MrSMW

Fairly close behind you and I could even go 2 body instead of my target 3 from my current 4. It would still require some investment but…possibly ‘fuck it’ time here also 🙈

I would have bought one a while back but there just were none available new or used without paying up to +2k more. Then later, when available, they lost me because I went cool on the idea. But I keep coming back to two lenses; that Tamron 35-150 and their 20-40. And it’s Sony or adapted Nikon… I really do not like switching around lenses mid job and 24/28-70/75’s are too short, 70-200’s too long, 16-28’s don’t really need that extreme width but not quite long enough. I dislike the 24-105 because it’s too slow in low light and the AF is sluggish. Tamron have absolutely nailed it for me…but I can’t adapt them to L Mount. At least not without losing AF. Prove me wrong! Z9 makes most sense because I would only use the adapted 20-40 first 10% of any job, then switch to 35-150 for the next 80% (and that lens needs a grip IMO) and then back to the 20-40 for the last 10%. I’m talking stills only, but v. interested in pulling stills from 8k video so it could fulfill a true hybrid role for me. Just had yet another job wrestling with too many bodies and too many lenses… I have a month until the next job so… Looking very hard at it…

I have had a used one in and out of my shopping basket several times but backed out each time. I’m really just waiting to see what Panasonic do with the S1 line replacement because ideally I’d stay within the L Mount ecosystem but not 100% committed to doing so.

Yes, or screw the 180 degree shutter rule and go 1/250. I often shoot without ND’s and crank the shutter speeds into the thousands. Or used to. I may just go back to that all the time because I don’t really notice any difference.

I’m interested in 8k for frame grabs to use as actual proper photography stills. 2k is trash for that, 4k OK, 6k good and 8k where it’s at. But yes, I’m not interested in size for the sake of size, especially if it is at the expense of other areas.

My first S1H has been perfect but my second one a right bitch so I ditched her and went back to an old flame (S1R) who doesn’t talk down to me.

On my radar also… 10 years Nikon film and then early days DSLR up to D3s and then Fujifilm X for almost another decade and now L Mount for the last 2 years. The Z9 as a body is for my needs, the ultimate camera right now. The lenses, less so. Z9 spec in a Z6/7 size body sure would be interesting, but even if it ticks every box, not this year and not before at least old Pannyboy from the L Mount 3, announce an S1 line successor. Pretty sure I will change a few things in 2024 and it may well be a complete ground up with another brand. No complaints, but I just want to get to my 3 camera system over my current 4 as soon as realistically possible, although that equation is more a lens than a camera conundrum. As I have stated numerous times on this forum, right now, for my needs, only Tamron in e Mount have my ideal line up of glass but there is an e to z Mount adapter that retains AF so Nikon could be a contender… Anyway, anything new out there is always interesting if only as a point of reference.

Googles meaning: ‘ad hominem’. You learn something every day on this forum 👍

Early days and as with the S5 that preceded it, like it but don’t love it. To be fair, it’s not it’s fault but more my use case for it which is long static stuff and a tiny amount of gimbal. Edited one shoot so far with it and no idea what the critics are saying about it…but as above, fairly limited and controlled use so far. Shot another job but not edited it yet and then a third later this week. Really, the S1H is my workhorse for the greater part of my video work and that is a case of ‘love’ over simply ‘like’. Has a certain mojo to both using it and the output. In other news, my pair of S1R’s came back today and just in the nick of time as I leave tomorrow for my next job. I’ve tried selling one of them once previously but came to the conclusion last week, without going Sony or Nikon (both with native or adapted Tamron lenses), I just cannot get from my current need for 4 working cameras, to 3. Not without chucking 10k into the mix on top of all my trade in kit…and I cannot justify the cost right now. Or this year. Not complaining though… In my ideal world, I would flip to a 3 camera system without hesitation but also unless any future camera has internal ND, using any system for hybrid work is a pain in the arse! I know because I have been wrestling with it for about 12 years and still have not found the ‘perfect’ solution. Does it exist? Nope. Could it exist? Yep. Easily, if we mashed up a few of best bits of several manufacturers… Will it exist? Probably soon. I think we are one step away and it will become reality if internal ND’s can become a common thing. In the meantime, I will ‘soldier’ on with my pair of S1R’s for stills (and emergency video use), S1H for primary/creative filmmaking and S5ii for the more static stuff, gimbal and anything requiring good AF.

What he 👆said

I haven’t used either so my comments are entirely without substance but when I was considering (and came very close to) flipping my L Mount set up, I decided the closest would be neither the FX3 nor the FX30. Instead, it would be both. FX3 instead of S1H FX30 instead of S5 But I got an S5ii to replace the S5 as the 10k approx to change systems was a bit rich 🤑 I like them both in principle and perfect lens line up for me from Tamron and if it were not for the €‘ s, I would have done it as for my needs, it would be the only current viable way for me to get from a 4 body down to a 3 body set up (A7RV being the 3rd body in the equation). Maybe next year because I really do want to go 3 body as soon as it is viably possible.

