E89 | Camera chat for hybrid photo / video

In this episode we talk about one of the most talked about things amongst photographers and filmmakers - cameras! 

Hybrid photo and video shooting requires a different level of speed and features from a camera, so if you are looking to get into hybrid shooting this episode will be really useful when it comes to choosing which camera system and model to use. 

We discuss the cameras we have used previously, what we use now and what we will potentially look for in future cameras. It's not just about geeking out on tech, this conversation goes into practical considerations and we even contemplate if it really matters what you use.

Between us we have a healthy experience of using cameras from most manufacturers, so although we have our favourites, we chat about this in an objective way and we hope you enjoy the insight. 

Song of the week licensed from musicbed:

Prism - We were young

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On the How to Shoot Hybrid Podcast we talk about all things Photo, Video and Hybrid Shooting!

This is a place for photographers and videographers who want to build successful and sustainable business capturing weddings, live events, working with commercial clients or working on creative projects.

We discuss different topics around photography, filmmaking and business as well as interviewing guests in the photography, filmmaking and hybrid content creation industries.

To discover more about the podcast click this link: https://lnk.bio/howtoshoothybrid

Transcript

It's a how to shoot hybrid podcast discussing topics around photography, videography and running a business. My name is Jules and I'm here with my co host Kieran. Thanks for joining us. You're more than welcome. Thanks for having me once again, Jules. You haven't kicked me out yet. It's good to see you, mate.

Enjoy. It's half past seven in the morning. On this episode. I've got Jules up at half past seven in the morning. Half past seven in the morning. Sorry, Jules. Busy, busy day. What is that all about? Busy day, Jules. I've got to put my hat on because I haven't even had time to sort my hair out. Yeah, well I haven't got any hair on, I've still got a hat on.

I feel like I'm on School Run.

On this episode we are going to be talking about which camera system we use and why we chose it for hybrid photo and video. This is Sony vs Fuji. But before we kind of go any further, if you haven't followed the podcast, wherever you're listening, get that button pressed. Do it right now. Stop whatever you're doing.

Obviously, if you're driving, in fact, no, no, hang on. Disclaimer, if you're driving, don't stop what you're doing. Because that could be disastrous and we don't want to get sued. But if you are able to, go and press the follow button or the subscribe button. So that these episodes pop into your feed every time we do a new episode.

And we're going to be discussing some great topics that can be really helpful if you are a photographer, a filmmaker, or a hybrid shooter. And certainly if you're looking to move from one to the other. The stuff that we're going to be talking about in the coming weeks and months is going to be fire.

I've never, ever used words like that. I've just used it with the kids, man. Are you done with the kids? There you go. There you go. Yeah. And we're going to be putting stuff out on, on the Instagram profile. So go and check that be some short form video and stuff, little tips and tricks that we'll be putting out once we.

record them. So go over to how to shoot hybrid or one word on Instagram. Right, mate, let's get into this camera brand situation. Let's go for it. So I'm Sony or Fuji, but let's rewind and talk about how we got there. If you've used any of the cameras, when you first started out, what cameras you could have or would or did consider.

And then we'll take it from there. Yeah, let's go. So go back, go back to when you started. I think before we say anything else, we need to, we need to say, like, this is just our personal preference, isn't it, about, like, what camera systems we use. If, if anyone else wants to use other ones, we're not, like, saying these are the only systems that are actually any good with it, because that's just not true these days, is it?

But anyway, I started off many years ago. I, I, sorry, mate. I, I just, my take on the camera systems is it doesn't really matter. I don't care. I, it doesn't really matter to me what anybody uses. Whatever works for them, whatever works for you. And that's one of the kind of things that we'll probably come to at the end of this discussion.

But I think it's good to have this discussion because there are different choices out there, aren't there? And I think it's one of those things that people are definitely interested in. It's probably something that people spend way too much of the time talking about and thinking about. Yeah, absolutely.

Is which, is which camera's best? We're all guilty for that, aren't we? Yeah, but it's, I know it's a topic that people want to know about. And so, you know, it's, I think hearing from people who have, Not only done photo, they've done video, they've done hybrid, and they've been doing it for years and been using that system.

So hopefully it will be useful what we're going to talk about. Yeah, absolutely. Yeah. So I started off many years ago with the Canon 650D when I first started out. I don't know if you'll remember that one Jules. Mate, I'm, I'm, I'm too young for that. No. Yeah, well. No, too young in, too young in Korea. In Korea for that one.

Too young in the business. So, I mean, that's when I was just doing videography. I wasn't doing photo at the time. And yeah, I just went up and progressed through the Canons really. You know what, I can't even remember what, what model Canon I had before I switched. I can't remember which one it was now.

But yeah, I mean, the main reason I went over to Fuji. Was just, just the weight, if it was, was the main reason to start with, because I had a back injury. So, spending a full day at a wedding, carrying two, two full frame cameras around, or lenses, and bags and whatnot. Might not sound like much, but the next morning crippled me, really.

So, one of my friends had the Fuji. Took it to a wedding to try out and actually I thought this is, this is pretty good, really. And it took me back as well. It was more the experience of the Fuji that sold it to me. Gosh, I sound like a Fuji salesperson, don't I? Ambassador. Maybe I should be. Hey, Fuji!

Fuji, wanna get a touch? Give me some freebies. I'll switch to Fuji if that's the case. Yeah, yeah. Give me some freebies, Fubi. Fubi. Fuji and I'll yeah. It's a new camera system there. Yeah. Fubi. That's what we'll do next year. Great. It's just going to be just laughing all the way through, isn't it? But I can't remember where I was now.

Yeah. So it was just the experience of the Fuji that, that got me really. So it kind of took me back to the days of using The old traditional film cameras with like the apertures on the rings and whatnot. All the dials on the, on the outside rather than going through the menu system and doing your settings and They look pretty cool don't they?

Yeah, they do look cool. Yeah, they do look cool. Yeah. Anyway, strategy isn't, you know what, honestly, if I'm, if, if I'm being totally honest it did take me a while to get used to it and, and think actually, is this a camera that I can use professionally? I think I started off with a Fuji X T2. I did start off with a Fuji X T2.

And now shooting on the Fuji X T4, so now, I mean, like, the, the quality and the, the technology has has gone up in them quite a lot recently. But yeah, I mean, like, I think everyone always hears about the Sony, don't they? And a lot of people, I think a lot, I think the majority of wedding shooters probably are on Sony now.

If not, if not, they've probably thought about switching to Sony. So I'm not going to lie if I say that I haven't thought about switching to Sony, but I don't know, there's the upsides and downsides to every camera system, isn't there? But for me, I think Fuji, I'm sticking with that mainly for a couple of reasons.

I enjoy, I enjoy photographing weddings and I think part of that is down to The camera itself. And secondly, everything that I've got is Fuji, so it's Fuji lenses, Fuji flash guns Everything, so to switch it out now would be a bit of a ball ache. Are we recording Jules? We haven't forgotten to record this time.

