Excellent video! And inspiring! I'm looking to get into base jumping/fimling and just getting back in the sky period. Saving up so I can make it happen.
Agree that it’s nuts how good this camera is…and then they release the S9…it boggles the mind. Also, I think Panny uses sensors made by TowerJazz, not Sony.
Lol I’m still thinking most people frustrated with the S9 were very blatantly not the demographic the camera was aimed at. It’s difficult for me to understand why someone wouldn’t jump to an S5II or an S5IIX when even considering the S9, but that’s likely to the tools each camera has and their level of importance in regard to what I plan to do with a camera. I’m just hoping we don’t see restrictions or missteps placed in developing the next S1 or S1H. Interesting about TowerJazz, I hadn’t heard that, I’d be curious to dig a bit deeper if you’re correct. I recall reading an article a few months back detailing along with a number of creators that these cameras sourced Sony sensors, but I could have definitely misunderstood.
nice presentation - you definitely have a unique look in your grade - going for the CA look - i like it! I LOVE how you didn't go down the fashionable rabbit hole of over rigging the camera (i am convinced a lot of shooters over rig to overcompensate for shooting confidence) - these rigs 90% of the time get in the way of actual shooting. I too like to run a slick low profile run and gun set up that you can gte lenses on and off fast. - Your set up is particularly minimal and functional.
I appreciate that a lot man. Went a lil experimental with the CA look this time, always changing it seems. I’m with you on this, I see these insanely complicated rigs and I feel I’m out of the loop on what these wild set ups actually accomplish. And I haven’t quite had the ability to recognize an advantage in filmmakers who rig up their camera’s significantly over those who are not. I will say an external monitor simply providing an external display can certainly help getting many shots simply because it is bigger, but focus points and other monitoring features built into the this camera really remove the need for those previously desired in an external monitor beyond its bigger size. The only other is the added weight, which traditionally obviously adds stability, but with the stabilization on these cameras, isn’t much needed. Im with you man, fast, fluid easy. If your camera isn’t easily on hand you’re going to struggle getting half the shots you otherwise would.
I used every system and still use three different systems on paid gigs. This is my favorite camera I ever used, hands down. Color is amazing, particularly indoor/tungsten much better than competition. Stabilization is best ever too. Open gate. The list goes on...
Sharp video! Agree with your take on colours and ergonomics. I myself do a lot of run and gun sort of docu stuff, high temperatures and outdoor setups and this particular camera has caught my eye. About to pull the trigger. Always the loved the colours and pro video features Panasonic provides. While autofocus isn't my main concern, I wanted to know -- how's the moire situation? And have you noticed an 'oversharpened' look about the image quality? Looking forward to more of your stuff, really love this adventure genre and glad to see Lumix fitting in perfectly for your needs.
Thanks man! I can’t comment directly on moire, as it isn’t something I tend to look for or catch in stills or video now that I think of it. I really only catch it with certain patterned fabric and not much more. I’ve heard reports of moire problems with this camera but haven’t noticed any in my experience (but that doesn’t mean they don’t exist in photo/video I’ve shot), it’s just not something I can recall ever being of importance to me. As far as over sharpening I’d say they’re nearly identical, Lumix seems to have a marginally softer feel at times, but this is likely because Sony applies noise reduction and post sharpening in camera which cannot be turned off (unlike Lumix, which provides total control here and I turn completely off). Again, ‘sharp’ footage can be achieved through a number of things beyond how your footage is interpreted at the point of sensor readout, shutter speed, IBIS, lens IS can all result it footage that will be “sharper” varying from camera to camera.
If you zoom a bit in your videos, the S1 and S1H have nicer image quality than the S5 mark II. In 4K the actual details are really worse. 6K is more detailed than 4K but they not as natural as on the S1 and S1H.
