MrSMW

Any look my video has will be a combination of: Tweaked Natural profile; highlights down, shadows up, contrast down, sharpening down. Use of a 1/8th mist. No luts, just a basic tweak as required to each clip. This is why I may switch to log as my clips can be a little bit all over the place. One single creative finishing lut on an adjustment layer that adds a ‘filmic’ look, dialed back to around 30%. Still playing with that one. Plus in the case of the S1H, the OLPF that the S5’s don’t have. So no single element but the combo of the whole. Still playing with it and log might be the answer to take it to the next level and vision I am seeking to achieve. Audio is easy. Or rather, I just use the KISS principal and primarily do not trust or use anything that is not mine, so no mixing decks etc. Why? Consistency. Every wedding I go to is different and uses different systems and some have nothing to plug into anyway. 2 rules: 1: mic as close to the person’s mouth as possible, as in jacket lapel. Most of my work is outdoors and I can rarely get a shotgun etc close enough, especially if the person speaking regularly turns away. 2: always find out from the clients in advance what is happening and when and brief them re. audio, setting a focal point such as a lectern if there is going to be more than 3 people talking (though I sometimes hot swap mics discretely if needed). I am far (FAR) from being an audio expert. I simply use 3x old (7-8 years?) Rode lav mics which I am going to replace at some point with some less Michael Jackson circa Jackson 5 fro mics with some more modern more discrete versions and 3x Sony pocket recorders that cost about £75 each off Amazon. There is a bit of clothing rustle from time to time as I can’t keep those fro head lav mics off the clothing. In principal, video and audio and stills, I just aim to keep things as simple as possible and as minimalist as I can with the least compromise which as a one man band, is key. ’My’ S5H is just the S1H version of the S1 so I’d go with; fan, OLPF, damped shutter for stills and higher screen resolution, otherwise not a single thing more I would want. Other than improved AF, but that’s a given 😉

@herein2020 thanks for the feedback. I'm not one of those needy types that needs validation from others, - I'm quite confident and only need to please 2 people: 1: Myself. 2: My client. In that order. Always worked for me 'shooting for myself' rather than any client brief and this is why my clients book me, - because they do not want to be involved. Probably wouldn't work so well for commercial clients and why I have so few 😉 But sincerely thanks for the feedback and pretty much most, if not all, absolutely valid. This version is not quite the finished one. Rather I just happened to pop it up on to Vimeo yesterday afternoon to see how it looked on various devices, but already intended to make a few tweaks to the grade here and there. Re. log. I've been pretty opposed to it and other than the low-light, I do think I need to give it another chance and I was already 50:50 about giving it a go for my next job in a few weeks. I already have the Gamut in camera LUT loaded and in Premiere, so will probably do that. Re. the stills, yup, already intended to 'Burns' them or similar. Re. any talky bits not matching the audio, I agree and the missus flagged that one up yesterday, so it's on my 'to do' list. I didn't notice the wobble, but I'll fix with some warp stab. Generally, at this stage, I usually just leave it now for a week and go do another job and then return to it with a fresh eye after 7 or so days. That tends to flag up niggles. That drone by the way is from an original Mavic Air purchased early 2018. It's been crashed at least 7 or 8 times, has chipped props, doesn't fly straight, drifts...and badly needs replacing for the 2022 season!! Oh and that jittery light, - I think it was due to the 1/8th mist filter on the lens...and I really do need to remember to shoot at the native ISO's (note to self). But again, overall, in regards to the tools, the cameras, the merging of the S5 with the S1H...so an S5H would be my perfect tool. I shall go tweak next week!

Oh and there is a glitch near the start I need to sort and if you notice anything else, let me know.

