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Everything posted by herein2020

  1. In my area (FL) couples seem to expect to pay whatever is left over after the photographer, venue, vacation rental, baker, caterer, officiant, DJ, flower shop, and limo driver have gotten paid so around $500USD - $1100USD for a 6-8hr wedding. To add insult to injury I've had clients tell me they spent $3K on the photographer and $800 is all they have left for video. My recommendation to them is to set up their iPhone on a tripod, my lav mics setup alone is more than that. @MrSMW beyond the AF issues, how does the 85mm F1.8 perform for photography and non AF video? I still kind of w
  2. @MrSMW I'm with @Thpriest do you really need the entire walk in focus? You can't just set up on a tripod, set it to F8 or higher, focus on a point half way up/down the aisle/walk and throw away the softer parts before and after your focus point? I'm assuming your final wedding videos are far more video than the ones I offer based on the number of cameras alone, but I still would think an entire walk really wouldn't be that interesting. Also I simply use a wider lens like a 24mm which provides even more DOF during things like a walk. It's been my experience that for things like walks clie
  3. As I was reading this thread and your lens lineup I was surprised that you were planning on relying so much on Sigma when everything I've read says that "native" Panasonic lenses are much better in the AF department...then I reached the end of the thread and saw you reached the same conclusion I read a great article that I can't find now that discussed all of the weird quirks of trying to use Leica, Sigma, and Panasonic glass within cameras that are supposedly all fully L mount compatible and the article made it clear that beyond the actual mount there are a lot of issues between the al
  4. As others have mentioned, continuous AF is not currently possible with EF lenses on the S5. I read somewhere that most if not all EF lenses are incompatible with the S5's DFD focus system due to the many small micro adjustments that DFD needs to lock focus vs Canon's DPAF which is able to smoothly adjust the focus; whether this is true I have no idea but if it is, then it means continuous AF with EF lenses may never be a possibility with the S5. I have never used a Sony so I can't answer that part but I think it is pretty safe to say that if you rely on continuous AF for most of yo
  5. Why don't you just rent the Sony and rent the R5 and reach your own conclusions for far cheaper than buying either. Personally I was faced with the same list of options and I chose the Panasonic S5. I did test the R6 first because even with all of Canon's BS I felt like if I didn't test the R6 in person I'd always wonder "what could have been" so I tested the R6 prior to picking the S5. Admittedly, the S5 does not do 4K120FPS, but it does do 1080P at 180FPS so for those few times you really want a high frame rate 1080P is still an option. Here are my two completely unbiased reviews
  6. Thanks for the links, I'm still unsure how far I want to go with color grading, I already have so much that I need to keep up with (video, audio, lighting, photography lighting, photography, photography editing, photography studio work, video green screen work, motion graphics, titles, lower thirds, Fusion, DR changes, aerial photography, aerial video, underwater video, etc...) the list never seems to end. It always bothered me a little though that the LUTS I was using I knew were applying to some extent to skin tones and the referenced video really showed me what I was doing wrong.
  7. So I have been shooting more fashion and higher end work lately and wanted to improve my color grading process without adding too much time or going down the endless rabbit hole that is known as color grading. My current process is to simply conform each clip to Rec.709 using a VLOG to Rec709 LUT make some minor tweaks using the waveforms then add an adjustment clip over the whole project to give it a certain look and feel. This works fine for events, real estate, etc. but what I am finding is that the finishing LUT is also affecting skin tones in ways that I did not like. So a quick YouT
  8. I would definitely keep the Panasonic since you already have it especially if the barrel doesn't fall out and in like the Canon. Also, you get to use continuous AF with the native lens. If I did not have so much Canon glass I would probably have gotten native lenses because no matter what everyone says about Panasonic's continuous AF, its still better than none at all which is what I get with EF glass.
  9. I am using version II and honestly its not great. Its not a very fast lens so I mostly use it during daylight and outdoors only but the worst part about it is it won't hold its focal length if you point it up or down unless you hold onto the lens barrel. This isn't a big deal for photography but for video its really annoying having to hold the ring to keep the front element from sliding in or out, with a little more friction it would be way better. I still like the range though and as long as you hold the camera level it works well and is definitely sharp enough, it also has a good weight
  10. Very true, actually, when you think about it, unless you are watching camera reviews, or sample gimbal and drone footage, the average viewer could easily never encounter the speed ramp effect. Even the real estate videographers in my area aren't really doing them. I've gotten countless new clients for big real estate projects that say they want a video just like I did for xyz customer and almost 9/10 times speed ramping was involved. I do think camera reviewers tend to overuse it but I also think real estate is one of those types of projects that its perfect for. No one wants to see 15s