I can second this - I own an original S5 and the S5iix, the original S5 is noticeably more organic internally even with it's basic 150 Mb/s codec, as it's less sharpened, and the one thing I found out is they have a very high amount of chroma noise reduction - blurring the color channels to hide the noise which reduces detail a lot and gets that over processed look, on the s5iix - the 6K ProRes codec holds less Color detail (resolution) than the basic 4K 422 internal to SD cards on the original Panasonic S5 due to the noise reduction. But this wasn't the case before the v1.1 update on the S5IIX, my old footage looks great. I shoot Prores RAW/BRAW on the S5IIX mainly and that bypasses all the issues. I have an in depth technical report if you'd like to see. @@DevMcLaughlin
Very interesting, thank you for sharing this info. I also have the S5 in addition to the S5IIX but struggle to notice the difference between both cameras in 4K 422. I got my S5 off OfferUp used as a studio and B cam (everything talking head of me on camera in this video is S5), but with usage both appear very similar. From my experience it seemed the S5 suffered from a bit more low light noise than the S5IIX, but this was only a rough acknowledgement. However I only shoot log, I can’t imagine trying to manage ProRes footage regularly lol. So you’re likely picking up on a good deal more in fidelity of your footage than I am. That’s awesome you found a solution shooting ProRes and BRAW!
can you tell me how you printed the rubber lens filter caps? I have a higher end printer but amend to this. I usually put filters on lenses but the stock cap pops off when putting in bag.
I use a soft TPE and CAD model each filter cap after Gobe NDX filters specifically, and rear lens caps for L-mount lenses. Took some fine tuning, TPE requires very slow printing, but worked out some very useful additions I personally use, which save me a lot of headache, which I think others will find great use from.
@@DevMcLaughlin thank you. can you share the CAD design? Also do these caps stay on well with a filter on. they wont easily come off when putting camera in a bag?
If i had to get one now, it’d be this one. I’m adamantly hanging in there for the S1H mkii (or S2H whatever the hell they call it). Panasonic registered one with internal ND’s. They don’t have a cinema line to protect. It’ll be a GD beast and nobody will stop it.
If Panasonic can push out a flagship cinema camera capable of competing with the FX3 they’ll be on a road to being unstoppable. I’m really hoping the next iteration of these cameras is something special. Love the sound of internal NDs. I’d kill for full frame 4k 120, internal NDs, and second native ISO nearer 12800 in a Panasonic package.
Hey Devon super useful insight in this video thanks a bunch - im now very strongly thinking about buying this camera and going for a similar rig. However, I noticed the GH7 drops in just over a month and has the advantage of shotting 4k / 120. Do you think it'd be worth waiting ?
Thanks man, happy it’s been useful. It’s honestly a very personal question all things considered. It really depends how you want to use your camera, what you shoot, and the most important thing you’re looking to achieve in video at the end of the day. There isn’t a “one camera fits all” but there may be a “one camera fits me”. 4K 120 is super rad, and a very useful tool for VERY fast action. But rarely is this used elsewhere. 120fps is a talking point for most tech comparisons, but this is not widely used by most people, and often far too slow for any actions that occur over 3-10 seconds in real time of being captured on most occasions (15-50 seconds at 24fps). 4K 60 is sufficient for 95% of real world actions slowed to 0.5 or 0.4. Even in my personal experience of shooting sports and sequences with extremely fast actions compressed into 3-5 seconds, 120fps is never used, and can be tricky to use on the rare occasions it is without overdoing it (also 4K 120 eats up memory like it’s getting paid to do it). Even 60fps can creep into the territory of being overused these days for many (Ive been guilty myself). There’s a number of other things you should consider beyond just fps which I’d say are more important. Do you want better quality in low light? Do you want better quality and less noise at fast shutter speeds for photo? A larger full frame sensor is better for both of these. Do you really like the depth of field look and plan to shoot everything at f2.8 and under to get as much bokeh on everything as possible? Full frame is the better choice here as well. Are these sort of meh features to you? GH7 might be better, it’s lighter, just as capable (and arguably more capable in many areas beyond simply 120fps), stabilization is best on m4/3 cameras (sensor is smaller and lighter). So it’s really up to what you value most. It’s easy to think some things are important when we’re constantly told they’re important, but real world usage and specs on a manufacturers website are two very different things, especially on an individual by individual basis. You just gotta be real with yourself, and find the best tool that streamlines the things you want to create, not what you THINK you should create to fit the tool. But also don’t forget to give yourself some room to grow. Also it’s not impossible an S1II/S1HII is released this year, in case you wanted another reason to make it more difficult to decide😅
@@DevMcLaughlin Honestly thanks so much for such a detailed response. Really means a lot! You've really helped answer alot of my questions when considering what to do and raise some really valid points about the real world usage and i think as much as 4k/120fps would be cool i think i'd rather have the ability to film in lower light at the sacrifce of some of the other benefits the GH7 has that you mentioned. I'm a first time buyer so have been spending some time trying to get my head around the many different specs on offer (and theres a buck ton) but this response / video has helped me in deciding for this bad boy. The other thing is i can buy the s5iix now and get cracking rather than twiddling my thumbs for another month and a half. Cheers bro!
