MrSMW

Yes, the Megadap adapter is a genuine game changer IMO, specifically in regard to using Tamron e Mount glass on Nikon. Specifically, the 20-40mm f2.8 and the 35-150mm f2/2.8. Hello! The longer lens in the Z9 and it’s smaller buddy on the Z8 and away we go! OK, I’d switch out the 20-40 to the 28-75 for ceremonies and speeches at weddings, but it’s the only realistic 2 body set up I could contemplate. 100% not this year however! My window to do that expired last week and I’m 100% committed to remaining with L Mount for this year at least. I’m hoping that old Pannyboy will drop a bombshell with any S1H replacement but even that is not a done deal as there is a very certain spec I would need before there is any further change beyond S5iix as things stand. 6k 60p uncropped internal is basically any future camera for me, or until such time, not happening!

You and me both. It’s my only real gripe with the S5 series and was the deciding factor in me not going back to Fuji XH cameras over the Winter. Had some form of tilt been used, I would have jumped 100%. The only time I prefer a flip screen is shooting portrait orientation stills because it then aligns with the body. But the rest of the time; landscape stills and all video, tilted in line with the body!

I was thinking about hopping on a train to Paris to do just that…but then came to the conclusion I’d probably buy one. Then I’d need to get a Z9 and 3 lenses. And sell everything I have to fund it and it would still cost me the best part of 10k. Mid season. I came to the conclusion it would be utter madness! Sounds like an R3 would be better for you?!

I can do that in a day and not just over models, but entire brands 🤪 Z9 AND Z8 would be my preferred option here. A single body would not cut it for my needs and rocking a pair of Z9’s would be too much, but I’d have concerns over a pair of Z8’s. Maybe old Pannyboy will announce an S2H before you get to that shop and that might be a curve ball huh?! I don’t think they will or it would probably hurt S5iix sales and other than The Influenzas, I don’t know if anyone has their preorders yet. No notification regarding mine, but then France…

Well I used to shoot all my events at 50p so I had the option of real time at up to 50% slow motion and my productions were typically 1/5th real time and 4/5th slo mo. That’s all changing from next week as I’m switching to shooting 30p + 60p despite being in a PAL region. 30 is my new go to after research and testing with 60 being my option and productions will now be approx: 1/5th in real time + 1/5th at 40% + 3/5ths at 80% + probably squeezing in a flowing timelapse or two + some slow shutter drag stuff from late on. Throwing the kitchen sink at it? Kind of, but in a considered storyboard cohesive manner as in it’s all pre-planned such as; couple exit ceremony with confetti? Well that’s shot in 60 to end up as a 40% speed closer and fade out from the chapter ‘Ceremony’. Shoot for the edit basically. I’m setting up each of my cameras with 5 custom settings; indoor stills, outdoor stills, 30p indoor video, 30p outdoor video, 60p outdoor video. Timelapse and shutter drag stuff, I will just manually set at the time. I’ve spent too much time juggling kit in recent years intending to up my capture game but it’s been getting in the way of creativity/intent so some fundamental changes have been happening…

That takes me back 😂

Probably about the same… I’m just not a fan of big lenses and especially if they extend a long way. I was moving over to f1.4’s from my f2’s, but when they arrived and I put them on my cameras, it was a definite no. I’d rather shoot higher ISO, so I sent them back. The biggest lens I currently use is the Sigma 28-70mm f2.8 which only extends about an inch max when zoomed out. Maybe I’m a bit odd, but I’d rather shoot 2 bodies with smaller lens to get the same focal lengths as a single body with a bigger zoom. I think of and use all zoom lenses as X + Y and not X to Y, ie, if the 24-105 was internal zoom, I’d maybe use it more, but then again, it’s really too extreme for my needs as I use zooms like primes, ie, only at their extreme ends so 28 + 70 = good, but 24 + 105 = meh. So my 24-105 sits in a bag most of the time as back up/wet weather. I would use an all prime set up if I could, but that eternal equation of number of bodies plus focal lengths required buggers the mathematics up! I would make an exception for Tamron’s 35-150 however because it’s just so versatile for my needs. But that would require a change to Sony or adapted to Nikon and that is not happening any time soon. So my current set up for my needs are: 28 + 70 zoom welded to Body 01 16 + 28 zoom or 90 with Body 02 18 (27) + 50 (75) APSC zoom welded to Body 03 (static and gimbal use only) I would like something like a 150 as a compact AF prime, but it does not exist in L Mount, 105 being the longest f2.8 (without going up to massive 135mm f1.8) or 70-200 zooms which are not for me. I really hope that Sigma come out with either: A. A compact 70-200 Contemporary I Series to pair with the 28-70, but actually a 70-180 like the available Tamron might make more sense and be smaller? B. An equivalent of the Tamron 35-150 except make it constant f2.8 as the f2 at the wide end changes very quickly and I would rather it did not. C. Get completely funky and do something like a 40-120 f2.8 with internal zoom and I would never buy another lens 😬

