herein2020

I agree, but there are no restrictions or mandates in my area, only if you go inside of an establishment must you wear a mask and even that varies from city to city.

Thanks, I feel the same way, it is just so easy to work with and the WFM always seems to say everything is within range. I shot a swimsuit shoot against a rising sun, no fill light not even a bounce and I was able to get the model's skin tones up to the low end of the IRE skin tones range without losing color while retaining the highlights in the background.....truly impressive, and DR is handling the footage so well, even the H.265 4K60FPS footage, that I stopped wishing I had raw to work with. Even after color grades, titles, adjustment clips, transitions, Fusion work, etc.....it still plays smoothly especially in the DR17 beta. For me, Its even harder to believe that they are excellent stills cameras as well; in many ways better than my Canon 5DIV (flash sync speed, aspect ratio guide lines in camera, focus points edge to edge, intervalometer, integrated wireless flash trigger, etc.). I need to dedicate a photo shoot one day to just using the S5, but I haven't had time.

If you purchased from BestBuy you should just try to take it back immediately. I purchased the R6 from BestBuy and kept it for almost two weeks....took it back told them it overheated too much and got a full refund, no restocking fee. I don't know if the cashier just forgot to charge it, or if the fact that I said it was defective meant there was no fee, but I think it's worth a try. As far as the R5 and raw over HDMI, I highly doubt Canon will ever allow that, this is the same company that put a fake overheat timer in their cameras then released the C70 two months later, I don't see them ever allowing raw to leave those two cameras.

I'm not really convinced the S5 has newer tech, smaller yes, but same sensor and many of its features are outdone by the S1 (no recording limits in any modes, top screen, etc.) I really think it will come down to if you will use the external monitor a lot. I noticed in your original post you seemed to be mainly using it to try to workaround the R5's limitations....since the S5 has no such limitations you may not even need to use the HDMI port. I don't even own an external recorder and have never felt the need for one. I did just notice the S1 uses two different types of memory cards which to me is another strike against it, But also for photography the S1 has a 1/320s flash sync speed which is great if you do a lot of sunset shoots like I do whereas the S5 has a 1/250s flash sync speed. I think you just need to lay out the spec sheets for the R5, S1, and S5 side by side and figure out what is most important to you...of course there's always Sony as well but I know next to nothing about Sony's models except that I don't want one.

If I were in your shoes I would also consider the S1. With the new firmware coming soon it will also do 5.9K ProRes raw externally AND it will do 5.9K internal (not sure of the internal codec yet). The problem with the S5 and an external recorder is the mini HDMI port. The problem with the S1 for me is having to buy the VLOG license key and the screen does not tilt and flip. If you could find a lightly used S1 with the VLOG key already installed that might get you everything you want for a very good price and just add the EF adapter. You will get a nicer EVF, higher res screen, full HDMI port and 5.9K internal for the same price or cheaper than the S5. The S1 also already has the AF from the S5 with the latest S1 firmware and I can tell you that the AF for photography with the EF lenses that I have tried on the S5 is almost instant. Of course I haven't done extensive testing since I don't use it for photography, but for the few images I have taken with it the AF seems to be the same speed as my 5DIV. You will definitely be giving up Canon's DPAF and Canon's excellent focus peaking system, so it really comes down to what is important to you.

I will admit as much as I'm used to the lack of AF (after using a GH5 for years), it still bugs me a bit with the S5. I know native lenses would solve that, but I'm like you, I have a large investment in EF glass and its really nice to be able to swap lenses between my C200, 5DIV and S5. So even though continuous AF is non existent, no overheat timer, dual card video recording, VLOG, etc. etc. far outweighs the R5's superior AF for me. Funny thing is, everyone raves about Canon's AF yet when I tried using the R6 to film a dance group the AF was terrible, I had to switch back to MF because it kept jumping to audience members in the background.

The spot AF is great with the adapter, so it is fine for stills as long as the subject is not moving. You will lose continuous AF with the adapter even for stills so that's something to keep in mind. I know everyone slammed the EVF on the S5 but it seems fine to me. I picked up the EOS R in the store a few times and looked through the EVF and the lag was horrible. I'd rather no lag than a higher resolution EVF and I don't really see a lag in the S5 EVF. I'm still using my 5DIV for photography so I don't really use the EVF on the S5 since I only use it for video. If I were to use the S5 for photography I'd get a second one with no cage and a battery grip because the grip to me is not as comfortable as my 5DIV. The one thing I will say about the R6 is it felt awesome to hold, the S5 actually feels better to hold with the cage than without because it adds size to it.