Hell yeah man happy I’m able to help. I think that’s a great choice. I can personally guarantee you won’t be disappointed with this camera. Hell it still shoots 1080p 422 10 bit (know PDAF doesn’t function in this setting though). Most people will NOT see a difference between this and 4k I promise you. The other plus to going full frame here is you’ll have collected a number of full frame lenses that you’ll be able to use on your future camera purchase should you decide to move up to LUMIX’s top end line (S1,S1H) down the road. Appreciate ya, stoked to hear how you like your new camera after you’ve spent some time with it🤟🏼
Thanks man, happy you like it. Previously I’ve set up international orders on an individual basis. Let me see what I can do and get back to you. I’d love to get you one!
Thank you. I was considering getting the 24-70 or the 28-70. I will just take both down my list and cocentrate on getting the 85mm as I already have the 16-28 and can use the 20-60 for those mid ranges. And if I outgrow it, just get the cheaper 28-70 instead of the 24-70
There's truly tradeoffs for every lens. We'll never be able to hit everything we want with any single lens. Gotta choose what you're wiling to sacrifice lol. That 28-70 was calling my name before getting the 24-70, I initially got the 16-28 and the Pana 70-200, skipping the mid range all together, then deciding later that a 4lb lens wasn't reasonable for the "always-on-the-go" shooting style I wanted to be capable of. I landed on the 24-70 because being able to immediately switch from wide 24mm to tight 70mm was more important than a pound of reduced weight, or getting wider down to 16mm on most occasions. If I'm planning to shoot 48-60fps apsc I'll almost always grab the 16-28mm, as this becomes a 24-42mm after crop, whereas the 24-70 becomes a 36-105. I didn't mention in the video, but I also have the 7Artisans 12mm apsc lens I exclusively use for wide angle (18mm equivalent) 48-60fps shots, which works fantastically well for all applications I need it.
It depends what you find yourself frequently shooting. Super wide angle like 18mm I find use in the sports I shoot when I can’t get further back from my subject but want the whole scene, landscape video wanting to get as much of the environment as possible, handheld (wide angle suffers least from camera jitters, just be sure to toggle off IBIS or you’ll get bad wobble under 20mm), wide angle under 20mm is most idea for handheld vlogging (again no IBIS to prevent wobbles), and last but not least 14-20mm is most idea for real estate and landscape videography and photography. If you won’t be doing any of these that 18mm might not be for you. Considering it’s the same price as the sigma 16-28, with 1 stops difference I’d personally go with the sigma, especially if you plan on doing any apsc (48-60fps) shooting, making that 18mm a 27mm equivalent.
@@DevMcLaughlin thanks. I dont really do any of those currently but I got the Lumix S 18mm 1.8 for $420 new. Does shooting 18mm in crop mode make the image look like actual 27mm or is it 18mm cropped in look with the background compression being same as 18mm?