OK. I think... Great clients, a good wedding (though a little 'thin' on a few things such as zero bridesmaids, best man, groomsmen etc) and it has been both 13 months since my last proper wedding which itself was 9 months since the last proper season...plus, it was the first proper wedding with the new system. The AF held up to everything except extensive forward or backward tracking. As expected. I didn't like the full ceremony static footage I did and was toying with changing how I do that anyway. This last job convinced me to do it differently from now on. I still don't like the shutter sound of the S5's. Compared with the damped shutter on the S1H, it's no contest and it can be heard from time to time in the 'live' footage for the ceremony and speeches. I think I'm done with the Wireless Go and just sticking with pocket recorders, lav mics and auto-syncing in post which is pretty much a one click job. The sound guy moved the speaking mic from where I'd reset it from where he'd originally set it and I didn't notice until after the ceremony started... Anyway, it's too reliant on proximity that can't always achieved and no way am I sticking that on anyone's lapel with a dead kitten on it. The Sigma pairing of the 35mm f2 and 65mm f2 went pretty well. I used the 35mm for everything indoors and the 65mm for everything out but as I shot everything 4k 50p, they worked more like a 50 and a 100. Liked the 35 well enough but loved the 65mm. No ND's, just cranked the shutter speed. The principal result can be seen here: Password = Lower Drive It's 4k if you have the ability to watch in 4k. A few niggles with my grading, but mostly due to A: shooting in the Natural profile, ie, not log, but mostly because B: I'm slightly rusty, not in my normal 'in season groove' and made a few questionable choices shooting certain scenes into the sun. I was also shooting full stills (results not available yet though I have processed them and am happy with them) because that's what I do, - stills only, or video only or full hybrid and this was full hybrid. Just me. Always. Summary: I reckon I need 5-10 weddings to really get up to speed with...well everything really. Kind of in the ball park with where I want to be based on intent and reality, but some rough edges I need to work on to get to where I want it to be compared to no one but myself and my own standards/targets. Unfortunately, I only have 2 more to shoot this year, 1 in Sep and 1 in Oct and hope the weather plays nice for those as neither venue is very 'indoor' and these weddings are planned to be mainly outdoor affairs. Next time, I'm switching it around a bit and going for a 2x S5 dedicated to purely video, mostly on sticks and using the S1H as a hybrid, but mostly for stills. I think it will work better for me as a system. Oh and moire... Nothing in this vid (that I saw), but holy moly, my second job directly after this one, stills only, I went 2x S5 plus the Sigma pairing and it was great...except for the lack of a damped shutter and the bloody moire! The groom decided a tight hounds tooth waistcoat (vest to the Americans amongst us) was a good idea. The cameras thought otherwise. Wouldn't have been a problem with the S1H... Oh and summary vs the XT3, my previous weapon of choice for both video and stills and that summary is the S5 is the 'better' camera in every department except colour. The files are 'better' from the S5, both photo and video but not in any way I can describe and it's not by much. The XT3 wins for colour though. Maybe it's just familiarity of working with the evolving Fuji files from 2011 through 2019, but they are somehow just 'nicer'. Again, not by much and can't really describe it....and maybe it's just in my head ;)

Smug S1H owners titter in the background 😬 Canon R5 owners counter and bring up the subject of tracking AF 🤣 I like pretty much everything about the R5 and wouldn’t mind adding the fan…but then the power bank also…?

A possible issue with Panny developing any kind of sensor tech is that although they are a massive tech company like Sony, their camera division is much much smaller? Or at least Sony’s sales are what, 7x that of Panny, if not more? Must dent the development budget but therein lies the Catch 22 of ‘speculate to accumulate’…

XT4 would be my pick. Not that I had an NX1 but I reckon the Fuji would be the ‘closest’. It’s what I would be shooting if I hadn’t gone over to the ghoulish Panny S5. I moved from the XT3. I suspect it will probably be better in most regards as 6 years is a long time in Cameraland.

