mine again as it’s a good S35 focal range of 30-90. It’s mainly the variable aperture I don’t like however. This one I wish they had made f4. And had OIS to pair with the IBIS. But then it would be 50% bigger and heavier and probably twice the price so I can see why they didn’t… It’s a good ‘kit’ lens though and a great walk about daylight option. I use it as my wide stills option being 20mm full frame.

@bjohn have you tried a 1/8th black mist on it? I find that takes some of that digital look away in terms of both perceived sharpness and contrast. The rest in post. I still have thoughts about getting one again but it’s a little too wide, a little too short, a little too big and probably a little bit shit for the AF requirement I have, so the Sigma 28-70mm f2.8 it is! For now… My main gripe with zooms though is the way they extend. There are some, but very few good internal zooming zoom lenses. I think Canon’s RF 28-70 f2 does as does Fuji’s brilliant 50-140 f2.8, but I wish the Lumix’s did. The Siggy 28-70 doesn’t extend much. Also intriguing is that new APSC only Sigma 18-50…

That was my workhorse on Fuji APSC but I found the opposite and it was superb, albeit a little heavy. It's a pity Sigma never (at least to date anyway) updated it or it's 50-100 brother as both f1.8...well say no more!

A very timely post Kye as I have just been wrestling myself with what kit I am taking into my Spring 2022 season now that my (what there was of it, 6 weeks in total) 2021 is one month past finished. 4 bodies I wish to reduce to 2 and whether that means zoom lenses will be coming back full-time... I've decided to keep my S1R for stills. That's a no-brainer. I've decided to keep the S1H for video. That's a no-brainer. Being honest, I'd trade both for a single Nikon Z9 without even thinking about it now I've read up on the thing, but that's a different topic of conversation... That means both S5's are going. Not as good at stills and not as good at video, IBIS isn't as good, nor is the build or ergos or screens or anything. GREAT cameras in isolation, but not as good as their big brothers and I have no use for 4 bodies. Which makes lens choice even more important. In an ideal world, I'd have 2 matched bodies, but that could not be a pair of S1R's or S1H's or S5's so for now at least, need to remain a dedicated stills and a dedicated video rather than the pure hybrid I'd ideally like. With a pair of matched hybrids, I could easily shoot say 24 + 50 indoros and 35 + 85 out which would be my ideal (and also happens to coincide with Panny's own f1.8 line up). But as that can't happen and as much as I like the theoretical concept of a single focal length and that's it, the reality is for weddings, it is not 100% ideal. So zoom's it is. I've got the Sigma 28-70mm f2.8 and that is going to live on the S1H for the 2022 season as 4k 50p, in S35 mode (the only option), it's like shooting a 42mm and a 105mm prime and as my 2 'ideal' focal lengths for video are 50 and 100, it's very very close. For stills, it has to be the Lumix 24-105mm f4 'kit' zoom. It's bigger than I'd like and I'd prefer it to be f2.8...but then it would be even bigger, but the reality is it's just a damn good lens and like a bag of (f4) primes in one single unit; 24, 35, 50, 85 and 105. In terms of shallow DOF (which I have liked for over 20 years), OK, it's not great at the wider end, but at the longer, actually, not bad at all and as Kye points out, for us Panny users, we can get all the AF help we can get and the 24-105 is one of the fastest focusers on the L Mount system. Finally, it means when shooting these 2 combos side by side, the focal lengths are fairly similar being 42-105 video vs 24-105 stills which for a hybrid shooter like me who wants to keep a certain level of consistency between the two mediums as close as possible, is a good thing. However, one day, I would prefer an all prime system and maybe that will happen in 2023...but that is too far into the future now so I'm just going to run what I brung 🙂

I had the MKii version and really liked that. I still have thoughts sometimes about EM1iii’s as an entire system, but coming from Fuji APSC to Panny FF and S1R with 47mp, the reality is I could only go ‘back’ as far as APSC. My use case doesn’t need IBIS which is another reason why the ZV1 works so well as it’s hot shoe mounted on an S1H which itself is on a tripod! The ZV1 is simply pulling real time back up duty for insurance purposes during wedding ceremonies and speeches should the S1H pack in or something. Actually, from the last 2 weddings, I’ve actually used the ZV1 footage instead of the S1H capture. For this aspect of what I do, I am actually contemplating just doing this all the time as after all, it’s the same sensor as the camcorder I was using for the last 5+ years… But then the ‘insurance’ ceases to exist…

Specific use case for me John with trustworthy AF a must. I would rather it was not a Sony but I can’t find another camera that exists that meets my specific need which is as a faultless (or as near as) 4K 25p, unlimited recording limit, powered off a power bank, that sits on the hotshoe of the main camera as backup. The ZV1 is ridiculously good in that capacity. As you say, something like the GX85 I’d need to work around…and that would defeat the point of it’s specific purpose as a tool for my needs! But as a personal/fun camera, I’m still debating that one… I tried and did not like the ZV1 for anything but the role I purchased it for. Heart says either a GX85 with fast prime or X100V. Head says in 2022, trade the iPhone 8 for something better. I suspect the head is going to win this one…

I really fancy a GX85 now 🤔 If I was to do it, it would be to replace my Sony ZV1. But the thing is, the purpose I use the little Sony for is the one thing no Panny camera has and that is exceptional AF 🤪 Damn, I guess I can't do it then...

It’s a weird one for sure…

I use Freewell VND 2-5 stop filters based on various comparison reviews. Video only but have used them occasionally with primes wide open on bright days. Not noticed anything colour cast-wise I am unhappy with. Or even notice.