@ThatGuyOverThereWeird The depth of field will remain the same since you are using a full frame lens, but simply reading the projected image of that lens on a smaller portion of the sensor (due to the limited readout speeds of this camera which govern higher frame rates to the smaller apsc crop). You will still get 4K down sampled from a 6K sensor, but the image has the equivalent of a 27mm, essentially cropping into an 18mm video 1.5x without losing quality whatsoever, however this is not exactly the same as an optically true 27mm which will have a tad bit more optical foreground and background compression, which mostly becomes noticeable to the eye at longer focal lengths 70mm+.
Really good. They really are beautiful lenses. I haven’t noticed any difference in the mechanic performance of Sigma vs Panasonic on Panasonic bodies, AF is fantastic. I’m sure one could notice chroma differences, but nothing strong enough to warrant changes to a grade. Biggest thing I had to get used to was the opposite direction you must rotate Sigma lenses’ Zoom ring vs Panasonic lenses, which can make swapping between the two lenses on a run and gun shoot prone to mistakes in reframing. For reference, I’ve shot the following lenses on the S5IIx: 7artisans 12mm APS-C, Sig 16-28mm, Sig 24-70mm, Pano 50mm, Pano 85mm, Pano 70-200mm.
Lumix is useless for me because of this PanaLeica firmware glitch >>>> If you set AFL+AEL to OFF in menu and then switch from AFC to MF /AFS via the back dial or via the lens button the camera reverts to AEL lock via shutter half press instantly ( Leica Q3 and other Leica SL do the same ... #1 reason I stopped shooting Leica M cameras ... also the reason you can not shoot Zeiss ZE lenses on Pana/Leica with ANY adapter )
Strange, that sounds like such a useless feature, has this just become present in the newest firmware update? I’ve yet to update to the newest firmware.
Artificial lens blur + prism blur applied in DaVinci Resolve after color grading, emulating a sort of fringing effect certain vintage lenses give, because there’s nothing quite like taking crisp digital footage and completely massaging out most traces of fidelity into an organic look of yesterday lol.
The CA is soooo bad. Along with moire and a laundry list of other things horribly wrong with this sensor. S5 mark 1 and s1h beat the shit out of this camera for some reason. I will tell you this though, the s5iix takes amazing photos. That’s about it. I sold mine. Worst camera I’ve ever owned
I will say the CA is more lens related** but the 420 in all codecs is garbage. All intra c4k and 4k 422 is decent. Rolling shutter is terrible. HDMI lag is worse somehow. The premaps are better than mark1 for audio, AF is obvi better but still not great. Stab is good as long as your not walking under 20mm, I sold before last firmware update.
@@hhankx counter-point - CA looks magical. At some point I thought I was looking at a dream sequence. And I actually HATE CA in my job. Moire tho - can You elaborate on it? I'm currently using kit 20-60 and had less problems with it, than with 50mm F1.8 on Canon R6. But moire was and still is one of my nemesis for years. When did You get it, in what situations?
No worries about that… they will be alright. I have a feeling the new High End S1 Line will take off well. The S9 was a shot to compete with the Fujifilm’s X100V… and will that always on backorder… they saw the opportunity. They put the S9 in front of the wrong audience, Tech heads like us are going to eat it up because it’s not for us. 😂 LUMIX was right to tell Gerald Undone the S9 wasn’t made for him, they just rolled the dice 🎲 hoping some Tech Heavy Influencers gravitated to it. 😂 nah…
Excellent video! And inspiring! I'm looking to get into base jumping/fimling and just getting back in the sky period. Saving up so I can make it happen.
Hell yeah buddy, love to hear that.
Nice review, Devon! Your footage looks great. 🙌
Thanks, appreciate that!
Agree that it’s nuts how good this camera is…and then they release the S9…it boggles the mind. Also, I think Panny uses sensors made by TowerJazz, not Sony.
Lol I’m still thinking most people frustrated with the S9 were very blatantly not the demographic the camera was aimed at. It’s difficult for me to understand why someone wouldn’t jump to an S5II or an S5IIX when even considering the S9, but that’s likely to the tools each camera has and their level of importance in regard to what I plan to do with a camera. I’m just hoping we don’t see restrictions or missteps placed in developing the next S1 or S1H. Interesting about TowerJazz, I hadn’t heard that, I’d be curious to dig a bit deeper if you’re correct. I recall reading an article a few months back detailing along with a number of creators that these cameras sourced Sony sensors, but I could have definitely misunderstood.