Yeah, we're recording. I was just making a little note. Although it did look a little suspicious, didn't it? It did look very suspicious, yeah. Like I was trying to sneak that record button up. Yeah, yeah, shit, I forgot to record. Don't tell Kieran again. But yeah, I mean like, for hybrid reasons, the Fuji's pretty epic.

Yeah. It is, it's really versatile and being able to shoot both. I think, I think the only issue that I find with the Fuji is the auto focus system isn't, isn't anywhere near what it is on the Sony's. So I think pros and cons, that is one of the, that is one of the cons to it, but I mean, you can adapt to that, can't you?

You can, you can work ways out in how to, how to overcome some of these issues. So, I mean, that's really my experience with. With like cameras is, is, is Canon and Fuji. Cool. So I mean I've got, I've got a buttload of questions off the back of that mate. But if we take it back to Canon then. Yeah. So, that's a, the 60D is a DSLR, it's kind of one of the kind of entry mid level cameras I think, isn't it?

It's pretty much what, what most people would get when they first start out. Yeah. Or just a hobbyist, hobbyist photographer type thing, isn't it really? That, that type of camera. Yeah. So, and, and, and I guess, and I guess when we're talking, we are talking 10 years ago now. Yeah, yeah. So, at that point camera phones weren't what they were.

No, definitely not. So if you wanted a decent, you wanted to be able to take decent photos, you couldn't do it in your camera phone. You probably needed something like that. 60D or you needed one of the kind of bridge or point and shoot better, better point and shoot cameras that were out at the time.

I'll tell you what, this is going back even further than that. A little story. When I first decided I was going to do wedding photography slash videography, My mum bought me a camera, and it was 400 quid, brand new. And it was a, I think it was a Samsung. And I remember going to a wedding and I only had like two batteries and the batteries run out in about half an hour each.

So about an hour and then he had a little pack on it and it had double A batteries that you could plug into him. Yeah, so I was literally running the whole wedding off double A batteries for the day. At least, at least you had some way of powering it. I thought you were going to say you didn't. I thought you were going to say like, oh, yeah.

It got to after the ceremony and I was like, I ain't got no batteries. I can't do it. I wasn't far off that, Jules. I was, I was using dregs, I must admit. Yeah, it was that was an experience. But yeah, learning curve there. So actually the first one was, was, it will have been, I think it was a Samsung or something like that.

Yeah. I think Samsung had a quite a good digital camera when when digital cameras were new, like they were one of the, I don't want to use the word pioneer, but I think when digital cameras started becoming more popular, I can't remember what camera it was now, but they did have this really awesome. It was a bit more than a point and shoot, but it was effectively in that, in that kind of realm.

And I can't remember what it's called, but it was. It had like a real, like, it was one of the first, I might be talking absolute bollocks now, but I think it was like, had file transfer because you could put a memory card, I don't know, I might be talking shit, but I remember doing some research on it while I was at uni, and and finding this camera, and basically reading all this stuff about it, how they were saying, you know, how like, they were saying, How do we, how do we have all this?

And then kind of the next five years went backwards. Yeah. Because this kind of was like paving the way. It was pioneering things for the camera industry. And then things went backwards. And Samsung never made another camera after that. No, they didn't. Because it was commercially unsuccessful. Yeah. Well, phones became more profitable, I guess.

Yeah, you're right, Matt. Yeah. So, you're on the Canon but you end up moving away and switching to Fuji. So you said that that is just, literally, you're at a wedding, you're shooting on your Canon, whatever it is at the time, and you saw someone's Fuji. You were like, can I have a look at that? And then you thought, I'll give that a whirl.

Is that pretty much what happened? Yeah, almost. Yeah, I mean, like, my, I, yeah, it was my friend that was, it wasn't at the wedding, it was a friend. When we went to meet each other, they had the Fuji, so I had a little play around with it then, and then decided, actually, I'm going to give it a shot. So he let, he lent me his to start with to take to a wedding.

Oh, so did you get to like shoot a wedding on that before you bought it? I had one Canon on one shoulder and the Fuji on the other. Yeah. Right. So talk through that because I've never done that. So you're at a wedding, you've got two different bodies. One is one that you're normally using and one's kind of a, an experimental situation.

Talk me, talk me through that then. How, how did that feel? Did you kind of get on board with the food? You said it took you a while to like properly get on board. But did you think, Oh yeah, I can easily switch between the two of Oh yeah. I mean like By that time, I'd been shooting with the Canon for a good, probably four years, four or five years even.

So, I had no problems shooting with the Canon anyway. And the Fuji was so simple to pick up and shoot with because, as I said before, like, everything's on the outside. I don't have to learn new menu systems or anything. If I want to change the aperture, I want to change the ISO, I want to change shutter speed.

Everything's just on the outside, so it takes a couple of seconds to do all that. So, there wasn't really any compromise in, in shooting or whatnot, because it was, it was just there right in front of me. I think sometimes, sometimes it's quite easy for me to be able to do stuff like this, because the majority of a wedding, I shoot one camera, one lens.

So, that cannon was pretty much my, my power horse camera. Like that, that did all the work and the Fuji was just there for me to, to play around with. So yeah, it wasn't really a problem that way. It was just, it was just me being able to play around to see what I could create and get out of it. And actually, I realised the Fuji made me, shoot more creatively as well.

I think, I'll tell you what one of the, one of the big things was the EVF, Electronical Viewfinder, didn't have it in the Canons. And that was, that was a big game changer because I could see it instantly, like what I was getting from the camera. So yeah, that was, that was quite exciting at the time.

So that's an interesting thing to talk about because, so essentially you've been shooting on a DSLR that's a Canon. And then you, the Fuji, that Fuji at the time, I don't know if Fuji had other cameras that were you know, I don't know if they, they had DSLRs or whether they just kind of entered the mirrorless market when it came out.

I know obviously they had film cameras. But I, I'm not, I'm not sure on like the history of like Fuji's development. Yeah, they've got, they have got other, they have got other Or the ones, it's like, I think it's the food gx I think they, they call it, which is like, but they're mid, they're medium farmer.

Yeah. Yeah. So I think they're, but they're, I think they're like on a muralist platform as well. So like that EVF Yeah. Will come from like the muralist. So, so like that's the thing for, for. So you basically got that and you had the EVF and that's because that was an earlier mirrorless camera. And that's, so that's, that's kind of a nice segue into where I got into it because I started quite a bit after you and probably quite a bit after a lot of people who you know, are currently in the photography and filmmaking industry.

And the reason I chose Sony at the time was because I was getting into it and it was very early on in the kind of mirrorless I'm not going to call it switch, but like mirrorless cameras were new and they weren't new in that kind of, they'd only just come out because that technology had been used in point and shoot cameras and things for years.

But in terms of like a, using them as a professional kind of on commercial work, whether that's weddings or other stuff, like people were all shooting on DSLRs. And people like thought I was, I know when I first started turn up to weddings, not only was I inexperienced, I don't, I've never shot any but I also had these Sony's and I don't, I mean, I saw you at my second wedding.