Liking the 6k 30p ‘open gate’ (3:2) on the S5ii… Testing it ahead of the arrival of that pair of S5iix’s due hopefully soon… I think I will probably be using it as my go to for the bulk of my work going forward because it does have an extra edge of detail over 4k and allows for better quality 9:16 highlight films using the same material, on top of my regular wedding films/videos. The only issue I seem to be having is my M1 chip MacBook doesn’t seem to like it much whereas 4k footage flies through it. Not sure what’s going on there… The baked in LUT works great so will also be using that going forward. Using the Gamut conversion LUT which is my preferred one and the footage coming out is nicer than using any profile with more DR. After some minor adjustments, it’s then just a case of the grade but I am much preferring getting an ‘a good starting point almost ready to go’ SOOC image. No ‘worthy’ examples at this time as I was just messing about really trying out some different set ups and getting round any potential flicker etc (using 30fps in a PAL region). It’s tungsten that is the only occasional issue but these things have synchro scan so as long as you don’t mind breaking the 180 degree shutter rule, you can tweak it any which way. Or just shoot 108/216/324 degrees if you know it’s just going to be awful. Most of my work is daylight plus some LED so not really an issue anyway.

Thanks for the update and good to hear it went well. And with the 24-105! Almost tempted to give it a whirl at my next wedding…except it’s my least reliable AF lens for stills in L Mount, but good for video. Not tried it on the PDAF S5ii…and probably won’t actually as it’s a bit big and bulky compared with my other lenses and juggling 3 bodies. I have got a non-pro event coming up on the Normandy coast around D Day (all that stuff is about 1.5 hours for me) and providing one of my battery grips has turned up by then, I may give it a go, - PDAF + Lumix 24-105 because I did some testing this last weekend up and around Utah Beach, but the 28-70 was definitely a bit short! As expected though, so on me. Thinking about picking up a 70-300 for that kind of thing. In fact, I’ll go and check prices right now 😉

Well try and get your heads around this one… Given the choice of my 28-70 f2.8 or my 24-105 f4, I’ll take the 28-70 every time. Why? Size, weight, minimal extension of zoom but perhaps more importantly, actual focal lengths. 24 is a bit wide for me as a medium wide and I prefer 28 or 35 but in recent years, I have settled on 28 as it’s about the sweet spot for not making stuff look out of proportion. I get why some folks like 50mm but personally find it a bit too ordinary/boring so prefer 65/70. 105 is a bit ‘meh’ to me either being not much longer than 90 (which is my other principal lens/focal length) but well short of 150+ which is what I’d ideally need for longer stuff. So 28-70 used only at 28 or 70 is about 85% of my (stills) work these days with the other 15% split approx <5% 16mm and 10% 90. For video, simples, as above x1.5…although having said that, I am going to be trialling 6k 30p ‘open gate’ in a couple of weeks, as long as I can control/get around any flicker/banding. Why not just go with PAL standard 25p? No option for slow mo…which I am moving away from a little by going for a milder 80% instead of 50% ie, 30 on a 24 timeline. And having said all of that, my ideal focal length lens would be that Tamron 35-150 which would combine 2 bodies down to one, but that would mean switching systems to Sony or Nikon. And I’ve looked, but not! In the end, we’re all different and have different needs and tastes 😬

That's my point. You get stuck at the back of a cathedral with permission to shoot from there and only there and your only lens is a 28mm... A word beginning with F and rhyming with duck comes to mind 🤪

Yes

If it’s any ‘consolation’, quite a few trying out Z8 and Z9, say they prefer the image out of the Z6 and Z7… Probably/maybe due to the bigger boys only having an e:shutter? But otherwise good call I think to invest in what you have. Becoming ultra-familiar with not just your tools, but your entire workflow is very important. It was one of the key deciding factors, along with cost (your dilemma also) in me not switching back to Nikon after leaving that system 12-13 years ago. Flipping 3 older bodies for 2 new bodies yes, but keeping that familiarity very close and since a long time, actually having 3 identical bodies. Also a good call by @mercer re. those lenses.

Based on that pic, I would then have gone Z9 + Z8…which was the plan. The Z9 looks far neater than the Z8 with grip!

If I was switching…and I am not, it would without question be a duo of these, paired with adapters and 3 Tamron zooms; 20-40, 28-75, 35-150 with one unit with a battery grip to handle the biggest lens. I shall have to ‘make do’ with my trio of 2x S5iix’s and a single S5ii. Not sad about that. Not even slightly. The Z8 and Tamron lens combo is IMO for my needs, the ‘ultimate’ at this point in time, but my budget is not quite on that same point all things considered!

There’s your answer. Work with what you have whilst keeping a future eye on that Z8 which I think may turn out to be something a bit special. But right now, be smart.

Embargo on S5iix lifted around one hour ago and reviews left right and centre. They did hold back something and that is 12 bit Braw (external of course) for those that like that kind of thing. Davinci editing only I think though…? Otherwise looking forward to mine arriving soon. New primary workhorse.