Since switching from Fuji to Panny towards the end of last year, I have been building the system and despite shooting; 4 local craftspeople, 6 styled ‘wedding’ shoots, an event and a micro-wedding (stills only), it was not until a few days ago I had all the kit. I have tested various combos and learned as much as I can about the set up with as much practice as I can, but nothing…nothing will reveal more than a real wedding filled with unrepeatable situations and moments. I have my first 2 weddings; a 3 day hybrid coverage job and a 2 day stills only job, starting today. It’s only during these next 3 days that I will find out with any certainty whether the AF is really up to the job I need it to do as I think it is. I’m sure it is but there are still niggling doubts in my mind, partly due to the system, but also because I have only attended and shot 1 real full wedding in nearly 2 years. I should have attended and shot around 50 by now since the end of my 2019 season, but nearly 2 enforced years out of the game due to Covid…

Well, this basically. I'm not much of a techy person and I just want AF that works. How it works, I don't much care and if it's a different system to the norm, ie, phase, fine by me, as long as it works. I don't know about M4/3 and how it works there, good or bad, but with the full frame cameras, it's not as bad as some suggest. For my needs anyway, it's OK. Not great/outstanding/totally amazeballs, but decent enough. If the next gen of the GH series and S series still have DFD, I'm not going to cry about it as long as it's improved again. Why? For the sake of Panasonic the camera company more than anything, ie, how they are perceived rather than my own needs which are pretty much covered. He says, with 5 back to back days of hybrid coverage starting tomorrow... 😉

I forgot the Sony… There was an A7iii at FNAC. Awful thing 😬

Since some early Fuji models, my one handling session was; Z6, EOS R, EM1ii, S1 and XT3. I was an XT3 user at the time and it felt like a toy compared with the others, but better built than the Nikon or Canon which we both very plasticky, the former in a cheap shiny way and the latter in a cheap more matte finish. The Olympus I remember was comfortably the best. The S1 I dismissed at the time as on first acquaintance, it felt too big after so much familiarity with the XT3. That is my recollection of that one off experience of actually handling cameras in a store with an intention to buy. Based on that visit, I decided on the not available at the time XT4…which is where I would still be today if it had not been for Covid…but then along came the S5 that picqued my interest and the rest as they say is history.

Other than a few public trade shows, the last I visited about 10 years ago, I’ve bought every single piece of kit on-line since my Nikon film camera days nearly 20 years ago. It hadn’t occurred to me until just now! I did go into my ‘local’ camera shop, a city centre department store (2 hours away) just after the Nikon Z6 came out and handled as many cameras as I could while the opportunity was there, but otherwise…

Indeed and arguably a lot of the ‘extra’ that it has both internally and externally won’t be ‘essential’ to some but… It’s all the little stuff that individually might not make much of a difference but when it’s considered as a whole… For me, the sum of the whole adds up to elevate something that is good (S5) to something that is great (S1H). Specifically, if the build is not actually better, the perception is due to it’s extra weight. It’s size and grip for me is ergonomically better. The on/off switch is in the right place compared with the S1 and S1R. The top LCD. The built in cooling. Try shooting extensive 4K in 30+ Celsius (in the shade) in direct sunlight with an R5! For me, the best/perfect articulating screen. The way each and every control works…They have done ‘something’ because it all feels better damped/higher quality. The shutter sound. This is a bug bear of mine as someone who shoots a lot of stills and very few cameras have a properly damped shutter click. My old XH1 did and ‘upgrading’ to the XT3 made me wince. I never quite got past the XT4 being on order but believe it’s better than the XT3? The shutter sound on the S1H is sublime. Twin SD over the S1/R option makes card management (and cost!) so much better. To sum it up, it’s a bit like owning a BMW sports coupe and then being loaned a Porsche 911 for a week. Going back to the BMW which in isolation was great, makes you realise on what next level the Porsche is. And from that point, only the Porsche is good enough. And you want one. Or maybe you are a Ferrari man (Canon) or Lexus (Sony) or Lotus (Fuji)… Porsches aren’t for everyone! Like so many photographers, I have an itch for a Leica. Being realistic, I can’t buy into the system as a whole as it just isn’t financially possible, but for me, other than the legendary badge and a few details, my S1H is the better version of the Leica SL2-S. This of course is just my experience and opinion. Less than 1 week and it all gets to be put through it’s paces properly for the first time as a fully fledged system. I have shot 4 crafts people for a day each, 6 styled wedding shoots, 1 small short wedding (stills only) and 1 big event, up to 2 cameras and various lens combos, ie, been trying to find out which combo works best. I think it’s nailed down now and can’t spot (and don’t expect) any flaws in my set up as it’s just ‘new’ kit, old experience but with weddings, you can never really practice properly due to their nature. Pity I only have 4 remaining and then another 1/2 a year off, but that’s my market and place we’re in where I live.