Get an S5...problem solved (except no AF and no 4K120FPS). My Canon R6 experience was equally bad: Compared to my Panasonic S5 experience: But I do think you got a bad R5, probably something wrong with the HDMI port. I do think if your mixture is 80% video 20% photography the R5 is not the best option but that's just my opinion. In Canon's world they would want you to buy the R6 and the C70 for that mixture.

- I always shoot in VLOG, when color grading are you using a LUT or doing manual primaries correction? I've stopped using LUTS for primaries and get much better results simply grading by hand. In DR I create 3 nodes (primaries, curves, false color), I use the primaries node to set the Lift, Gamma, and Gain, I set Saturation to 90%, and I set Contrast to 1.17. I then fine tune the image in the curves node and check skin exposure using a false color LUT in the false color node. I've attached a screen shot from a recent fashion show, showing before and after. I have never had a BM so I don't know if the attached image has more grain than a BM in the same situation so I will let you be the judge of that. What really impressed me about the attached image is that I was able to recover the white balance. Someone turned on a very warm spotlight right as the show started and I did not have time to adjust the WB (the joys of shooting fashion shows). -For IS, with the Sigma adapter attached for some reason most of the modes get disabled for me and it doesn't seem to give me the option to turn off body IS. My Canon EF 24mm has lens IS and I haven't tested which is better, so I've just left everything at their defaults and it seems to all work itself out. -For S&Q I never use it, I shoot everything in 4K and mostly at 60FPS, I feel like all of the modes in the S&Q options are going to require that I deliver at 1080P so I haven't experimented with the modes. -I don't use AF at all, since I can't use continuous AF with the adapter I just use hybrid AF.....so half press the shutter to get focus then MF from there. -Depending on the lens the magnifier will automatically come on when you set the dial to MF and start turning the focus ring as long as you are not already recording. In the menus you can set the center button of the focus selector dial to magnify when in MF so that's how I have mine set. Some of my lenses like the Canon 24mm-105mm don't automatically magnify when I turn the focus ring but the EF Sigma 50mm does as long as the selector is in MF.

I just hope its enough, Panasonic as a whole is in better shape than Nikon due to the fact that they make many other things, but if their camera division is losing money its days are numbered, also it can't be good that they have to buy sensors from Sony and they are only available online. You have to really want a Panasonic and know what you are buying in order to get one; maybe its just like that in my area.

I really wanted to like the S1 and even after getting the S5 I went back and looked at the S1 again especially since it has a full HDMI port and will soon be able to do internal 6K, not to mention it can still use the same XLR adapter I am using with the S5, the only things I don't like is the screen is not a full flip / tilt screen, besides the lenses and AF situation, and they charge for the VLOG "upgrade" which is why I never had it in the GH5. I use the S5 at odd angles and on a gimbal quite often so that tilt flip screen is pretty important to me. I truly thought CLOG3 was as good as it gets, but working with VLOG out of the S5 is pretty incredible. The way I can push and pull the 10bit VLOG footage coming out of the S5 I thought was only possible with RAW footage. I always feel like I haven't exposed properly when the WFM says everything is still in range then I drop it into Resolve and a few clicks and it looks perfect. That's my main concern....how many of us are out there? The cameras are great but if they are losing money on them how much longer will they keep making them? Everyone is predicting Nikon's fall, but it seems to me like Panasonic is the one in more trouble than Nikon.

Like @IronFilm said, the minute you can view it, you can download it. All you need is an MP4 downloader plugin in your browser. The better ones will download ANY video that you have playing in your browser, no matter where it is playing from.

We all knew there had to be one so I decided I'd be that one 🙂 if you were using DR you'd just drag the clip to the timeline and by default it would inherit the default project settings which is scale to timeline resolution; a round about way of saying you wouldn't have to do anything in DR except add the clip to the timeline. My own personal journey from PP started earlier this year when work slowed down due to COVID and I was still paying that Adobe subscription. With no video work for awhile and that death by a thousand cuts PP subscription I installed DR, spent a week watching YouTube, and have never looked back; best decision I have made in a long time. I know its not for everyone but it really is so much better in all the ways that matter to me and my workflow (especially financially).