The S1/S1H/S5/S5II/S5IIX all use the Sony IMX 410 sensor that Sony themselves use in the A7III and FX9.
nice presentation - you definitely have a unique look in your grade - going for the CA look - i like it!
I LOVE how you didn't go down the fashionable rabbit hole of over rigging the camera (i am convinced a lot of shooters over rig to overcompensate for shooting confidence) - these rigs 90% of the time get in the way of actual shooting. I too like to run a slick low profile run and gun set up that you can gte lenses on and off fast. - Your set up is particularly minimal and functional.
I appreciate that a lot man. Went a lil experimental with the CA look this time, always changing it seems.
I’m with you on this, I see these insanely complicated rigs and I feel I’m out of the loop on what these wild set ups actually accomplish. And I haven’t quite had the ability to recognize an advantage in filmmakers who rig up their camera’s significantly over those who are not.
I will say an external monitor simply providing an external display can certainly help getting many shots simply because it is bigger, but focus points and other monitoring features built into the this camera really remove the need for those previously desired in an external monitor beyond its bigger size. The only other is the added weight, which traditionally obviously adds stability, but with the stabilization on these cameras, isn’t much needed.
Im with you man, fast, fluid easy. If your camera isn’t easily on hand you’re going to struggle getting half the shots you otherwise would.
I used every system and still use three different systems on paid gigs. This is my favorite camera I ever used, hands down. Color is amazing, particularly indoor/tungsten much better than competition. Stabilization is best ever too. Open gate. The list goes on...
I’m with you man. There’s no doubt better tools for a select few very niche jobs. But what this camera does it does well.
That cage + mic & gnoisy mount is EXACTLY what I’ve been looking for, hate having mic on top by hotshoe
You and me both man. I hated it so much I made like 30 CAD drafts and at least 20 prints so I didn’t have to deal with it anymore lol
Sharp video! Agree with your take on colours and ergonomics. I myself do a lot of run and gun sort of docu stuff, high temperatures and outdoor setups and this particular camera has caught my eye. About to pull the trigger. Always the loved the colours and pro video features Panasonic provides. While autofocus isn't my main concern, I wanted to know -- how's the moire situation? And have you noticed an 'oversharpened' look about the image quality? Looking forward to more of your stuff, really love this adventure genre and glad to see Lumix fitting in perfectly for your needs.
Thanks man! I can’t comment directly on moire, as it isn’t something I tend to look for or catch in stills or video now that I think of it. I really only catch it with certain patterned fabric and not much more. I’ve heard reports of moire problems with this camera but haven’t noticed any in my experience (but that doesn’t mean they don’t exist in photo/video I’ve shot), it’s just not something I can recall ever being of importance to me.
As far as over sharpening I’d say they’re nearly identical, Lumix seems to have a marginally softer feel at times, but this is likely because Sony applies noise reduction and post sharpening in camera which cannot be turned off (unlike Lumix, which provides total control here and I turn completely off). Again, ‘sharp’ footage can be achieved through a number of things beyond how your footage is interpreted at the point of sensor readout, shutter speed, IBIS, lens IS can all result it footage that will be “sharper” varying from camera to camera.
If you zoom a bit in your videos, the S1 and S1H have nicer image quality than the S5 mark II. In 4K the actual details are really worse. 6K is more detailed than 4K but they not as natural as on the S1 and S1H.
Interesting, why do you think this might be?
I can second this - I own an original S5 and the S5iix, the original S5 is noticeably more organic internally even with it's basic 150 Mb/s codec, as it's less sharpened, and the one thing I found out is they have a very high amount of chroma noise reduction - blurring the color channels to hide the noise which reduces detail a lot and gets that over processed look, on the s5iix - the 6K ProRes codec holds less Color detail (resolution) than the basic 4K 422 internal to SD cards on the original Panasonic S5 due to the noise reduction. But this wasn't the case before the v1.1 update on the S5IIX, my old footage looks great.