Yep, I know what you mean. I think one of the best things anyone can do is select the kit that best suits your individual needs and then just work with it as getting the most out of what you have often beats using something supposedly 'better' but less familiar. It's why I have never really liked mixing kit, never mind brands, but I've never really gelled with any camera/lens combos until now. I started my pro career with Nikon F3 film cameras, moved to F100's and then went digital, though at the time, that early digital stuff such as the D100 and D200 was awful, even for it's time. I moved on to D3's and then D3S's but didn't enjoy lugging round those beasts paired with 24-70 and 70-200 which was the staple set up for many a wedding photographer. So I moved to Fuji X Pro1's after enjoying the OG X100 when it first came out. It produced some nice results...in fact I preferred the result over the D3S's but it wasn't as 'pro' a system. From then on, I have kind of 'put up' with the Fuji X system and always hoped each new generation would be 'The One' for me and it probably would have been in early 2020 with the XT4 if Covid had not got in the way and wrecked my year. Then it was rumoured that Panasonic was going to bring out this S5 and whilst not The Holy Grail, I suspected it would be a good fit for me. And so it was and arguably a better platform for me (L Mount) over the XT4 based system I would otherwise have gone for and almost certainly using. The S5 led to the S1H though. Billed as this 'video camera', but I don't think it is. I think it is instead simply one of the best hybrid cameras that money can buy, especially if you don't need more than 24mp. My perfect combo right now would be a pair of S1H's and a single S5 but instead I have a pair of the latter and a single unit of the former so not so far off. With 30+ hybrid coverage weddings booked for next year, I just want consistency now so may swap out one of the S5's for another S1H before next year's season kicks off in early April, but whatever I do or don't do in that regard, just remain with the system and not be tempted by any possible future S2H's, S5H's etc until such time as they exist and are available on the used market. Kit is now just that good that familiarity I think is more important. Those X Pro1's felt like toys back in 2012 coming from D3S's so yes, your S5 will feel 'less' than that Canon, but I got around that by NOT taking my Nikon's to the first wedding of 2012, not even as back up in the car, because I knew I might be tempted to revert to them and then I'd never fully embrace the new system. I know without question, if I had taken those Nikon's, the Fuji system wouldn't have got past the bride prep stage before being booted out of the equation. Sometimes you just need to go for it, trust in your kit and trust in your skills.

Early Sep and I should have 2 to add to my portfolio. The first is a 3 day American wedding here in France so should be good and is a full hybrid job. The second 2 days but just stills. I’m still toying with the exact configuration for hybrid coverage which is when I need 3 cameras; one for static full length stuff, one for roaming video and the third for stills. In a pinch I can do it with 2 bodies and 2 zooms but there are compromises at key moments especially during ceremonies and that’s the weakness of the 2 camera approach. 3 cameras eliminates the compromise and despite these somewhat cash-strapped times, investing in my portfolio is still my best option. I’m pretty sure I will run the following: S1H + 35mm f2 indoor and in 4K 50p crop mode essentially gives me ‘50mm’ which I find is a look I like. Switch to the 65mm f2 outdoors for a ‘100mm’ look. I am not and never have been a wider angle user and like to shoot either quite tight but if I want more context, back up to include it, but always with a longer focal length. Handheld at all times as the S1H IBIS is just superb, unless I need to shoot stills at the same time such as first kiss, confetti etc in which case it quickly slips onto my freestanding monopod. It’s my workhorse that produces 90% of the material. Then one S5 gets the 24-105mm f4 and gets welded onto a tripod and does full rolling ceremony, speeches and any entrances, exits, first dance etc. The second S5 with 28-70mm f2.8 is dedicated to stills and is a relatively lightweight compact and versatile combo and I do tend to switch to crop mode outdoors effectively turning it into a 42-105mm, at least in camera, with the ability to crop back out in post. I would rather another S1H in this role however as I prefer it’s; build, ergos, dials, buttons, screens and…well everything really. Not to do the S5 an injustice, but the S1H is just better everywhere. Tweaked natural profile for me also. I’ve tried log and can’t get on with it. Yes, in certain circumstances it can produce a marginally better result but is far too finicky for consistency and even with a decent workflow, a lot more time consuming.

