Looking back at a mixed year, what were the best things I invested in, the things that made a genuine difference, expected or not.
#1
Panasonic G9 Mk2
Not much I can really say here. In a time where M43 is under porbably more pressure than ever, this camera (along with the OM-1) are proving not only the relevance of the system, but also the power of the smaller sensor, the system and the math of the whole thing.
An odd paradigm has emerged in my gear. I have never felt more content or enabled by M43, with many avenues still to be explored (10-25 f1.7, OM-1 etc), but I seem to be spending a lot more on full frame lenses?
It is almost like M43 has become my stable, safe, go-to format and full frame is filling the role of the “curiosity”, the hobby format.
I can barely believe that in the months prior I was torn between a Sigma FP, Black Magic pocket and the GH5II for a video upgrade. The G9II smashes these in all the important areas, offering a huge array of recording formats, class leading stabilisation**, class competitive AF, decent enough high ISO performance (the lens/depth of field advantage is at play here) and all for a fraction of the cost of its real competition.
Unlike the S5 which is a bit of a specialist (see the next entry) or even the very capable S5II, the G9II is the perfect all-rounder and a genuine hybrid. Capable of anchoring a serious video rig, it is also the king of run-n-gun, no accessory video performance, as well as a stills camera upgrade in a decently priced mid range camera.
For me, it is the first of the next generation of “no excuses” hybrids. Cameras that can be bought with one role in mind or both.
There are cheaper cameras but they are dated, better cameras but they are much dearer and often still fall short somewhere and the closest matches have a mix of features that for me are nowhere near as harmonious. It is interesting to note that Sony FX3 cameras are often compared to Panasonic S5IIx’s, which apart from the bigger sensor are less well specified than a G9II.
Could G9II’s have made a movie like the Creator and even offered some small advantages in handling, flexibility and costs?
Probably.
The apertures used wold be wider for the same depth of field effect, thus allowing for lower ISO’s and the look might change, but probably not and the handling of the camera would be vastly different, for the better.
They have more in-camera video features than even the FX3, can match them with off board performance only losing a stop or maybe two of dynamic range, have plenty of anamorphic lenses available and more often than not, the big Ronin gimbal would have been surplus. The high ISO difference can be balanced by depth of field and magnification advantages of M43 mount lenses.
#2
The IRIX 150 Macro
The G9II highlighted the almost pointless divergent path for me last year that was full frame, but the lens bargains I have picked up have helped justify my two format kit.
The two 7Artisan Spectrum lenses and the IRIX were all bought for less than the IRIX alone at normal price. The IRIX was the ultimate spontaneous purchase, defying logic in many ways, but unlike the G9II, which was very much a head and gut choice, the IRIX was all heart and it does make my heart sing.
The S5 has fallen into its proper role of support or “static” camera to the more flexible G9II. The IRIX has massively increased its utility. Ironically, these cine lenses and the Lumix S-primes (just edged out for number 5 spot), have stolen the limelight from the G9II, something I need to get sorted**, but at least the S5 has been getting some love.
#3
5.11 Range Ready Bag
For only $150au, this is as close to the perfect cinema gear bag I have seen and at less than a quarter of the price of the photo brands.
The rear pocket holds 8 batteries (not pistol magazines!), coincidentally Panasonic or NP550 sized. The two front pockets take mat boxes and their filters like they were made for them. The large end pocket takes a 7” monitor, the smaller one takes my 5”. The main compartment is capable of taking a whole rig ready to go or the parts of several. It is rigid enough to stack and even full it is comfortable to carry.
The whole bag screams “industrial grade”, something many top price camera bags fail at.
#4
Lewitt LCT 240 Pro
Of my huge and mostly under used sound kit, the bedrock mics, the ones that could do almost anything I need are the pairs of Lewitt 040 Match pencil condensers and LCT 240 medium diaphragm condensers. The 040’s are old news, the 240’s are my best sound (most sound?) purchases this year and I bought a lot of mics.
I can do an interview, band, orchestra or individual performance, field, room, overhead, amp, studio, booth, even camera mounted recording and the sound quality is knocking on the door of the LCT 440 Pure, a genuinely well thought of pro studio mic. Sometimes it is even the better choice.
All this for under $200au.
Between these two pairs and the pair of MTP 440 dynamics bought for clean low end, I have a three way fix that works together, separately or as a matched unit.
Five of the six in the set.
#5
Zoom H8
A soft one this one, more of a logical upgrade like the G9II than a bolt of lightning from nowhere. I was keeping an eye on the price of these for a while and jumped when one came up for under $500au. The H8 adds more inputs, cleaner amps for XLR mics (but not the capsules), several operating modes, some extra effects, a better interface than my other Zoom devices and a very decent X/Y capsule.
This means I have the potential of up to 8 mics (could be 10 with a different accessory), or enough to mic up a small rock band, cover an orchestra with an overhead array with some direct mics to key instruments and/or a vocalist, cover a soloist with multiple mics, three or four singers with instruments, a panel of up to 8 people or any combination of these. It also opens up some interesting options for field recording and I can match mics to the right subject.
Not a high or even mid range specialist interface for serious music or field recording, it is the perfect hybrid enabler for a videographer and has no real weaknesses in any area. It is also an upgrade to the handy H5, releasing that to my podcast kit.
The “Spider” has doubled my sound capabilities.
Honourable mentions go to the S-Prime Lumix lenses, 7artisan cine-primes, the TT1 Pro Lanen condenser mic, Domke F7.
*Unlike the S5’s these can operate without a gimbal, which is the true measure of in-camera stabilisation.
**The Sirui 24mm for the G9/G9II will even this out, making both cameras a good support for the other in their respective roles. The Sirui will sacrifice the AF, but get the benefit of the stabe.