I think that once any company is sold to ‘portfolio management companies’ whose main intent is to try and make money from it but don’t really give a fig about who the user is, it’s a pretty quick downhill slide into oblivion.

Indeed. My own approach that I have settled on is an 'indoor set up' and and 'outdoor set up' that requires just one single lens change on one of my 3 bodies. Body 01 = longer form, static video using a 28-75mm zoom = 28-40mm indoors and 50-75mm out. Doubles as a gimbal camera but I'll typically use the 'indoor' focal length for this purpose and it never crosses over with the static use. The only difference is how far zoomed out or in the lens is (that never comes off) and whether it's on the gimbal or the tripod using the same Swiss Arca mount. Body 02 = hybrid with 28-70 welded on and is shot at either 28 or 70 but nothing in between, ie, like a twin prime set up. Body 03 = hybrid with 16-28 indoors (shot 16 or 28 only, ie, as above, like a 'twin prime' set up) and 90 out. This. And why I have an indoor and an outdoor set up of focal lengths because it's about the distance to subject which using different focal lengths (but never anything extreme) is 'equalised' based on where I can position myself, ie, closer indoors (usually because of walls) and further away outdoors, because it's possible to do so. For consistency and a 'look' it works and from the video side is basically 2 focal lengths; 42mm indoors (occasional 28) and 75 out with occasional 105 or even 135 out at very specific, but limited times. There's a fella I know who is most definitely not 'world famous' and nor will he ever be who does just this and restricts everything he does to just 28mm. I don't think he's an artist, but taking the piss. Or at least, restricting his coverage for the sake of his 'art'. But then again, if his clients like his work/results and are happy to pay for it, then fair enough, but I couldn't do it...though have in the past using just 35mm for an entire year professionally. I came to the conclusion I was being a pretentious artiste and taking the piss. So stopped doing it 😜

This. Over the last decade+ especially, transitioning from being a photographer to a ‘hybrid shooter’, I have gone through periods of ‘gear creep’. Each time I reach a peak I say enough is enough and downscale it all…only to find the volume of kit creeping back up. I have just been through such a peak and had another ‘enough is enough’ moment but this time it really is enough. There is of course a fine line between being able to cover every single possibility and having just enough tools to do a job. My own experience is providing you do have sufficient tools for the task, then less is usually more. I don’t specifically shoot concerts, but events. There is nothing better than having one ‘do it all’ camera and lens combo in your hands, that you are familiar with, at all times. 24-105 for most brands or even better, Tamron 35-150 for Sony (or adapted for Nikon) would also be my pick on a single body, in this case the A7iv because it is a hybrid and the FX6 is not.

It’s OK. Just that, ie, not terrible and not superb. Other than my gimbal unit for video use, I am switching to battery grips for hybrid use and my pair of inbound S5iix’s. One in the body, one in the grip and another on charge. I think the grip one goes first so if that is the case (it usually is) then maybe one swap later in a typical 12 hour day should be good. I don’t shoot non-stop for 12 hours obviously… 🤪😉 Batteries are cheap, can go in pockets and take seconds to swap so IMO, batteries have always been a non-issue for me. Any situation where it has any chance of running out, powerbank clamped on the tripod.

‘Influencers’ received theirs the evening before last but the embargo re. commenting or reviewing is still in place. Differences re. spec are all over the net. Not being disingenuous, but it’s quicker and easier to point you there 😉

XE4 is the smart persons choice over the uber-hipster X100V. Pair it with an XS10 for light video work. Share an 18-50mm f2.8/4 with maybe one fast prime between the two et voila, a very compact and capable compact kit. I do not choose to, but could and would comfortably shoot a full wedding, Hybrid, with that set up without a second thought. Longer form video I’d want something with a fan in order to avoid overheating and shutdown, but my point is the above kit is EASILY capable of high end pro results, in a small package and at a bargain price. I shot an entire wedding season (stills only) on a single OG X100. I wouldn’t do it today, with that camera, but an X100V? Sure, easy. I just choose not to.

Got to add 200% grain to all finished productions for true authenticity! Ditto, I don’t need the file sizes of All-I as I’m quite happy with 200 mpbsbpssbps and never going to shoot raw UNLESS it’s 6k or 8k 50p, at limited times and to pull stills off of it. And the S5iix can’t do that either so not a problem! I could have got a pair of regular S5ii’s for 4000, but instead, a pair of X’s at 4750 including 2x 2TB portable Sandisk SSD that they are giving away and as I work off those things and they cost about 300 each, not really paying much to go full Batman 🦇

XH2s would be superb for both video AND stills. Save the money on that second body and instead, upgrade that 18-50mm f2.8/4 (best lens for non-IBIS bodies) and go for the Tamron 17-70mm f2.8 for a FF equivalent 27-105mm lens. Or on a budget, original XH1 which is a FABULOUS camera for stills and good for video. But as before, if size is a thing, then the XS10.