So I don't know whether you thought this or whether, but I certainly noticed it when I was going to weddings in that first year or two is that people would all be like, are you shooting on a Sony? Like, as if it was kind of like, why would you do that? That's a toy camera type thing. So, they were early days ones.

It was 6300, 6500 were the ones that I were using at the time. They were kind of sort of middle, like they weren't the bottom of the range, but they were kind of the middle. There weren't the really expensive ones that other people were using. And so I didn't know any different. I didn't go, I didn't start off with a DSLR.

The only time I've used DSLRs is I used some at uni and I've used other people's occasionally. And every time I've picked one up, I've been like, Crikey, this is heavy. And this is, this is like, doesn't feel intuitive to use. And again, so I was used to like that EVF from the start. I was used to being able to work with like a mirrorless camera that's so much smaller and feels a lot quicker.

So was it the Sony that you had on that first wedding? I thought you were shooting on Panasonic or something at that time. No, it was Sony, and yeah, so I basically bought a couple of 6300s, which at the time had only just come out, or very recently come out. They were they were quite kind of a pioneering camera in a way, because the cameras that Sony had had out before that, that most went in, I didn't really know many photographers that were using Sony at the time, in fact, pretty much none were.

When you fast forward five years, every all the photographers are now are not all of them, but most of them using Sony. But there were non using it. They were all on Nikon or Canon DSLRs. You'd get some filmmakers using Sony, some using Panasonic, like a GH5 then you still get people using, you know, Canon, Nikon DSLRs.

So. You know, it wasn't, it wasn't anything like it is now, like if someone's listening to this and they've, they've only been in the industry a year or two, like, you know, they'll probably know loads of people that use Sony. Oh yeah, definitely. I mean, there literally was no one really using it, you know, apart from some filmmakers and they were all using kind of this, this sort of full frame Sony A7S II.

And that, that camera was like the, the, for filmmaking, that was the, deemed the, well, wedding filmmaking, it was deemed the, the go to camera, but I decided to go with the A6300 because they'd just come out, they were cheaper, I could get more bang for my buck with, with those, and actually the technology in them was better, so whereas the A7S II, was built on kind of a bit more older technology.

The A6300 had like newer autofocus systems and stuff and not, not as good as the ones that we've got in today's cameras, but for back then they were, it was awesome. Do you know what I mean? Like the 6500, which was like a, A little update they brought out a few months after the 6300 even had like a touch screen focus, you know, you could tap where at the time not, there was nothing like that on the market.

So all this stuff is what I kind of started using to begin with. So to me, it was like, that's where I started. I don't have the experience of using all these other cameras you see. So I mean, in a way I was spoiled, but also at the same time, I was thinking, You know, it didn't seem that crazy or difficult to me.

and people would always talk about how they wouldn't use autofocus. So for you, I don't know if you experienced this, but particularly like with filmmakers, it's a bit different with photography, but for filmmakers, nobody that like all of the tutorial stuff, all the education stuff and people on YouTube and when you'd go and talk to other videographers, they'd be like, they'd all talk about autofocus.

Like it was a nasty word you know, for, for like filmmaking. And I'm like, I use autofocus all the time. See, I think this is where it's changed, doesn't it? Because autofocus, years ago, like, it wouldn't, it wouldn't have, it wouldn't have stood the ground against, like, videography in weddings and whatnot.

It would have just, we'd have lost it. It'd have been out of focus. But these days, especially like the Sonys, I don't know about the Canons and the Nikons, I don't, I know they're supposed to be pretty good, but I've, I've, I think I've used one of your Sonys before, like, when we've been shooting together.

I like the autofocus is, I mean, like, it's bang on, isn't it, really? You can't you can't really go wrong with it. My, from my side, the Fuji, that isn't, the Fuji, the con is that the autofocus is mediocre. It's not, it's not the best. So, the majority of the time, I do think autofocus is a dirty word, because I shoot, I shoot, I shoot manual a fair bit because I know I can trust that.

I mean, like if, if it's, if it's portraits and we're just having like some walking along shots and all that, the autofocus actually, that's fine. But I think the problem is that with Fuji, that if you're, if you're tracking, or even if you just got it set on, set on autofocus, it will, it'll hunt, it hunts a lot.

So unless you've got an obvious subject in front of your camera it's quite easy to lose it. So a lot of the time I do shoot, I do shoot manual in, in video. I mean photo now is, is different, but. Yeah. Can you imagine shooting a whole wedding, like, with autofocus for photo? Can you imagine, like, that'd be the most stressful day in the world, wouldn't it?

Manual, you mean? Shooting manual? Manual, yeah. I mean, unless you literally used a really wide lens and then just set, set your focus and then just moved around and didn't touch, didn't touch the focus. It used to happen, didn't it? So. Well, yeah, exactly. But, you know, they didn't used to give the same coverage.

Like, you know, they give the documentary type coverage that they give now. No. You know, it used to be like, well, it didn't matter 'cause we we're gonna have you stood on one spot when I take a photo of you. Yeah. I'll tell you what, you'd be a, you'd, it'd, it'd make you a better photographer if you could shoot everything manual, wouldn't it?

Could you imagine? Yeah. Bloody, yeah. You'd have to, you'd have to be a lot more talented. Oh my God, yeah. It does make it a lot easier these days, doesn't it? With the with the technology and whatnot. Absolutely. And I'd be the first to say, you know, I probably wouldn't be, I probably wouldn't be where I am, you know, I wouldn't have built a decent business in such a small space of time had I not had the technology to do it.

Oh yeah, Read the words. Use it. I'm the first person to say that. Yeah. So if we kind of, I mean, go back to, you've picked your Fuji. Mm hmm. Whoa. What did you do? Did you jump straight in? Did you, did you buy kind of all the, all the lenses that you, you know, what did you, what did you kind of do? Did you, did you get half and half?

Did you just buy one to start with? Or did you go, right, I'm going to buy a couple of bodies. I'm going to buy this, I'm going to buy that. And which models are you using at the moment? You said X T4. I think you've got another one as well haven't you? So, okay. I've got the X H1 as well, which is predominantly mainly.

focused on video. You can, you can do photography with it as well. You can shoot photos with it, but I think, I think it was, it was made or sold as more of a videography camera than it was photography. But it didn't, it didn't take me that long to be fair. I think I shot maybe two or three weddings do it using the Canon and the Fuji and then I decided to scrap the Canon and go all in, all in with the Fuji.

So I think I think I just waited for a bit of a down period in the, in the wedding season. So I could, I could change systems and not have really any issues with it, but yeah, it wasn't it didn't take me long, a couple of months really, and then I was, I was fully on board with it. But yeah, I mean, like the, yeah, so I went from the XH2 sorry, the XT2.

And then the X T3 came out, but there wasn't, I didn't really feel like there was much of a difference in the technology in these. I think the autofocus system was a little bit better and whatnot, but I mean, the X T2 did the job for me, so I didn't really feel like it needed to change. And then the X H1 came out, which is the video one.