I shoot Prores RAW/BRAW on the S5IIX mainly and that bypasses all the issues. I have an in depth technical report if you'd like to see.
@@DevMcLaughlin
Very interesting, thank you for sharing this info. I also have the S5 in addition to the S5IIX but struggle to notice the difference between both cameras in 4K 422. I got my S5 off OfferUp used as a studio and B cam (everything talking head of me on camera in this video is S5), but with usage both appear very similar. From my experience it seemed the S5 suffered from a bit more low light noise than the S5IIX, but this was only a rough acknowledgement. However I only shoot log, I can’t imagine trying to manage ProRes footage regularly lol. So you’re likely picking up on a good deal more in fidelity of your footage than I am. That’s awesome you found a solution shooting ProRes and BRAW!
can you tell me how you printed the rubber lens filter caps? I have a higher end printer but amend to this. I usually put filters on lenses but the stock cap pops off when putting in bag.
I use a soft TPE and CAD model each filter cap after Gobe NDX filters specifically, and rear lens caps for L-mount lenses. Took some fine tuning, TPE requires very slow printing, but worked out some very useful additions I personally use, which save me a lot of headache, which I think others will find great use from.
@@DevMcLaughlin thank you. can you share the CAD design? Also do these caps stay on well with a filter on. they wont easily come off when putting camera in a bag?
If i had to get one now, it’d be this one. I’m adamantly hanging in there for the S1H mkii (or S2H whatever the hell they call it). Panasonic registered one with internal ND’s. They don’t have a cinema line to protect. It’ll be a GD beast and nobody will stop it.
If Panasonic can push out a flagship cinema camera capable of competing with the FX3 they’ll be on a road to being unstoppable. I’m really hoping the next iteration of these cameras is something special. Love the sound of internal NDs. I’d kill for full frame 4k 120, internal NDs, and second native ISO nearer 12800 in a Panasonic package.
Hey Devon super useful insight in this video thanks a bunch - im now very strongly thinking about buying this camera and going for a similar rig. However, I noticed the GH7 drops in just over a month and has the advantage of shotting 4k / 120. Do you think it'd be worth waiting ?
Thanks man, happy it’s been useful.
It’s honestly a very personal question all things considered. It really depends how you want to use your camera, what you shoot, and the most important thing you’re looking to achieve in video at the end of the day. There isn’t a “one camera fits all” but there may be a “one camera fits me”. 4K 120 is super rad, and a very useful tool for VERY fast action. But rarely is this used elsewhere. 120fps is a talking point for most tech comparisons, but this is not widely used by most people, and often far too slow for any actions that occur over 3-10 seconds in real time of being captured on most occasions (15-50 seconds at 24fps). 4K 60 is sufficient for 95% of real world actions slowed to 0.5 or 0.4. Even in my personal experience of shooting sports and sequences with extremely fast actions compressed into 3-5 seconds, 120fps is never used, and can be tricky to use on the rare occasions it is without overdoing it (also 4K 120 eats up memory like it’s getting paid to do it). Even 60fps can creep into the territory of being overused these days for many (Ive been guilty myself).
There’s a number of other things you should consider beyond just fps which I’d say are more important. Do you want better quality in low light? Do you want better quality and less noise at fast shutter speeds for photo? A larger full frame sensor is better for both of these. Do you really like the depth of field look and plan to shoot everything at f2.8 and under to get as much bokeh on everything as possible? Full frame is the better choice here as well. Are these sort of meh features to you? GH7 might be better, it’s lighter, just as capable (and arguably more capable in many areas beyond simply 120fps), stabilization is best on m4/3 cameras (sensor is smaller and lighter).