Something I have been meaning to try is the Rode Wireless Go on the camera. As in both units. Certainly won’t be a problem with drop out due to distance 😂 I have that set up for my next gig already to remind me to try it out in the real world. Should work… Basically, I have the Smallrig half cage on the S5ii with the receiver hot shoe mounted and the mic unit next to it on a cold shoe mount. Super compact set up for in and out of a bag plus it doesn’t look like a videographer set up for stealth purposes.

Working on it! Last year, I shot and produced 32 (all weddings by the way so if that bores you, look away now!) and I was a little sporadic in my use of lighting for all kinds of reasons* Early, but slow start this year and kicking myself I did not start as I meant to go, ie, again, not full use as intended. Next job, next week, I am going to light light light it and keep on doing so for the future. This is the way. *Mainly long lay off over Winter and first couple of jobs always a bit rusty. That’s my excuse anyway… 🤨

Pro or non-pro, reconsider it. For years I went naked priding myself on being a ‘natural light shooter’, but recently I have seen the light. Literally. At all times indoors and low light, I use at least one LED light and quite often a second. I use one super lightweight light stand plus a table top tripod. Neither the Rotolight Neo 3 or Falconeyes are exactly THE last word in lighting, but they do the job I need them to do which is most fill lighting for naturally back lit subjects. They take seconds to put up and I rarely move them once set. On camera, video or stills, I have a pair of tiny 4x AA powered LED’s off Amazon that cost about 30 each. So even if the former is too much for you, I would at least consider the latter and use it on camera or off plonked on a piece of furniture or something. Even simple things like a plate of food are transformed by a tiny light sitting on the table pointing at it on a flat plane angle. Takes seconds, costs peanuts.

Ditto. Only difference to the standard set up is I swapped out the dead cat for a foam windshield instead. Just as with the Rode Wireless Go, I don’t use the result from it as anything but a base line for my lav mics. Actually, having said that, I do sometimes use the direct result from the Go if I have attached it to a speaking mic and it’s good enough, but it’s not meant for the best quality audio. I do like the Micro though because it’s very small and you can never forget to charge it!

Yep, it’s a great little lens with a fantastic 27-75mm FF equivalent constant f2.8 aperture in a tiny package, currently welded to my S5ii.

Or they won’t give a flying fcuk as so many/most big corps do not. The thing is, we think as individuals or small businesses where things like customer service are important. The big boys do not. I don’t hate them but rather just accept that is the way of things though I will try and avoid such situations if possible. Except Amazon because it’s just too convenient 😱😂

Indeed. I came very close to getting one for video use and using OM-1’s for stills so I could share native (mount) lenses. The lack of AF was the sole deal-breaker with that equation. Tried the OM-1 and for stills it was good but hated the video. Together they would have made a great combo.

Speaking of baking in LUTS, I am wondering/hoping that the S1H might get a firmware update to do this as the new S5ii can do. That would make my workflow a whole lot easier and as I only really have one client to please (me) regarding grading, would be useful.

Aaaaaaaaaaaaaaaaargh, camera change! Nothing new, just going back to my old (used) set up. I had just purchased another S1H to go with the one I already had, plus an S5ii...and was in the process of selling my pair of S1R's but... The 'new' S1H has some issues so is going back and after 2 jobs this season, realised 4 cameras with the lenses available in L Mount, is better than 3 cameras. Oh well, back to what works because as they say, if it ain't broke... The only system I can do a 3 camera set up is Sony + Tamron, but then I'd have to make a YouTube video, "Why I Switched".

Not that daft an idea… In 30+ Celsius direct Summer sun when a camera is going to be on a tripod for say 30+ minutes, I often drape a white cloth over it simply to avoid some of that direct sun heat. Otherwise, working typically May-Sep in mostly SW France in mostly 30+ Celsius, absolutely no way I will ever work with a camera without a fan ever again as every single one to date, HAS overheated mid job. If I was a Sony shooter, I’d have no problem using this new kid on a gimbal for limited use…but then why when Sony offer much cheaper alternatives that would do that job as equally well

I have it yes and not 100% sure of the answer… It’s packed up right now as I am heading off to my second job of the year in a short while but I think so… I’m only shooting it 4k 50p and just edited 1 job with it that had a lot of vertical architecture in the background and it just looked ‘normal’? My tech skills go as far as: A: Does it look right? B: Did it do what I needed it to do? The only changes I am making between this next job and the first is whacking the sharpening down to -5. Because I forgot to do that when setting it up for the first time. Otherwise the only thing I have noticed is the colour difference between it and the S1H. The S1H is just better. Define better? See A: & B: above 👆

Ah… Slightiy surprising then as Tamron tend to have more built in OIS or VC as they call it, than most. I would also rather have it and maybe if they had gone constant f2.8, it would have had it? Anyway, it doesn’t so… The Samyang is either a blatant rip off or perhaps they were developed together behind the scenes? The Samyang is a whole lot cheaper though!

IBIS plus many recent Sony cameras have Catalyst