That's, that's more when I started focusing on shooting hybrid actually. So I decided to get two of them bodies same lenses again, I mean, I mean, it's the equivalent. So I've got 23 mil, which I believe is the equivalent to a 35 and a 56 mil, which is the equivalent to an 80 or an 85. And that's because of the crop, the crop factors for anybody listening, can it be more specific?

No, that's cool. So there, so the ones that you are using a crop sensors. Yeah. Yeah. So yeah, that's the equivalent to, so anyone that's shooting like Sony and whatnot, it'll be a 35 and an 85. I think that's correct. Isn't it? Yeah. If you're on full frame. Yeah. Yeah. So yeah, same, same lenses. So really just bought the X, X H one bodies.

Yeah, and they, they were pretty good actually for, for the film side of things. Then the X T4 came out, which actually was like the X H1 and the X T3 all built in to one body, so that's kind of currently what I'm using now. I still got that X H1 as a, like a backup camera or a, or like a third angle camera.

But yeah, that's, that's my systems X T4 and, and a couple of X H1s as well. Cool. What, what are you, what, you've got, you've got a few different bodies now, haven't you? Yeah, so, I mean, I, I am a little bit daft when it comes to buying equipment. I kind of, I don't, I don't think I get necessarily Shiny thing, syndrome.

Mm-Hmm. . I don't think it's just a case of like, I buy stuff just because the new thing comes out, but what I'm always trying to do is I, I always feel like I'm trying to gain that little bit of extra efficiency. Yeah, yeah. Yeah. So every, every time something to make a job that little bit easier. Yeah. And so that's, that's kind of what motivates me to buy stuff is I'm always trying to just improve the process a little bit better and make my job easier.

So I've had the different iterations of the Sony a7. So like I didn't get The two or the S two, but when the three came out, I had a couple of those, the Sony A nine, so the Sony A nine. I bought the Sony A nine, which I was in my first year, and it was the most ridiculous extravagant purchase. But I'll tell you a little, I'll tell you a little kind of story behind why I bought the A nine.

So I had my a 63 hundreds and an A 6,500, and I was doing okay with them. And actually in hindsight, knowing what I know now. I was doing just fine with those cameras, but because I was watching all this crap on YouTube, and this is the reason for telling this story partly is because if you're new to this and you're starting out, don't get sucked into buying shit because everyone's telling you you need it.

So the Everyone was saying full frame is so much better than crop sensor. So much better, you'll get so much more this and so much more that. And I'm thinking, oh well if I'm going to do this seriously, I need to get full frame. But at the time, the a7 III hadn't come out. Now the a7 III was basically, the a7 series is like the camera that everyone gets.

It's a nice balance between not too expensive, although they are expensive, and features, but it's not the top of the end cameras. So that hadn't the three version of that hadn't come out yet. I didn't want to buy one of the older versions and the Sony a nine just came out and this was like this crazy camera that had all these features that had never been put in a camera before.

This is like going back into 2017. Now I'm, I'm about to leave my job in the police. And I'm thinking, my credit rating's gonna plummet. So what I'll do is, before I buy, er, before I leave, I'm gonna buy this on credit. Like, it was a 0 percent interest thing, through one of the camera companies. And I thought, I'll buy this, because I'll be able to get it, because I've got a good credit score, and I'm not self employed, yet.

So I bought, so I bought it and then I was paying it off for the next couple of years. So I bought, bought this Sony A nine. And to be honest, that was a game changing camera. Mm-Hmm. just because the auto focus was like insane on it and there was, you know, it had a lot of of great features. Then very shortly after the, the A seven three came out and I bought one of those.

So I kind of run those for a little bit. Right. And then, and then just over the years, they've brought newer cameras out and the newer version of the camera. So now I've got a Sony A1 and I've got a Sony A7, a Sony A7S3 and an FX30. The reason I've got four cameras is because obviously I'm doing the hybrid.

I do photo and video, but I also was doing photo and video with Lindsay. Or like, you know, another shooter. So sometimes between me and Lindsay, we needed four cameras or even now, when I'm shooting on my own, I can make use of the four cameras. So You don't need four cameras to be able to do hybrid or, you know, whatever, but it's just, it was nice to have them.

And it seemed like a good investment because I was effectively buying two lots of cameras, you know, cause there was two of us. So that's like kind of the reason for, for having all those. A1 came out, that was a ridiculous purchase, but it's that good a camera. The when the next when the second version that comes out.

I will probably get it, no matter what it costs. There you go. Yeah, because, just because, that's, that's, the criteria for me is, if it helps me do my job better than anything else, obviously, if I couldn't afford it, I wouldn't. But if I had the spare money to do it it would be a no brainer, because I, that camera's so amazing, I can't imagine what the second version of it'll be.

Yeah, ambassador of Sony right there. Yeah. Yeah. Yeah. Gizco. I mean, like, if anyone's listening and they, they want, they want to start shooting hybrid, even if it's just photography or videography, like I'll even hold my hands up. Fuji is, is probably not as reliable in a lot of the ways that Sony is. So to make your lives easier, going down like the route of Sony, I believe, I believe the Canon R6 is, is not far behind either actually.

Yeah, the Canons have definitely, yeah, made massive strides in the last few years and I maybe, maybe one of the Nick Ons as well. I'm not sure which model, but I mean, to be fair, Fuji, I can understand why people kind of put Fuji to the bottom of the list. Like it's not, it's not always the most reliable in like auto focus and, and light and stuff like that.

So yeah, if, if you're listening and you want like the easy option, stress free option, I'd probably go down the route of one of them. I'm not really selling food right now, but. Yeah, I mean, it's, it's what I suggest is pick up a few different cameras and play with them see, see what you think. And a lot of the time as well, it's down to, it's down to like how your feet, how it feels in your hand and like the experience that you're getting from it as well.

Doesn't it? Absolutely. And the thing is, you know, like with the Fugees, you can tell me what you, what you think about this, but they recently released, is it the 100 mark? Yeah. XF 100 or something. And that's like a, is that a rangefinder type camera? I'm not, I haven't read much into it to be fair. I wouldn't, I wouldn't be able to tell you right now.

I'll research and let you know. But it just seems that like, I just saw them release that and everybody was talking about buying it, but not, not necessarily buying it for work purposes, but like buying it. for recreational use, you know, like for fun because it's such a, you know, everyone says it's such a nice camera to use and it's, and I never know with stuff like this, if it's just a trend, you know, it's just like, it's cool to own this camera or if, or if it's like actually gives you, you know, it's such a great experience.

But have you, you're not, you've never used one of those cameras? Haven't, haven't I've, I've seen a few people. I mean, like there's a couple of people I I chat to and like. and follow on Instagram and whatnot that are like travel bloggers, and they use, they use them quite a lot. And I think, I think the thing, from my, from my point of view anyway, the colour science in the Fuji films, I think beats any other camera.

So, so when it comes to like the editing side of it, when I want to be, when I want to create like the look I want to create, there's not much, not much in the editing side of things that I actually need to change. Right, like color, color-wise. Anyway, so, I mean, I think Sony, I know a couple of people down south, photographers down south that actually don't, they, they shoot jpeg and they just set, they set the profiles up in, in the Sony.