  11. You are correct, I rarely go below 2.8 with it so I forget sometimes just how fast that lens is.
  12. I have given up on the idea of a single body for both photos and video as well, mainly because I need a battery grip for photos because I shoot 90% of them in a portrait orientation but the battery grip would not work with the video cage and because I don't use native L mount lenses so there is no continuous AF in my setup. Also, a lot of times I need the video camera on a tripod while also taking images handheld so that still requires two bodies. If I ever get back to taking trips I definitely would feel comfortable taking a single S5 for both photos and video. I could never use t
  13. I now have my Panasonic S5 rigged to meet every type of project that I shoot and I know how much time it can take to get your gear rigged up in a way that works for you so I figured I'd share my setup in case someone else is looking for ideas. Every rig is kept as simple as possible, I can go from one rig to another within less than a minute and none of the rigs require tools to put together or take apart. Also, all of my handles, lenses, rails, tripod plates, audio equipment, and even the V Mount battery is interchangeable with my Canon C200 which is what I wanted for simplicity. For eac
  14. And therein lies all of the confusion over compression. I really think people's definition of compression is two fold: 1-The background seems farther away 2- The background is more out of focus If you define compression as having to meet both criteria then yes it does not exist because the background is not really farther away it is just perception distortion. But if you define compression as a shallower depth of field when comparing a 50mm lens to an 85mm lens at the same aperture and distance from the subject then you could say compression is not a myth. In my particular
  15. I am aware that the lenses do not have a crop, my crop reference is strictly referring to the crop factor of the S5 specifically when the Sigma L mount to EF mount adapter is added AND when the S5 is then placed into APS-C crop mode. The part I don't know is if the Sigma Adapter or the S5 firmware tells it to set the crop factor of the SENSOR to 1.6x because it detects a Canon EF-S lens or if it sets the SENSOR crop factor to 1.5x because it is a Panasonic.
  16. I was hoping to get the DOF as well, but like everyone is saying, its just a crop, not an actual lens element change, can't have everything I guess. I have both native and EF mount but setting up a scene and actually testing it sounds too much like work to me especially since I can't remove the EF adapter without first removing my tripod plate.
  17. That is a really cool tool. oh and my math was a bit off, 50mm with a 1.6x crop is 80mm. The tool confused me again though, it shows the background is more out of focus, whereas I think with the S5 the background bokeh stays the same with the crop. @MrSMW - are you sure, I thought the image circle in the crop sensor lenses for EF-S lenses needed 1.6x crop to not see the lens barrel. I need to test with and without the adapter. So much to test...but I guess none of it really matters when you are out shooting.
  18. Now that is pretty cool, I kind of figured that, but I don't have an 85mm to test with and didn't want to compare a zoom to a prime.
  19. I know actual compression doesn't exist but I guess my question is....will an 85mm lens produce an identical image on a FF sensor as a 50mm with a 1.6x APS-C crop on the same FF sensor if all else remains equal (i.e. distance to subject). Even though it is just throwing away pixels to achieve the crop, it is still bringing the subject closer to the camera without sacrificing resolution. @Mark Romero 2 Canon's crop is 1.6x and I'm using Canon lenses with the Sigma adapter so I am assuming that when it enters APS-C mode with the adapter and Canon lens attached that it will crop by 1
  20. I have been thinking about this for awhile now. I have been shooting with the Panasonic S5 and sometimes I use the APS-C crop mode to better compose the shot without having to change my position. So for example if I am shooting with a 50mm and want a tighter crop, instead of coming closer I will just switch to APS-C mode. In APS-C mode since its a Canon lens I get a 1.6x crop to give me a FOV of 85mm. Using this technique its almost like I have two primes on the camera at the same time. The part I keep thinking about though is if the background compression also increases to an 85mm equivalent
  21. Ok, now I am truly impressed....you can finally change the timeline resolution after adding clips to the timeline. I know every other NLE could do this years ago, but it was one of my pet peeves with Resolve and they finally fixed it. Also, for some reason it stopped crashing for me, I am now editing entire projects with version 17 Beta and it is back to being rock solid. I haven't had time yet to watch their presentation to see all of the new features, but the ones I've found so far are great.
  22. I stopped using any IS for my real estate GH5 gimbal work. I just turn it all off, I shoot 60FPS and stabilize in post if needed. At least for the MFT sensor size I found I could get much better results this way. I also spent many hours tweaking my Ronin S settings and perfecting my ninja walk. What I have learned after many years of shooting real estate videos is that you literally should slow every movement to nearly a crawl, especially pans and walks. If you don't start out super slow with every movement you will regret something about the footage later. By moving super slow you wi
  23. Actual overheating concerns aside, keep in mind that the record limit is only for the 10 bit modes. I shot for years with the GH5 and only ever used 8 bit, so before buying the S5 I decided if I needed to shoot for longer than 30 min I would just use the 8 bit modes. As long as you WB and expose properly 8 bit holds up quite well. I have never had a client tell me that I didn't use enough bits for their project. My use cases are a bit different though since I rarely shoot weddings. Most of my work is short takes and not in direct sunlight.
  24. I think they will get back to stability very quickly. This is the first major version that I have tested in beta. The other betas were just small incremental changes. This one seems to have really revamped a lot of stuff. They also are already looking at my bug reports and asking for more input so I'm sure they'll figure it out. The good thing is it is actually crashing; the harder problems to figure out are when it stutters or something locks up but it doesn't actually crash.
  25. Did anyone else realize with the S5 that you cannot shoot 4K60FPS 10 bit in H.264? All this time I thought my 4K60FPS clips stored in the MOV container was H.264 but while testing the new Davinci Resolve they all showed up as H.265 and sure enough it only shoots 4K60FPS 10bit using H.265. What is really cool though is Davinci Resolve and Windows 10 can still use HW acceleration because the H.265 codec can be HW accelerated as long as it is 10 bit 4:2:0, so either this was a genius move on Panasonic's part so that people could still edit the footage or a camera HW limitation that happened to al
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