MrSMW

The camera you have and nope, for YT output any finer nuances or differences will be crushed to death in the compression.

If the former happens, then surely the local fire department will need to be on standby? 🔥🚒🧯 Regarding the latter, not necessarily… I would not put it past any company to encourage sales of any item and then pop out an upgraded direct replacement shortly after…

For me, the actual camera bodies remain consistent regardless of any shooting situation. The only physical variables that I change are focal length choices and lighting with the latter very much depending on the specific scenario such as: Church ceremony, although it’s a reasonable length thing to shoot, setting up any form of lighting would be a step too far. For me. But a low light entrance or exit, or any other low light ‘run and gun’ situation, I might use an onboard video light. Other more static situations in lower light such as say bridal prep, I might use a bounced constant light source, or a spot for something like speeches. Otherwise as above, the actual camera ‘choice’ remains constant regardless, so my only choices are focal length and lighting, plus some in camera choices such as shooting log or a profile.

Another thing that made me laugh about dry boring lab tests, is I had literally just watched a 6 minute film that someone had shot and CRAFTED using the S5ii. The camera was just one component and pretty much ANY camera of the last 10 years would have produced a near identical result. But anyway... 🤪

Lab test 🤔 The result may very well be the result but it’s only real world use case that I am personally interested in. I’m sure lab tests are of most interest to serial brand swappers who flip their camera bodies on a regular basis. I bought mine for the AF and fan and as long as the rest is ‘real world’ more or less the same as the old S5, that’s good enough for me.

Have something that you can market in the first place and then marketing marketing marketing.

Ha! Absolutely zero thought or planning just ‘stand there a sec, look left, look right, walk towards me’, just so I had a single piece of log footage to play with. A lot of work to do you and then I’ll make a lut from whatever end grade I come up with for the stills work that is always the other 50% of the equation. But thanks for the kind words 👍

First attempt at grading Vlog. Well first proper attempt and with the S5ii because I have tried in previous years with the S5 and S1H and always ended up going back to first the Natural profile and then the Flat profile. This was with Gamut's (old, I need to download the latest version) re709 conversion and then my grade on top. 4k 50p S35 crop footage shot with Sigma 18-50mm f2.8 APSC lens.

Possibly just my imagination, but the S5ii seems to have an even higher build quality? Just setting it up and noticed a few other minor updates such as the better placement of the LCD/viewfinder auto sensor and of course it has the fan, plus the 30 min recording limit lifted (in most modes) so isn’t all about the AF!

‘Spectrum’ not ‘Vision’ which are the faster, but cropped versions 🙈

Didn't Panasonic announce they were NOT going to be making any more compact cameras? Or has that decision been reversed? I wouldn't say no to an LX100iii if I was looking for a compact... Anyway, I've been spending money on lenses 🤪 I've had the Meike 50mm T2.1 for EF with the Fotodiox EF-L VND adapter for a while and used it a few times and liked it except for the size and weight, the latter especially which with the adaptor makes the total weight of 2.8lbs or 1.25kg...which is a bit weighty all day long off a camera strap along with a pair of S1Rs!! And that is 2.8lbs/1.25kg on top of the weight of the S1H which is already about the same on it's own. So I stopped using it partly because of that and partly because it was only one focal length. But the other day, I started watching a few 'budget' cine lens reviews and came across the 7Artisans APSC T1.05 range. These looked good...but then I found the smaller and lighter T2.0 'Vision' range and a set of 3; 35mm, 50mm and 85mm for 1250 dollars delivered. Button pushed. I will probably have to pay some import duty but still, a bit of a bargain for a set like that. So when they turn up, that is final final FINAL line up of bodies and lenses for this year which will be: Stills (plus if needs be, some additional video B roll) S1R + Sigma 16-28mm f2.8 (indoor) or 28-70mm f2.8 (outdoor) S1R + Sigma 85mm f1.4 Video S5ii + Sigma 18-50mm f2.8 (APSC lens) on gimbal and static duty S1H + 35/50/85mm T2.0 cine lenses for all other filming work. I would still like to end up with 3 identical bodies at some point as it will make several aspects of my work so much easier, but for now at least, this should be a 'perfect' combo for me and my specific needs. S1H successor with PDAF...?? 🤩

If I could wave a magic wand and do a zero fuss swap, ie, just wake up tomorrow with everything taken care of, it would be mighty tempting… It would work for me, but only as a sideways step and I’m very happy with the kit I have. But starting from scratch would be another matter!