So yeah, you can, you can get away with it. That way you can set the profiles up in Sony, can't you? You can set, you can set you can change the settings. So the Sony's have got either picture profiles, which you can shoot. Yeah, that would be what you would use that more for things like video to be able to get a flatter image, you know, like shooting like a log profile or, or to have a profile that's going to give you slightly less contrast slightly less saturation, or, or you can kind of manually mess with those.

You can also do something where you can actually manually change the values. Yeah, so similar to Fuji then really. I mean like Fuji have got, they've got four or five different like film simulations in the, in the settings so you could select. I mean, like, yeah, they're okay. They're not, I wouldn't say that they're a final product type of simulation preset.

You still need to edit. You still need to edit a little bit, but I think a lot of the time, like, the editing side of it, like, so post wedding, for me, is, is quite simple. It's not too, it's not too hard to, like, try and manipulate a picture and make it look the way you want it, because The colors are already there.

Really? Because you've got a good starting point with the file. Yeah, yeah. And, and I, I, I, I, I agree with that. 'cause when I see, when I see people who've shot on Fuji, do you know what I mean? And I, I've, I've obviously you've second shot for me, so I've had so of our files, so I can see they're not, they are different to how the Sonys render straight through when you put it in Lightroom, which always blows my mind because Lightroom should kind of.

You'd think that Lightroom would almost level everything out because it's just digital information, isn't it? But for some reason it doesn't really work like that and actually different recorded files from different cameras do look Lightroom. So, the Fuji's definitely got a nicer aesthetic about it. Oh, I'm glad it's not just me that thinks that then.

I think, I think, I think with the Sony it's, I, I, maybe, maybe this has just been a bit of a traditional, I think with like the Sony and a lot of the other like cameras out there that people are shooting with, that it is just very digital. And like with the, with, with the Fujis, you almost are going a little bit back in time with the look of it.

You've almost got a little bit of a film look there with it. Which kind of appeals to me, and a lot of my clients as well, actually. And I think as well, when you're thinking about, you know And that's the, that's the draw to it, isn't it? And, a little bit of a side swing topic here, but like, price as well of cameras.

Like, the Sonys, like you were saying, like, it was an expensive camera, the A1 or the A9, was it, the A1? They're all expensive. I mean like the Fuji's are. The X T4, it's pretty expensive with the lens and what not. But compared to a lot of them, it's actually, it's not that expensive. And I think, I think especially for people that are listening and first starting out, I wouldn't get hooked up on buying the most expensive camera.

thinking it's gonna be the best camera for you. And you need to remember as well, you're shooting a wedding, you're not shooting like a Hollywood film or whatnot. So the quality of the camera and the quality of the pictures, they're gonna go into an online gallery, Most likely an album and a couple of prints.

It's not going on like a billboard for advertisement or whatnot. You don't need, I don't know, what's the, what's the highest megapixel camera you can get? You don't need all that stuff. I think a lot of people get side swept with all of that, don't they? So, I think, yeah, a lot of it down again is to, is to just your personal preference, isn't it?

Yeah, I mean, it's interesting because I've made a, I've made a couple of notes to make sure we're covered and you've kind of hit a few of them there with like price and then you've talked about as well the, the camera being not as important as, you know, the audio. kind of, it's made out to be, and that's basically because all of these companies are trying to sell us the next camera, they need our money, right?

Now the kind of influencer YouTube type effort is perpetuating that because if you are into photography or filmmaking, you probably do follow some people online and those people are potentially ambassadors or whatever. So they're naturally going to be, you know, Not, not necessarily pushing hard, but they're going to be suggesting that these cameras have something that you, you know, you don't have already.

So while we're in that kind of world, whereas if I could go back, those first cameras I had, I'm not saying I would want to shoot with them over the ones I've got now. Of course I wouldn't. But they were just fine. They did the job, didn't they? They did the job. And I don't, I don't feel like. I don't feel like the images or the video that comes out of the cameras I've got now Like I'm almost going back to what did make me enjoy it and what did make me feel good about the work I was producing.

Even though like I know far more now, I'm far more technically better and I've got better equipment. But that's not the equipment, that's experience, isn't it? That's making your product better. It's not the equipment, it's the experience that you're gaining from it, isn't it? Yeah, but it also, why doesn't it feel better?

Do you know what I mean? Like, so I, I almost feel like sometimes I just want to go back and have that, you know, we even talked about it, didn't we? We talked about whether you could shoot a wedding on an iPhone. Oh man, you know what? I'd love, I'd love to do that. I reckon I'd smash it. And it's, and it's an interesting idea, and I don't know how couples would feel about it if you just whipped out your phone and said it.

It doesn't look right, does it? Like, walking around, taking photos of guests and, like, details and, like, portraits and stuff. I'll tell you what, though, like, I took a couple of little snaps the other week at a wedding. Just, just for an experiment for myself on my phone. iPhone 15 Pro Max. So I mean, like, it is a very good camera, that anyway.

So I wouldn't suggest it just on, like, a, Little old 12 megapixel camera. I wouldn't, I wouldn't have thought that, but yeah, some of the shots, I mean, like, they are quite incredible, especially like the detail shots and stuff. The angle of the lens that you can get, you can get some really interesting And different, different shots.

And actually, you know what, I might even include them. I've got detail shots from, from the Fuji as well, but I might even include the detail shots from the iPhone into their gallery just to see if they even say anything about it. I bet they'll probably like them. They'll probably print them more than anything else.

The thing is, the quality is good. It obviously has, unless you turn the processing off it, unless you shoot them in raw and then, you know, use them the way that you would use other photos. The processing that the camera does makes the photos look instantly really good. Oh yeah. Yeah. And, and they've got like things like macro mode in, haven't they?

Yeah. Yeah. So you could be able to get some really great close up detail stuff. I mean, this is a totally different subject altogether, isn't it? But on, on the, on the side of, like, phones and stuff, and hybrid, there is, there is people I know that have used, I mean, like, I think we mentioned in a podcast previously, like, some people use GoPros as, like, a third angle shot.

Some people use, some people use the phones. Like, I've seen, I've seen, like, a guy using, Using his, his iPhone on a, I think it was like a DJI gimbal. The gimbal. Yeah. And he was just walking backwards through the confetti with them and actually like the end product, you wouldn't have known it wasn't, you wouldn't have known it was from his phone and the quality was, well, it's a 4k.

It was, it was decent. It was decent quality as well. So, I mean, yeah, I think that's another, obviously another topic as well, isn't it? But there's, there's all sorts of different equipment that you can use to, to achieve. Decent results, isn't there? Yeah. But yeah, the iPhone side of it on the, yeah, I'd love to shoot on the phone though.

So, on the phone I saw a post on a Facebook group the other day. In fact, it was yesterday, I think saying that somebody. It was somebody in like the UK wedding videographer group had put that they were looking for somebody who can come and shoot a wedding in London for two hours. I think it might have just been the ceremony or something, but they wanted it shooting on the iPhone 15 because the couple wanted it to be shot in spatial, I can't remember what it's called, but basically it's the spatial something or other for the new headset, you know, the ProVision.

