My main camera for filming videos for Camera West TV is the Leica SL2-S. You might be wondering, why the Leica SL2-S? First and foremost, this camera excels in both stills and video, but I specifically chose it for its outstanding video capabilities. It’s a full-frame mirrorless camera with a 24-megapixel sensor and 5-axis in-body stabilization, making it a versatile tool for filmmakers.
One of the standout features of the SL2-S is its backside-illuminated sensor, which provides exceptional dynamic range and 14-bit color depth for photos and 10-bit color depth for video, ensuring rich and detailed photos and videos in various lighting conditions. While the SL2-S is a fantastic stills camera, my focus here is on its video performance. At 24 megapixels, it’s also easy on your hard drives. That being said, the Leica SL2 is a great option for those seeking a camera focused primarily on still photography with a bit more horse power on the resolution side.
Versatile Video Capabilities
This camera offers a wide range of frame rates, from 8-bit Full HD to 10-bit Cine 4K to RAW (only available with an ATOMOS Ninja V). I typically shoot using L-Log 4K 10-bit at 23.97 frames per second to achieve a natural, cinematic look. Occasionally, I switch to 59.94 frames per second for slow-motion or macro shots to emphasize detail, especially when filming lenses or other gear.
A feature that has been a game-changer for me is the customizable user profiles. These profiles have significantly sped up my workflow by eliminating the need to manually adjust settings for each shoot. Whether I’m in the studio, out in the field, or shooting macro details, the user profiles ensure that I’m always working with the optimal settings.
Mastering L-Log and Color Grading
Working with L-Log files was new to me at first, but as I became more comfortable with color grading, I started to appreciate the flexibility it offers. The combination of the L-Log and the SL2-S’s sensor allows for excellent highlight and shadow detail retention, even in challenging lighting conditions. The 10-bit color depth further enhances the versatility of these files, making them ideal for achieving accurate colors, especially for skin tones and natural environments.
In the studio, I use the classic LUT as a preview to ensure proper exposure and color balance. This setup has been consistent across various shoots, regardless of the lighting conditions.
Lenses: The Right Tool for Every Job
One of the great benefits of the SL2-S is its compatibility with a wide range of lenses, thanks to the L-mount alliance between Leica, Sigma, and Panasonic. This flexibility allows me to adapt M-mount, R-mount, and even thread-mount lenses, giving me the creative freedom to choose the best lens for any situation.
For fieldwork, I primarily use the 28mm f2 APO-Summicron-SL lens. This f2 lens is ultra-sharp and versatile, making it perfect for a portable, run-and-gun setup. I often pair it with a variable ND filter and occasionally a quarter ProMist filter for a more stylized look. The 28mm focal length is ideal for capturing a wide range of environments without sacrificing portability.
In the studio, I switch to the 50mm f2 APO-Summicron-SL lens, which provides the compression and scale needed to accurately showcase the size of lenses and cameras. Although I don’t use it as much in the field, it’s my go-to lens for studio work.
For macro shots and detailed B-roll, I rely on the 60mm f2.8 APO-Elmarit-TL lens, despite it being a crop-sensor lens. The footage holds up well, and the APO design allows me to capture intricate details with ease. While it’s not a full-frame lens, it does the job admirably and has become an essential part of my setup.
For a full frame macro alternative, I use the Sigma 105mm 2.8 DG DN ART L Mount lens. This lens provided me the flexibility of using the full recording area of the sensor and the added compression of the longer focal length accentuates the details and scale of cameras and lenses. The ART series lenses also have a physical aperture that can be very useful when I need tactile controls.
I decided to try out the Leica 24-70mm Vario-Elmarit-SL lens, and I ended up really liking it. The only thing is, for the videos that I filmed with this lens, I had to use a four-stop ND filter instead of the variable ND. Because of the different thread sizes, the variable ND I used for the APO-Summicron-SL lenses was too small for this lens, so I had to make do with what I had. That’s probably why videos made with these lens look a little different—the ISO is cranked up a bit higher than I would normally like. However, I did like the visual look that I got from using this lens with a high ISO. I eventually was able to get a variable ND filter for the 24-70 for later videos.
Overall, even though this combo is much heavier than my usual setup, it brought a new visual aesthetic that I found appealing. The 24-70mm provided a versatile zoom range that was useful in various shooting scenarios, and despite the heavier weight, it has become another valuable tool in my kit.
Considerations
However, there are a few drawbacks. The autofocus on the SL2-S isn’t the best, and I often have to rely on manual focus, especially for critical shots. The fixed LCD screen is another limitation, making it challenging to film at certain angles. To work around this, I sometimes use an external monitor or the Leica Photos app on my iPad to control the camera and ensure everything looks right.
A Workhorse for Videographers
The Leica SL2-S is a workhorse for any videographer, whether you’re a professional or just starting out. Its simple and intuitive controls, combined with the ability to switch between stills and video at the press of a button, make it a versatile tool for any production.
I’ve been using this camera setup for a little over 2 years now, and I’m continually impressed by its performance. If you’re considering the SL2-S for your own work, I highly recommend it. It offers a range of options that can accommodate different filming styles and environments.
