An old tradies saying, but I have another definition.
I am determined to get the G9 MkII because my need now is for a good action video camera. With it, I may get the 10-25 f1.7 to maximise it’s potential for slo-mo, All-i, stabilising and AF, which is my main needs addressed.
The S5 mkI though is far from redundant, but what form it will take needs some thought.
I really want to maximise its value. It has had very little use, but also not come close to it’s full potential.
Lets assume that for many uses (mine), it is plenty unless the above become an issue. It was a few months ago and still holds its own, but the AF and stabiliser have fallen into the “not good enough” category oh so quickly.
So, if these are irrelevant points, the camera needs to be professionally rigged up and part of a kit.
Unreliable AF becomes cinema grade manual focus pulling or the G9II.
Stabilising becomes from a gimbal, tripod, shoulder or chest rig, good old fashioned weight or again the G9II/OSMO.
All-i and Slo-mo are handled by the G9II.
If, lets say, you can accept that Super-35 (crop sensor) mode on the S5 Mk1 is a useable thing, which according to several reviewers it is, then you have effectively two lenses in each lens. You just need to get over it, which being a regular M43 shooter, I certainly can. The S5’s have forced crops in some modes, so you cannot avoid it.
The other benefits of S35 are better rolling shutter control, always using the sweet spot of the lens and you get more reach for free, with the benefit of more depth of field than a full frame application of the same lens.
When looking at my S5 lens kit, originally I bought it with the quite excellent kit lens, then I picked up the 50mm f1.8 S so that I could realise the real high ISO potential of the camera and that full frame-shallow depth look (which I know is partly illusion, but hey).
The cool thing was by employing crop mode, I got the 75mm f1.8 focal length effectively free and the close focus stays the same. To be honest, I actually find it more useful as a short portrait lens.
So, looking at options for the S5, assuming I want to flesh it out to a more useful part of my kit, I have settled on three possible options.
Get a set of the various “budget” cinema lenses, like the Sirui “Nightwalker”, or 7 Artisan “Vision” lenses,
a mid range cine lens like the IRIX 30 T1.5 or Nice Athena 50 T1.9,
or buy one more S series primes from Panasonic.
A little antique character is good and I have the 1960’s 25mm F series Pen lens for M43 and the Pentax 50mm f1.4 and TTArt 35 for that.
Budget cinema lenses are designed for S35. This is limiting and puts me off. As well as that, the Sirui Nightwalkers, my preferred set are not available in L mount. I might actually look at the Sirui’s for my M43 gear** (50/70/110) and maybe the Vision 12/25 for maximum “character”.
These lenses also have a mix of looks and qualities that although nice are compromised slightly (the Vision 25 and 50 are both very soft wide open) and they lack one of the main cinema lens requirements, which is matching colour**.
*
The IRIX could be the one serious lens/camera solution, making the S5 Mk1 a settled video rig (total cost sub $4kau), with a pair of Pana lenses as backup for stills and extra reach. It would be a 30/45 combo, which to me is the perfect all-round lens range. This thing is huge (which is good!), optically more stable than the Sirui level lenses and built to last.
There are possible handling issues with the lens, weighing in at twice the camera’s heft, but it does have a forward mounting point. These issues may be benefits on the shoulder or chest rigs.
The Nisi 50mm is a little longer than I wanted, but the better performer of the mid-range lenses. A shame their 25 or 35’s weren’t better or they would be a no brainer, but adding another 50 seems a little dull.
The main draw is, at sub $2000au they are potentially only a little more than the Sirui set or not even twice the 24 prime. Neither is perfect, but a little “cinematic” softness wide open is a good thing, and both fall short of “dreamy” ie. soft.
*
Panasonic on the other hand designed the S series primes to be true hybrid lenses.
Using them as stills lenses, they are fine, with the benefit of one filter size, light weight (plastic, which is also good in a different way), good AF and consistent and respectable optical properties.
For video though the bodies match close enough that even on a gimbal, nothing has to change They are optically stable, but not as “cinematic” or character filled as dedicated ones.
*
With the duality of formats available, the IRIX and 24mm are talking to me for completely different reasons.
24/36 and 50/75. Just about the perfect range and in two cases I do not even need to change physical lenses, but the 30/45 mid range combo is as even handier as an all in one lens. I could always revisit the 24 when a bargain pops up.
Probably one of my points of indecision is knowing what I actually want in a cinema lens. Look aside, what focal length or lengths am I in need of? My 2x4 set fits my perceived (pre-conceived) needs, based on many years of still photography and possible client scenarios, but when the rubber meets the road, what would I make a serious project with. What do I want.
Like a lot of purists, I feel drawn to a pair of focal lengths. Something in the 30-40mm range and something in the 45-60mm range. The IRIX does these, the Lumix lenses do both with extras range either end.
My main gripe with the 24 is the price. Ranging from $1100 to 1600au, they have so much competition and are really only offering iffy AF on the S5 I and consistency.
The kit lens adds slightly wider (20mm) and longer (60/90), but can either way, now be put in the “auxiliary” class for backup, risky work and day trips.
*Noise does not increase, nor sharpness or quality drop, but you are looking at the end product effectively closer, i.e. enlarged slightly by cropping. This is still dual ISO and larger than M43.
**Ironically if you mix the 24 and 55 Sirui and 35 Vision, you get a better matched set optically with warm colour and the best IQ.