And so there's only, the only thing you can film that will look right on that and do the sort of 3D ness is the iPhone 15. Hey, that's a pretty cool idea. I like that. I like that. That's the thing. I thought, I thought, you know what? There's a market for it. It'll be a small market now. You shouldn't have said that on the podcast.

That could have been our little niche, that. And you've just bloody told the world. Jesus, Jules. We've discussed these topics before. I know. Mate, it's not one of those things that many people are going to get into. I mean, I, I kind of bought a 360 camera, you know, when they first came out thinking, I want to see what this looks like at weddings.

And I've not, I've obviously never ended up incorporating it into my workflow. I'm going to, I'm going to use it for a slightly different thing, but we'll talk about that another time. But like the, the, the thing is, is that there are all of these new tools coming out and. in five or 10 years from now, the way that we absorb, again, we're going into different topics, but the way we absorb as photos and videos will not necessarily be the same as it is now.

So it is, you know, we're talking about brands of, of, of camera and we're talking about like, what, what, you know, what is the benefit of shooting on different ones, but actually, you know, five or 10 years from now, whatever you're shooting on, We might not be, we might not be using it in the same way. That's why hybrid is so relevant in a way because, you know, forget whether you do photo or video in 10 years time, it might be, will do you shoot in virtual reality?

Yeah, yeah, it probably will be. That's crazy, isn't it? Yeah. And if you don't, then we we're not interested. Yeah. 'cause we want, we want our wedding film and our wedding photos to be, we wanna be able to immerse ourselves in them. Yeah. Yeah. That's an interesting one. That's a, that's a, yeah. That is interesting.

Yeah. It's a good topic to, it's good to talk about in the future, but I mean, going, going briefly back to, to shooting a wedding on an iPhone. There was a blog not long ago from an Australian guy who entered a compet a wedding photography competition. And he had to deliver his full gallery to, well, to the, to, to the, to the, to the, The judges.

The judges, that's the word. So he entered and he won. And then he announced afterwards it was all shot on an iPhone. Mental. Did they get annoyed? Did the judges get annoyed? Yeah, they didn't. They didn't allow it. They cancelled the, the, Really? Oh, yeah. Yeah. But he just wanted to prove Why? I don't know.

He wanted to prove a point. And I tell you, like, some of the photographs were incredible. I think you can I think a lot of it was. Like, when you looked at his photographs, that Again, another topic, but when you're walking around with a camera, people, and if people see you, they're instantly not going to be natural.

They're going to be either staring at the camera smiling, or kind of like looking away from you, aren't they? A lot of people like turn their heads, so you've kind of got to be a little bit of an injury at weddings, haven't you? And just sneak around, and when you see something you're going to run up and snap it and whatnot.

But, I think a lot of his photos, people are used to taking photos on phones. Like, they'll, they'll There's no phases, there's no worry about it. So if he's walking around with an iPhone, taking photographs, people aren't gonna panic. You haven't got a lens in your face or anything like that. It's just a phone.

People are used to that. So I think he was actually getting He was much more relaxed. I think he was getting a lot more, like, natural reactions and And, like, being able to, like, actually just see people for who they are, rather than So, it was quite interesting. Yeah. I'll send you that. I'll send you the link.

You can have a look. Yeah, send it over, mate. I'd like to see that. I mean, I find it interesting that the judges Yeah, well, they'll be I mean, like, they'll be That's sort of the dick move that pisses me off about the industry. It's just too snobby. Yeah, there'll be people that have switched off from this thing.

Podcast potentially about quality of cameras and whatnot, and us saying that quality is not always the be all and end all of the things, but You do, you get, you get the camera snobs, don't you? That's fine. If if that's what you want to go down in. Sort of bringing it back to Sony and Fuji, the Sony cameras that I use, so I use I use obviously the different ones that I've mentioned.

One of them's the Sony A7S III. That that camera's now been out I can't remember the, I think it came out in 2020 or 2019, but it's been, it's been out like quite a few years now. Sony haven't replaced that camera, so that's still their best video focused camera. And so, because you don't shoot Sony, and if anyone doesn't shoot Sony, it's basically, they have different names for the different cameras and the S range is supposed to be, I think, for sensitivity to light.

So it shoots really good in low light, but it also is the more, that's the one that they, the kind of sensor that they developed for video. So that camera's mainly for video. Mm hmm. But it's a photography body. It's a hybrid camera. But that one's only got 12 megapixels. So that's quite low for a modern camera, obviously the Sony a seven four, which is the one that most people will use.

And most people will buy now if they're getting a full frame one, that's got 33 megapixels. So it's got like, you know, almost three times as many and the a one's got 50 megapixels. So basically I'm, I'm using those three cameras at weddings. I'm using the a one. That's my main, I'm getting most of my photos with it for lots of reasons.

One of them being that it's completely silent, you know, the silent shutter on it is like amazing. You don't get banding and stuff like that. So it's great for, for that and it's very quick, but I shoot photo on the a7S III as well. And I deliver those photos, those 12 megapixel photos. Nobody ever says anything.

I've printed them out, printed them out massive. You know, I've, I've, like, printed them out I've got a photo on my wall at home that's the kids, Lindsay and the kids, and I've, I've blown it up, I'd say about A1, A2 size, and it looks, it looks great. You can't tell that it's not as good as the other, you know, the bigger megapixels.

Yeah, and I think that's the thing, isn't it? Like, that's probably the biggest someone's ever going to really blow their pictures up, like, their wedding photos anyway, isn't it? I mean, like, I think I've had Jen and Elliot that we shot a wedding for, they, they probably printed out A1s, a couple of A1s. And I think that's the biggest print that anyone's ever printed whilst I've been shooting in the 10 years.

So yeah, I don't think, I mean like 48 megapixel, I mean the, the, the Fuji X T5 has just come out. That's a 48 megapixel. And I think A1 was a 51, was it, did you say? Yeah, it's 50 ish. I mean, that's mint. The crop that you can get in on that and whatnot perfect, isn't it? But it's not, you don't need it. It's just a luxury, isn't it?

And the thing is, the thing is with the a7S III, so like, it always comes up, I see it in groups all the time about whether people will be like, well, I don't know if it's good enough for photo. Do you know what I mean? And again, it's, It's, can you remember if we go back 10 years, most of the cameras weren't even 12 megapixels, you know, like I know loads of people who will talk about when they first started, their first digital camera was like four or five megapixels, you know, and they were using that in a professional capacity.

They were, you know, and that's when people were all having albums and prints. Yeah. You weren't, you know, now, nowadays, most of it's digital. Yeah. Yeah. Yeah. Yeah. So, yeah. So, I don't think we've actually even come to a conclusion of Fuji versus Sony, but Fuji wins. Right. Well, Fuji wins. There we go, everyone.