Currently the focus has been on Nikon to be the next one to exit the camera market, but I've been reading more and more articles about Panasonic actually being in worse shape than Nikon when it comes to their camera division. One such article is below; and I know it leans heavily on Tony and Chelsea which many have strong opinions about, but regardless I do think the facts in the article are pretty sound. As much as I love my S5 and GH5, I will admit I've been hesitant to go all in on their offerings due to their AF, lens lineup, and this nagging feeling that they might not be around much longer. https://www.digitalcameraworld.com/news/2021-doom-panasonic-selling-camera-division-nikon-to-shrink-business Having Panasonic exit the market would be the worst possible scenario in my opinion because they are without a doubt the best cameras for my specific use cases at this point in time. I would love to get an S1R for photography, a dual battery grip, and some native L mount glass now that my Canon blinders are off (thanks R5 and R6), but something just doesn't seem right to me about their situation. I keep getting this feeling that in 2 or 3 years Canon and Sony are going to be the only hybrid options to pick from (if you consider the R5 or R6 to be hybrid cameras). I truly don't get why they haven't changed their AF system, or why they went with a new lens mount or didn't at least provide a native adapter to EF and RF that enabled Continuous AF, no GH6, and not so much as a rumor about HW updates for the S1, S1H, or S1R. I know the S5 just came out and it is fantastic, but there's not so much as a rumor that I can find about their flagships. I have also noticed that the big box retailers in my area have stopped carrying any Panasonic bodies, the only way to even hold one now is to order it or rent it, even Olympus was on the shelves until the end and Nikon still has plenty of display space. I also haven't seen a single Panasonic being used for photography ever at any of the events I have attended where dozens of photographers are present, and in my area I seem to be the only one not using Sony for video. Last but not least, their website is terrible...their cameras are great, but its clear they put next to nothing into their website or marketing compared to Canon and Sony. In my meantime, my 5DIV and EF glass collection still meets every photography need that I have so I guess that's all that really matters, but I am almost ashamed to admit that if my 5DIV died tomorrow I'd probably replace it with an R5 as much as I would prefer the S1R.

@Phil A @gt3rs that's what I meant, I knew there was something you couldn't change in DR16 after creating the timeline.....the framerate. Back in DR14 I used to forget all the time since my starting framerate is usually 59.97FPS. Now in DR I have all of that set as defaults especially the frame rate so on import it automatically sets the right frame rate. It looks like in DR17 beta there's no change in that area. At least it lets you set project defaults so that you are more likely not to have the wrong timeline frame rate.

I don't think we will ever know if Sony is refusing to let Panasonic use the technology or if Panasonic truly thinks what they have can be superior one day. When a camera maker is dependent on their competitor for their imaging sensor that can't be a good situation.

Yes and its wonderful. Now if they would just add false color and better focus peaking it would be great.

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 wish I could use native lenses but don't feel like I'm missing much.

@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 clients just like to see themselves performing the action, it doesn't have to be a razor thin DOF or the entire thing. But it also sounds like your wedding clients have a bigger budget than the ones in my area. In my area the budget seems to end up somewhere between are you kidding me and not even close so needless to say I don't film many weddings.

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 alliance member's lenses and bodies; the article pretty much reached the conclusion that if you want the best user experience you needed to match the camera maker's lenses with their bodies, of course this kind of defeats the concept of an alliance. This is also one of the reasons I am cautious about going all in on the S5, I feel like every native L mount lens I buy is pulling me into a system that may always have a lens shortage if you only count the 'native' Panasonic glass, so for me I decided to give up continuous AF in order to stick with EF mount lenses.

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 your work then the S5 is not going to be the best choice, in fact it probably shouldn't even be on the consideration list. Even for photography with the S5 there is no continuous AF with EF lenses so that is something else to keep in mind.

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 for the Panasonic S5 and the Canon R6: Panasonic S5 User Experience https://www.eoshd.com/comments/topic/48868-panasonic-s5-user-experience/ Canon R6 User Experience https://www.eoshd.com/comments/topic/48628-canon-eos-r5r6-user-experience/

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. I think for now just knowing how to control the skin tones regardless of the LUT as long as the skin tones were properly lit and the camera was properly configured will be very helpful. I do get tired of digging through my LUT library trying to find one the "looks kind of nice" and it would be nice to be able to grade any scene to the way that I picture it in my mind, but there's only so many hours in a day. Working with the 10 bit VLOG out of the S5 is really helping too; I wasn't able to push and pull the colors like this using the 8 bit CineLike D footage out of the GH5.

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 YouTube search turned up the below video which is what really helped me develop a new workflow that is almost as fast as my previous one but allowed me to greatly improve my color grade without adding too much more time to my process. My new workflow is as follows: 1 - Apply a VLOG to Rec709 LUT to the clip 2 - Adjust the highlights and shadows using a mixture of the Log Wheels and Color Wheels until I have a good starting Rec709 image 3 - Apply a false color LUT to Node 2 to check for skin tone exposures then remove it when the exposure is right 4 - Create an adjustment clip and adjust the curves, saturation, etc while creating a skin tone layered node to control the skin tones separately 5 - Clone the adjustment clip to each subsequent clip and make small adjustments to the skin tone node qualifier to keep the creative grade from affecting the skin tones https://www.youtube.com/watch?v=HcFPJOLTFP0

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.