I just took my own advice. I didn't want to buy another S5 but after running some final tests today ahead of what will be this season's weddings which stands at 4 remaining from what should have been30 (if they all happen and they all say they are going ahead so...) I came to the conclusion that the ZV1 is not up to it's role. I won't bore you with why, but I'm beginning to go off this camera for anything really, - photo, video and especially audio. OK, it's not meant to be a pro bit of kit but cash-strapped times and all that. The main problem is that when you have an S5 and an S1H in the stable, anything the ZV1 produces is not going to compare, but the fact is, it's a gulf not a gap. Decided to just push the button on that second S1H as prices are so good right now...except the last one for sale in all of the EU it seems, has gone. That's anything 'like new/excellent' under 2500 euros, all sold 😞 Bugger. So another (used) S5 it is, purely for the static role of ceremony, speeches, entrances and exits and with the 24-105mm f4 because on a tripod, is the only place I feel this combo is a good match ergonomically. Nope, didn't want an S1, - that would mean 3 different bodies. S1R ditto. Sigma don't have anything camera-wise that fits my needs and Leica at this time in my life, are beyond my budget even though would be a nice itch to scratch one day... The ultimate deciding factor for me was I could cobble something together and transplant audio from the pocket recorders and lav mics etc, but I'd rather...after closing on 2 years of next to fuck all, at least get the 4 highest quality sets of results ahead of next years full on season.

From bitter experience, I would never EVER trust unmanned AF with any camera, no matter what flavour. If I need to leave a camera unmanned...and I often do during ceremonies and speeches at weddings, I tend to use AF to acquire focus and then immediately flip it to MF.

I agree. I know nothing about sensors but doubt if it’s anything but the same but with the filter. In camera, with identical settings, they look completely different, that of the S5 very flat and lifeless compared with the S1H, but that’s the screen resolution of the latter being in a different league.

I concur and have had the RX100v and currently have the ZV1.

Well 2 weddings in approx 2 weeks time, 1 remaining Sep that has not postponed/cancelled and ditto 1 Oct so the absolute max for this year will be 4 from what should have been 30. Still better than last years 1 single job that actually happened! The only thing you don’t have really with another S5 is unlimited recording which personally doesn’t bother me, even with a church ceremony as at a convenient point, I just press stop and then immediately start again. Or you can just drop to 8 bit I think which for something static…?? An S5H with even a modest AF improvement would be killer…except Panasonic Lumix continue to frustrate me in a couple of areas… The AF, or perception of, is of course their principal Achilles heel. The negativity and misconception especially on YouTube is so grossly wrong but Panny have done nothing in my eyes to address this. Which leads into their marketing in general, but especially with YouTube which just cannot be ignored or underestimated these days. Compared with all the other major brands, they are by far the weakest in the area of marketing. Add AF to marketing and no wonder their sales are lowest if the big 5. And then these 4 prime lenses… 85 first was a bit odd. I would have gone 35, 50, 24, 85…or better still, just launched them all together. WTF is taking so long?! Had they been available, I would have bought all 4 and used the pairing of 24 + 50 indoors and 35 + 85 out. They look visually a bit crap, but the performance is superb, especially for the money. But I have been driven into the arms of Sigma. Drop .2 of a stop in aperture, but real world the f2’s are the same. Looks are a personal thing, but IMO they visually look superb as is the quality of image coming out of them. The 28-70 gets mixed reviews. It seems the Sony users/reviewers seem to rate it anywhere from average to good but L Mount users as good to excellent. I love it and use it as a twin prime lens using it only as a 28 or a 70 indoors (takes some self-discipline!) or in APSC crop mode outdoors as a ‘40mm’ or a ‘105mm’ with the crop only being in camera and then in post if you want it (with stills) because of course with raw, you are getting the FF file to work with. It’s not quite as ‘jewel like’ as the 35mm f2 or 65mm f2, but not far off and the zoom extension is very minimal. I hate externally zooming lenses! In conclusion, as I said above, Lumix continue to frustrate me as a company. On paper and I think in reality, they do have the best pound for pound cameras currently available in the S5 and the S1 line, but they only have themselves to blame sales-wise they are not sitting at the top table with Sony & Canon.