Fuji wins. Go buy yourself a Fuji. Well, that's the thing, isn't it? What is the conclusion then? If we're going to wrap it up, what is the conclusion, the conclusion is that it doesn't matter. It doesn't matter what you're shooting. As long as you enjoy shooting. On, on your system, then carry on using it as long as you feel confident in it.

Yeah. Carrying using it. Well, the, the, the note that I put down is, is that you should shoot with what works for you. So you should ask yourself, for me, you should ask yourself two questions. Do I get the results I want as in, do I like the images that come out of it or do I like the video clips that come out?

And then I'm obviously. able to, like, make them into a film or what, and how efficient is it? They're the two things for me. Yeah, absolutely. They're the reasons I do buy new, I buy new cameras based on it. Does it give me features that will make my workflow more efficient? Yeah. Not do I, at this point, I don't think quality even comes into it, because they're all amazing quality out there.

I think, yeah, I think before we, before we wrap it up, it might be worth, Running through a few points of if you're going to be shooting hybrid, the benefits of Benefits of like the Sony versus the Fuji. So I think for, or even any, any camera. So if you're looking to buy a camera for hybrid. Like, for me, my main issue when I come to shoot in hybrid, especially when they want a full ceremony and speeches, and Jules will back me up on this because I always beg him to shoot the full ceremony and speeches, is that I've got a record limit on my cameras of, I think it's around 24, 24, 25 minutes.

record time. So that's a bit of a pain in the arse because you're going to have to find a point if it's going to be a long ceremony or long speeches, which speeches usually last over 24 minutes or around that, maybe a bit more. You're gonna have to find a point where you're gonna have to press record on that or them cameras again.

So I mean, like, obviously B roll is important to be able to cover them gaps. But ideally you want to be shooting and recording the whole way through, don't you? So I think a couple of your your cameras haven't got a record limit or they're a lot longer than than 24 minutes anyway. Well, if I go back to the beginning, I was shooting on the A6300, A6500, the A7III.

They all had 30 minute record limits. But now Sony have removed all that. So all of the newer Sony cameras that come out haven't got that. And that is, that's actually one of the boxes to take when I was changing my cameras. So I didn't, I didn't want any of them to have that record limit. So that was a big kind of reason, not the only one, I wouldn't do it just for that, but it was a big reason to upgrade.

Yeah. So I mean, yeah, there's, there's obviously reasons to, to look into like what systems, I mean, like there was ways around the Fuji. So I've got, I've got, I bought a Ninja Atmos, I think it's called which is like a, like a monitor that you've got a huge, huge storage, storage. card that you shove into the back of it, and that is unlimited recording, so luckily I can get around that now, but that did come at a price, I think it was about 600 quid altogether for everything.

So, I mean, yeah, it's, yeah, do your research, look into it. And how, how do you feel about using that? Because I've got one of those and it just sits gathering dust because again, I bought it. It was one of those things that I wanted to try because I'd heard so many people talking about, Oh, it's so much better if you record on an external recorder, you'll get so much better footage.

And it's so much, better workflow. I mean, each to their own. But for me, when I'm doing hybrid, I don't really want something attached to my camera that's gonna slow me down. Yeah. So the only time I ever use it is for the ceremony speeches. I won't use it for any of the part of the day. So I mean, that'll be set up on a static camera as well.

So it won't be like on a tripod. It won't be me walking around with it. I wouldn't do that. That would be hindrance, I think. So really, I mean, like I don't have any of it. Easy option unless I decide to go and I don't know what the xt5 the new one coming out the fuji xt5 I don't know what the record limit on that is yet.

But I mean if that if that came out and it was Like a 60 minute record minute or 60 minute record time or something i'd be pretty tempted to buy that just for the ease of ease of shooting ceremony and speeches, but yeah, I I think because maybe yours might be gathering dust because you have got them cameras that Do have a longer record time You Yeah, I did buy it a long time ago when I had the a7iii and I was having the same issue with the 30 minute record limit.

So I thought if I can, if I can use that, then I've, it kind of helps me with that. It's not, it's not for me just that record limit. All cameras do perform differently. And I think one of the issues that I've definitely run into at different points is running out of overheating it. Yeah. See, that's, that to me, that is a consideration.

That's one of the pros of the Fuji that I've never had it overheat before. Never overheat. Right, but it can't record longer than 30 minutes. Yeah, shut up Jules, man. I'm trying to, I'm trying, I'm trying to like, counterbalance this. Don't sell it here. So yeah, I mean like, yeah, it doesn't overheat, but it only records for like 24, it might be a little bit more, about 24 minutes.

But yeah, I do, I do remember a wedding that I was shooting with you and your, one of your, one of your third angle, I think it luckily it was one of your third angles, the camera's overheating and you were running around like a lunatic trying to trying to cool it down. I've been, I've been in ceremonies before, I've been in ceremonies before, literally it's turned off and I've been like.

I really need this camera to turn back on now. So I've been like, taking the batteries out, blowing in it, and like, this is, this is at, at the front while the chuffing ceremony's going on, so you're trying to be really discreet. Like clearly your camera's no longer recording because you're holding it upside down and blowing into the battery compartment.

Yeah, yeah, yeah, exactly, yeah, yeah. You know, what the hell's this guy doing? Yeah. But yeah. Another one with Sony, which I see all the time on like, on like Facebook, our groups and whatnot. Like, shutters falling out? What the hell is that all about? Yeah, it's a known problem on the so on the a7iii, which is, is probably, I would imagine, one of the most popular cameras ever bought, you know, in terms of like, how many, how many units they've sold.

And so many of the shutters fail on it. Yeah. And it looks horrendous. And obviously if it happens mid wedding, you know, hopefully you've got I mean, to be honest with you, like, I was, you know, I've been talking to you quite a long time about possibly switching over to Sony and whatnot, just, just to, like, make my life a little bit easier.

But yeah, I think, I think one of the things that does stop me from doing that is seeing the amount of, amount of times a bloody shutter falls out of the camera. It does, it worries me a little bit. Fortunately, it never happened to me. Yeah, well, touch wood, you don't want shit like that happening. Yeah, Jim.

No, and generally the build quality on them is, is decent, even if they don't, even if they don't have the reputation I have. I had one, I was in the middle of a wedding once and the hot shoe fell off. Right. I had a flash on it at the time. And it had been getting loose. Yeah. So it's one of those things where it wasn't something I could just tighten up with a screwdriver.

And I was like, I'm in middle of wedding season here. I can't really send my camera away to get repaired. This was on my thing. I think this was on my A9. And, and then in mid wedding, the fricking hot shoe falls off and I'm screwed. But, you know, I got that repaired under warranty. I can't think, other than like, I had a problem with a lens that I had to pay to get fixed.

But other than that, I've not really had any issues with them. No, I think we were with the Fuji. I don't I mean, like, I'm pretty clumsy. I've dropped the cameras a fair few times and Nothing's happened. I think the only time something went wrong, and again, you were shooting with me, was I dropped the camera while at the bridal prep and my 56mm 85mm equivalent broke.

