MrSMW

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

Same here regarding 35mm. Well actually I prefer 28mm these days as it gives me a little more wriggle room, but I could live with 35. In my DSLR days, the 24-70 on one body and 70-200 on another was the staple of us wedding photography types, but I haven’t had one or anything longer than 150mm in a decade. Do I want one? Well yes and no… Yes as in principle but no as in every current offering is too big and heavy. Well full frame or Fujis 50-140 crop equivalent. Even any standard 24-70 is too much for my tastes these days but when Sigma popped out the 28-70 I was all over that. Optically virtually indistinguishable, Sigmas 18-50mm apsc lens is tiny and incredible really with its 27-75mm FF equivalent. I really do hope they come out with a 70-200 version of the 28-70, ie smaller and more compact than anything else (FF) on the market, but I would without a single thought, give them up for a single 35-150 if it was available in L Mount and no slower than f2.8 I have been tempted over the last 12 months or so to switch to Sony just so I could use the Tamron 35-150 for all outdoor work as my one and done. Coupled with the 20-40 for indoor is a perfect 1 body + 2 lens combo for me whereas 24-70 plus 70-200 is a 2 body only option.

They also make those little AF cine lenses don’t they? E Mount definitely has the most interesting lens options!

Actually, that is not a bad idea! I’m not going to go buy a new camera just to do this, but next time I do, I might just look at the dollar price and if it makes sense, go do that, dump the packaging, use it, bring it back. 👍

I wish Sigma would come out with something like this for L, F and N Mount as well as the usual E because many of us non-Sony users are crying out for a lens like this. In fact, if anything, scrap the f2 aspect which is only available something like 35-40mm and just make it a constant aperture f2.8 so maybe a little smaller and lighter… And internal zoom if possible… E Mount certainly has the most exciting glass (for me) right now, especially Tamron with their zooms.

Really? Compared with ‘The Latest Sony’, yeah, not in that league, but it’s not too shabby! But yes it’s a better image than the S5ii. In fact it’s better in every way other than AF or if size & weight are a priority. And it’s cheaper! I bought another a couple of weeks back, it’s that good. I use its AF all the time, but mainly to acquire focus in the first place and then flip to manual with the switches on the side of the lens that Sigma provides along with manual aperture control 🙌 I do have a need for reliable AF every now and again and the S5ii takes care of that, but at a pinch, even the S1H’s tracking is not bad if you use a few tricks…

Only one ‘latest & greatest’ in my current arsenal and that is the S5ii for the AF ya know. The rest, bought used, a pair of S1H’s, though the latest has a sticky wheel so I may trade it back for one of my (also bought used) S1R’s that have not yet reached the no point of return regarding their sale… Speaking of ‘latest & greatest’, I am ‘interested’ to see what L Mount produces FF next, whether that be Leica, Sigma or old Pannyboy himself, but not ‘waiting’ on anything. Good to see you back @kye I was wondering where you’d gone…

70-200 or can of oil?

What has Matt got in his pockets? 😂

S1H + Sigma 24-70mm f2.8 if you don’t mind a bit of size & weight, otherwise S5 + Sigma 28-70mm f2.8 for something more compact, plus costs less. The jury seems to be still at lunch re. image quality of the newer S5ii and I have not done enough work with mine yet to comment…though I suspect I will see zero difference.

But none of these lenses are available in RF Mount, only; L, E and some of their stuff in X and N? The recent Samyang AF cine lenses look good. I don’t imagine they are the equal of ‘proper’ cine glass, but for say a wedding hack like myself with pretensions of grandeur, I’d give them a look. But then they are only available for Sony I believe so as an L Mount Luvvie, I’m out of luck there.

Buy from somewhere like MPB where you have a warranty plus if it’s not as advertised, you can send it back on their dollar. However, you can just send stuff back within I think 2 weeks, but at your own expense. The only thing about MPB that I do not like is that they are so slooooooow to evaluate gear you send them. I have had up to a month before which I think is far too long.

The 17mm f4 they can keep. Already have the excellent 16-28mm f2.8 so… The new APSC lens looks good as are it’s existing brethren. I will pick up the 50mm f2 however. The ‘I’ series Contemporary lenses are IMO the sweet spot of lenses along with a few of Tamron’s offerings. Tried the f1.4 Art’s and they are just too big and heavy for my tastes. Lumix’s own f1.8’s are just the most boring set of lenses ever created, both to look at and regarding the results they produce. These ‘i’ Series however, as above, the sweet spot for me in terms of looks, size, weight and of course results/rendering and regarding the latter, I’d call it ‘classic’, ie, somewhere between ‘vintage’ and ‘modern’. Some folks reckon they are a bit too sharp and clinical but I disagree, especially if you shoot them with a mild diffusion filter that just takes off that digital edge. I’d just like them to produce a compact 70-200 f2.8 or even something interesting like Tamron’s 35-150 f2/2.8. I would not say no to compact 50-150 f2.8 for instance… Sigma and Tamron IMO easily make the best lenses that I am interested in for work purposes.