Nothing wrong with that. In fact everything ‘right’. If Panny had not brought out the S5ii when they did, I would have flipped to Sony and gone for a pair of FX30’s for video and an A7V for hybrid (but mainly stills). No system is ‘perfect’ but if you can’t make any one of them work these days, it’s you, not the tools!

That is a bit odd… why is only C4K not affected? It is my standard anyway so that is good and this year I am switching from the Flat profile to log with some extensive testing coming up ahead of my main season.

The ZV1 was intended as my personal camera…but I think I took it on a trip just the once…and preferred the images coming out of my phone which at the time was an iPhone 8. OK, with a bit more effort, I could have got more out of the ZV1, but it was after that trip I just decided nah. But that is just my use case, as they say, YMMV. If I was going somewhere very special, I’d just take my most capable and compact camera of the time, which for the last couple of years, would have been S5 and now S5ii with my Sigma 28-70 zoom. But for 99% of the time, for me, phone.

For me, this kind of thing has been more about ease of use rather than ultimate quality of output. Like most, I don’t go anywhere without my phone. I’m not going to shoot a wedding on it, never mind a serious film, but the simple fact is as much as I like the idea of a compact EDC, my phone is my EDC.

This is my ‘issue’ with raw to date… A: How much faff and storage and work would I need to do to use it? B: Do I even ‘need’ to? The answer is right now, not really. But do I want a more ‘cinematic’ (whatever that is) image? Yes. Not so much for my clients but more for my own craft pleasure. So intrigued by raw, but will only use it if there is an actual benefit and it’s in camera and easy to use.

For me, an easy choice. Phone. Not necessarily an iPhone (though I do have the 13), but any photo/video-orientated one. Single bit of kit and most of my end result ends up on or being posted from my phone so May as well start there!

Ditto. In fact for the way I work, it is better. I really hope so… I have the Fotodiox EF-L adapter with built in VND and it’s a great bit of kit…except MF lenses only and I prefer Sigma DG DN lenses. It is. I sold mine though for 2 reasons: The variable aperture and the fact that it was a bit too slow for very low light and because sometimes (very rarely, but still sometimes!) I need to go wider. Hello Sigma 16-24mm f2.8 but because I am a crop mode 4k 50p shooter, it’s more like a 24-42mm which for my needs is great. That was my single biggest issue with the S5. My S5ii turns up this week and is actually going to be paired with permanently, the Sigma crop only, 18-50mm f2.8 Tiny but very capable crop 27-75mm. My S1H has had a stay of execution and is not being replaced by a second S5ii as all it needs to do is perform 30+ minute static duty on a tripod without AF, so a second S5ii in that role would be wasted (and the old S5 could not do it in the first place. Not in 10 bit 4K 50p anyway). And in a final about face, I am going to mostly be shooting zooms for my stills. I was going all primes (from f2’s to 1.4’s) with my S1R’s, but having tried out those f1.4’s, decided that ergonomically, I really needed battery grips to be comfortable on a typical 12-15 hour shoot…but the ergos of the S1R sans grip, are very well suited to that Sigma pairing of 16-24 and 28-70 so sticking with that as I have the lenses. And love them. The only prime I am keeping is the Sigma 85mm f1.4 because it’s not too big and an absolute gem for stills at 85mm, or for video cropped at ‘127mm’.

Does anyone know where Sarah Connor is right now? Hopefully pregnant and well protected…

Still waiting for my S5ii to turn up replacing my original S5… Otherwise, nope.

Yes, I was wondering the same thing yesterday… Not so much whether it was fake as such, but just what the connection was…

Double Post ^ !

For video, other than (reliable) tracking, I always found it quite decent. For stills, as long as it isn’t anything like motor sports or anything fast paced, it’s arguably better than phase because contrast is generally more reliable than phase. Where it pissed me off though was the occasional pulsing. You can dial in certain settings that dial out most of it, but not completely in all situations. Mainly outdoors. With trees in the background. Which is a scenario I shoot a lot. It was this that sent me down the route of using AF to get an initial lock, because despite being slower than PDAF, it is accurate, then immediately flipping to manual. And that is where/why I love my Sigma lenses because they all have an AF/MF switch in them so the process is fluid. Maybe it’s just me, but I prefer to switch the focus type on the lens rather than the body.