So I ended up having to shoot with one of my backup lenses, which I hadn't used in years, which was like a I can't remember, 18 55mm or something. I don't know what the equivalent of that one is, but, Yeah, that was the only time it broke, and I think, I remember you were, you were there with me, so you had to, you had to cover part of the speeches for me on that one, because normally I shoot a long distance one with the, with the 56, but yeah, apart from that, I mean, like, the bodies themselves look rock solid on them, rock solid on them, but Yeah, I love the build quality on the Fugees, and they look the part, don't they?

Yeah, they are cool. They're kind of doing a bit of a returning back into it now. Let's get, let's get, let's, we're starting to have a fight here. Let's do it. I'm ready for it. I do like the, the way that they look. Whereas the Sony's, they do, they do just look clinical, don't they? Yeah, they do. Yeah. I don't know, I feel like, yeah, for me, you, you know how to use it.

You've set it up the way you want to set up your Sony, but the couple of times that I've picked one up, I mean, maybe this might sound daft as well, but when I'm like, like, photographing the portraits and everything, every, everything, like, I'm literally just holding it and clicking the button. There's no thinking about it whatsoever.

And it, it just comes across a little bit too easy for me. Do you know what I mean? Like I kind of want to, I want to work to get the image that I want. That sounds really cringe and cheesy, doesn't it? But I want to see the process of like how I've created this image. So, like, when I'm having to like Give me your paintbrush.

Yeah, yeah, get the paintbrush out. So, when So, when, like, I'm changing, like, aperture manually and, like, the ISO and, like, your shutter speed and whatnot, like, I know what process I've gone through to capture this image. Whereas, like, with the Sony, they're so good that you're literally just holding it and taking the photograph and it pops out.

Well, I've got it in manual mode as well. Yeah. I mean, I'm not shooting fully auto. Yeah, but the thing is, like, I don't know how to I don't know how to Like, I don't know how to set up, like, manual mode and whatnot on the Sonys and, like, do all the manual side of it, because it's, a lot of it is, like, in menu, isn't it?

Whereas, like, the Fuji, it's all to hand. As far as I'm aware, anyway, like, I've only used the Sony maybe three or four times, but very briefly. Again, I've not really used the Fuji's extensively. Yeah. What I would say about, for me, shooting hybrid. So like I've said before about efficiency and like ease of workflow, being able to switch really quick, that's how I'm able to get like really good video.

really good photo. Don't blow your own trumpet Jules. Jesus. Well, I wasn't, I wasn't really meaning it like that. I just mean like, you know, I'm managing to, I'm managing to capture the moments. Yes, you're good Jules, we all know, well done. I'm managing to do it in a way that it's not taking me any time.

And that's because I've got them set up so that I can switch very easily now. And they're not the only camera that can do that. I think pretty much all of the cameras can now, but I think it's important that you have the customization ability to be able to set like, so you were talking about everything's in the menu.

Well, that's one of the good things is that you can set them up so that whatever is instinctive to you. So even if you'd come from a different camera system that had slightly different controls or ways of doing things, you can probably reconfigure the Sony cameras to work in exactly the same way, if that makes sense, as another camera.

There's just a lot of options on there, and you're right. I think the tactile controls and the kind of feel of it, I think is much nicer on something like the Fuji. But from a perspective of, like, fast and efficient. Yeah, that's certainly why he does it all the way on that one. Yeah. Yeah. Yeah. And one of the things for hybrid shooting as well is like, is that buffer speed, and like this, the processor, and that's when I talked about like the A1.

Again, not many people are going to buy an A1 because it's kind of overkill for weddings, but the, the thing I particularly like about it is that the processor in it is that quick that you It doesn't ever kind of freeze up. Yeah. Yeah. You know, switching between photo and video, it's very quick. And even though the photos are massive, the files are massive, it still shoot, you know, goes between them really quick.

Yeah. Yeah. And I just find, I find it just works. Yeah. Whatever works, all the cameras works. That's the one I would, that's the one I would use. Yeah. Yeah. So we haven't really given anybody an answer there, but I think, I don't think, I don't think there was ever gonna be an answer. There was, I think it was more the fact of no.

Fuji works for me, Sony works for you, it's just whatever works for you really, isn't it? I think that's the I think that's the answer. So yeah, you've listened to this for an hour and seven minutes so far. Just use what you want. That's the that's the end result. As long as, as long as you're happy with it, you know how to use it, and you enjoy using it, and it gets you what you need, then I think that's Then you're winning.

I think that's the key, isn't it? You're winning. Yeah. Yeah, so don't overthink it, I think is the key here. And just You don't need to spend a fortune to shoot hybrid. Well, just, just to note, technically, this is the thing that I shot my first, you won't be able to see this unless you're watching it on video, but this is the first camera I ever shot a wedding video with, and it's some kind of weird Canon camcorder, handycam.

Is there a tape in that? Yeah. No, it's digital. It's got an SD card, but this was before I actually was going to do it as a job. And it, it basically, I shot, I shot a mate's wedding probably when I was about 20 years old on it and I just kept that camera. So, yeah. But, but you don't, you can, you can use whatever and you can still get good results.

Yeah. Good. I saw some at Jools just before, just before we go. I saw something this morning whilst I was eating breakfast with Luke. And, if I get you to say the number 19 Okay. Next time, for anyone that's actually watching rather than listening, next time, if Jules says the number 19, he's going to be wearing one of Lindsay's dresses.

Okay? Yeah. Do you, do you, is that a deal? What? So if you say the number 19 in the next couple of minutes, you've got to wear one of Lindsay's dresses on the next podcast. Okay. Is that a deal? Right. You ready? What is 10 plus 10? 20. Okay, what is 10 plus 8? 28. 10 plus 8? No, 18! 18! Well, this is going to go down really well, isn't it?

What is 10 plus 20? 30. What is 50 plus 50? 100. What is 50 plus 40? 90. Got you. I said 90. Yeah. You said 19. Yeah, you just said 19. Ah, ladies and gentlemen, he will be wearing his dress on the next podcast. Excellent. Lindsay. We'll see about that. Get your wardrobe open, Lindsay. Well, you're definitely going to get people to watch us on YouTube now, aren't you?

Next time. So don't forget. Join us next time to see what Jools wears. Yeah. Right, yeah, anyway, conclusion is Conclusion is Jools. Conclusion is, is use a thing that makes sense to you. Yeah, that's the one. We're gonna go for song of the week, just before we wrap up. So, I'm just bringing it in now. This week well, before we go, this is another Musicbed song.

Using Musicbed, because it just gives the best music, in terms of all the different platforms out there. Other platforms are available, we're not sponsored. So, this is Prism, we were young. It's a bit more of an upbeat track. It's really good for like the dance floor. It's a bit more alternative 80s vibes.

It's not slow and soppy, it's more like for when things get going. So yeah, great synth and sax in there. And it's been great, cheers for The podcast this week here. No. Thank you for having me on again, Jules. They'll kick me out next time, right? I've had a very good talk about that and Sony Wings

I'll see you later. See you later. Catch you later.