I have read in several places that I cannot quote…because I can’t remember where, that the S1H has a different sensor to the S1 and S5 (and obviously the S1R). The available info all seems a bit sketchy and Secret Squirrel when it comes to sensors.

If it was my decision, I’d go pair of S5’s as I prefer to use matching kit for all the reasons…except in my case that would be a pair of S1H’s with the S5 moving into the role of static longer stuff mainly. But with this year as it is, I am still running the ‘mismatched’ pair of S1H and S5. I did a 10 hour event a few weeks back exclusively with the 24-105 and really liked the combo…except for size. This was hybrid coverage and for the video side especially, handheld throughout, the OIS + IBIS combo was brilliant. I then did an actual wedding myself! A real actual wedding after 46 postponed/canceled jobs, albeit just a small local affair. I went with the combo of 28-70 as my primary lens on the S1H and 20-60 on the S5 and shot 95% of the day on the former, the S5 and 20 end only being for a handful of super wide shots. This was a stills only job. But in approx 2 weeks, I have some proper weddings finally… A 3 day hybrid job followed by a 2 day stills only event and I have nailed down my kit combo now for these as follows… On the right hip, pulling video biased duty, is the S1H with Sigma 35mm f2 indoors switching to 65mm f2 out. Because I shoot 4k 50p, these lenses are more like using a 50mm and a 100mm which is the perfect fixed focal length indoor/outdoor pairing for me. On the left hip, pulling stills biased duty, is the S5 with Sigma 28-70mm f2.8 pretty much all the time except when I need a wide angle when I will switch it for the 20-60. With another 3 more jobs max the rest of this year, I can’t justify another S1H until next Spring and then the full line up will be: S1H with Sig 35mm f2, hybrid. S1H with Sig 65mm f2, hybrid. S5 with either 20-60, 28-70, 24-105 depending on specific need such as in the hand for occasional wide angle stills or mainly static, unmanned, on a tripod recording up to 30 mins. There is no place in my bag for the Sigma 45mm f2.8 and probably not the 28-70 either which is a shame as it’s probably the best all round lens after the 24-105, but I prefer primes. I don’t think I’d use the 24-105 at weddings and really only keeping it in the car as an all purpose backup lens and for personal landscape work in the mountains. The only potential change to the line up might be if Panny popped out an SH2 or an S5H for sale before the end of March 2022, but otherwise another used S1H it will be and I will run the above combo at least all of ‘22 and ‘23 for three principle reasons: 1: I am sick to death of playing around with various combos of kit which I would have been well past if this year (and last) had not been so shit, ie, the process has been dragged out far too long due to lack of opportunity and lack of finances. 2: Other than being less than stellar with forward and backwards video tracking, there is nothing else I need or want either within the system itself, or from any other manufacturer. 3: I am a big believer in nailing down the most minimalist kit that you can and then getting so familiar with it, using it becomes second nature and gets out of the way of the process of stills and video capture. OK, I need another coffee, that was a lot of typing on a phone!

I would like a digital Contax G2 please.

The stuff that wins most competitions is the “why didn’t I think of that?” material. The problem is most of us never do think of it. I know my limits and winning an international short film comp is beyond my skill set 🤪

I thought it had to be shot on a Lumix camera? I could be wrong and can't be arsed to read the rules as I won't be entering, - my skillz are not good enough to win anything, I'm a realistic bloke 😜