So it’s really up to what you value most. It’s easy to think some things are important when we’re constantly told they’re important, but real world usage and specs on a manufacturers website are two very different things, especially on an individual by individual basis. You just gotta be real with yourself, and find the best tool that streamlines the things you want to create, not what you THINK you should create to fit the tool. But also don’t forget to give yourself some room to grow.
Also it’s not impossible an S1II/S1HII is released this year, in case you wanted another reason to make it more difficult to decide😅
@@DevMcLaughlin Honestly thanks so much for such a detailed response. Really means a lot! You've really helped answer alot of my questions when considering what to do and raise some really valid points about the real world usage and i think as much as 4k/120fps would be cool i think i'd rather have the ability to film in lower light at the sacrifce of some of the other benefits the GH7 has that you mentioned. I'm a first time buyer so have been spending some time trying to get my head around the many different specs on offer (and theres a buck ton) but this response / video has helped me in deciding for this bad boy. The other thing is i can buy the s5iix now and get cracking rather than twiddling my thumbs for another month and a half. Cheers bro!
Hell yeah man happy I’m able to help. I think that’s a great choice. I can personally guarantee you won’t be disappointed with this camera. Hell it still shoots 1080p 422 10 bit (know PDAF doesn’t function in this setting though). Most people will NOT see a difference between this and 4k I promise you. The other plus to going full frame here is you’ll have collected a number of full frame lenses that you’ll be able to use on your future camera purchase should you decide to move up to LUMIX’s top end line (S1,S1H) down the road. Appreciate ya, stoked to hear how you like your new camera after you’ve spent some time with it🤟🏼
Love the microphone mount. Was trying to buy one from your store, but you only ship to the US?!? Please let me know, how to buy one from Europe..
Thanks man, happy you like it. Previously I’ve set up international orders on an individual basis. Let me see what I can do and get back to you. I’d love to get you one!
Excellent video. Wish the text was larger for my old eyes, though, lol
Thank you. I was considering getting the 24-70 or the 28-70. I will just take both down my list and cocentrate on getting the 85mm as I already have the 16-28 and can use the 20-60 for those mid ranges. And if I outgrow it, just get the cheaper 28-70 instead of the 24-70
There's truly tradeoffs for every lens. We'll never be able to hit everything we want with any single lens. Gotta choose what you're wiling to sacrifice lol. That 28-70 was calling my name before getting the 24-70, I initially got the 16-28 and the Pana 70-200, skipping the mid range all together, then deciding later that a 4lb lens wasn't reasonable for the "always-on-the-go" shooting style I wanted to be capable of. I landed on the 24-70 because being able to immediately switch from wide 24mm to tight 70mm was more important than a pound of reduced weight, or getting wider down to 16mm on most occasions. If I'm planning to shoot 48-60fps apsc I'll almost always grab the 16-28mm, as this becomes a 24-42mm after crop, whereas the 24-70 becomes a 36-105. I didn't mention in the video, but I also have the 7Artisans 12mm apsc lens I exclusively use for wide angle (18mm equivalent) 48-60fps shots, which works fantastically well for all applications I need it.
@@DevMcLaughlin in what cases do you prefer 18mm? I just got the lumix 18mm 1.8 and not sure if I should keep it
It depends what you find yourself frequently shooting. Super wide angle like 18mm I find use in the sports I shoot when I can’t get further back from my subject but want the whole scene, landscape video wanting to get as much of the environment as possible, handheld (wide angle suffers least from camera jitters, just be sure to toggle off IBIS or you’ll get bad wobble under 20mm), wide angle under 20mm is most idea for handheld vlogging (again no IBIS to prevent wobbles), and last but not least 14-20mm is most idea for real estate and landscape videography and photography. If you won’t be doing any of these that 18mm might not be for you. Considering it’s the same price as the sigma 16-28, with 1 stops difference I’d personally go with the sigma, especially if you plan on doing any apsc (48-60fps) shooting, making that 18mm a 27mm equivalent.
@@DevMcLaughlin thanks. I dont really do any of those currently but I got the Lumix S 18mm 1.8 for $420 new. Does shooting 18mm in crop mode make the image look like actual 27mm or is it 18mm cropped in look with the background compression being same as 18mm?
@ThatGuyOverThereWeird The depth of field will remain the same since you are using a full frame lens, but simply reading the projected image of that lens on a smaller portion of the sensor (due to the limited readout speeds of this camera which govern higher frame rates to the smaller apsc crop). You will still get 4K down sampled from a 6K sensor, but the image has the equivalent of a 27mm, essentially cropping into an 18mm video 1.5x without losing quality whatsoever, however this is not exactly the same as an optically true 27mm which will have a tad bit more optical foreground and background compression, which mostly becomes noticeable to the eye at longer focal lengths 70mm+.
How are sigma lenses on this camera?
Really good. They really are beautiful lenses. I haven’t noticed any difference in the mechanic performance of Sigma vs Panasonic on Panasonic bodies, AF is fantastic. I’m sure one could notice chroma differences, but nothing strong enough to warrant changes to a grade.
Biggest thing I had to get used to was the opposite direction you must rotate Sigma lenses’ Zoom ring vs Panasonic lenses, which can make swapping between the two lenses on a run and gun shoot prone to mistakes in reframing.
For reference, I’ve shot the following lenses on the S5IIx:
7artisans 12mm APS-C, Sig 16-28mm, Sig 24-70mm, Pano 50mm, Pano 85mm, Pano 70-200mm.
Lumix is useless for me because of this PanaLeica firmware glitch >>>> If you set AFL+AEL to OFF in menu and then switch from AFC to MF /AFS via the back dial or via the lens button the camera reverts to AEL lock via shutter half press instantly ( Leica Q3 and other Leica SL do the same ... #1 reason I stopped shooting Leica M cameras ... also the reason you can not shoot Zeiss ZE lenses on Pana/Leica with ANY adapter )
Strange, that sounds like such a useless feature, has this just become present in the newest firmware update? I’ve yet to update to the newest firmware.
2:07 whats going on with this guys skin in the blue shirt? theres magenta, green and yellow marks on his face.
Artificial lens blur + prism blur applied in DaVinci Resolve after color grading, emulating a sort of fringing effect certain vintage lenses give, because there’s nothing quite like taking crisp digital footage and completely massaging out most traces of fidelity into an organic look of yesterday lol.
The CA is soooo bad. Along with moire and a laundry list of other things horribly wrong with this sensor. S5 mark 1 and s1h beat the shit out of this camera for some reason. I will tell you this though, the s5iix takes amazing photos. That’s about it. I sold mine. Worst camera I’ve ever owned
I will say the CA is more lens related** but the 420 in all codecs is garbage. All intra c4k and 4k 422 is decent. Rolling shutter is terrible. HDMI lag is worse somehow. The premaps are better than mark1 for audio, AF is obvi better but still not great. Stab is good as long as your not walking under 20mm, I sold before last firmware update.
@@DevMcLaughlin not sure why you would do this but to each his own!
@@hhankx counter-point - CA looks magical. At some point I thought I was looking at a dream sequence. And I actually HATE CA in my job.
Moire tho - can You elaborate on it? I'm currently using kit 20-60 and had less problems with it, than with 50mm F1.8 on Canon R6. But moire was and still is one of my nemesis for years. When did You get it, in what situations?
yes sony builds their sensor. they do the same for fuji and other manufacturers. so this statement is half true
Why only half true?
I'm worried about Panasonic cameras...... They better start releasing more cameras and make more money or they will be gone.
No worries about that… they will be alright. I have a feeling the new High End S1 Line will take off well.
The S9 was a shot to compete with the Fujifilm’s X100V… and will that always on backorder… they saw the opportunity. They put the S9 in front of the wrong audience, Tech heads like us are going to eat it up because it’s not for us. 😂 LUMIX was right to tell Gerald Undone the S9 wasn’t made for him, they just rolled the dice 🎲 hoping some Tech Heavy Influencers gravitated to it. 😂 nah…
I’m in the same boat as you, and sorta thinking the same.
@@moneyboys2010 I hope you right......