BTM_Pix

Mmmm. I'm pretty sure it did so I'll double check when I get back in a few days but the battery supplied by BM with the camera was so poor that I don't use it any more and only use these ones now.

I use this RavPower dual USB one. The batteries work well in the camera and the whole kit including the two batteries is £30. Three of those sets and a triple outlet USB mains adapter will get you a good hands off overnight system for under £100. https://www.amazon.co.uk/dp/B0722RWV5G/ref=cm_sw_r_cp_awdb_t1_EeRwCbTTY30XR

I'd maybe pause until the X-T30 comes out and take stock then to see how much of the X-T3 it ends up containing. The X-T2 is currently ridiculously cheap secondhand so if you need something in the short term as a second body then I'd be inclined to go for that as B camera now and decide whether it stays there or becomes the C camera when the X-T30 shows up. If you decide to ditch the X-T2 at that point then its likely the current used price hasn't got that much further to drop so you won't lose much money on it.

For something like those, I'd look at using an adjustable phone tripod mount like this one which can be adjusted to grip the battery (and rotated to be vertical or horizontal) and then use the male to male bolts as above. If you are only going to use the battery for the camera and want something more permanent and direct then you could use my old friend epoxy to attach the flat side of one of these to it so it can be directly mounted to any 1/4 20 point on a cage or the camera etc.

If you use the NPF sled (and its certainly the best value option in my opinion) it has an integral 1/4 20 mount on the base. Then just use the male to male bolts like these to attach it directly to the top of the camera or a cage or with a rail adapter etc.

Will it render unto Caesar any sort of lens control ?

For the Nikon F, you would use this one which is direct : https://www.ebay.com/itm/New-Kipon-Adapter-for-Nikon-F-Mount-Lens-to-Leica-SL-Camera/112029189539?hash=item1a1575c5a3:g:Ki4AAOSww9xZJ9m5 For the other two, you would use the M mount adapter as an intermediary : https://www.ebay.com/itm/New-Kipon-Adapter-for-Leica-M-Mount-Lens-to-Leica-SL-Camera/112030390459?hash=item1a158818bb:g:KZ4AAOSw-3FZJ9X- With the M mount on, you can then add the individual FD to M and EF to M adapters. I have to stress though that that is the situation as it stands today (ie. for people like me who use a Leica SL) but now the mount is being opened up to the wider world, I expect a lot more of the direct mount options like the Nikon one I linked to for your other two mounts so that you don't need to use two adapters with the M adapter as a bridge. EDIT>>>> Just noticed that you down voted the original reply. Harsh.

Kipon do a pretty comprehensive range of adapters including Nikon F/G, Leica M/R, M42, C/Y, PL and even speedboosters for medium format lenses for it. https://m.ebay.com/sch/i.html?_ssn=sh_photo_1&LH_PrefLoc=2&_sacat=0&_from=R40&_trksid=m4084.l1313&_nkw=Leica+sl I have the Leica M adapter permanently on my SL and then use an M to EF adapter as an intermediate bridge to every other mount.

Its just a pity that after doing all that titting about to balance it that I realised I hadn't brought any memory cards with me.

No, the adjustment is just in the rails part so that you can re-adjust the height of the lens support. This is a similarish one on my BMP4K. With the tripod plate on the bottom, the lens support centre column forms another contact point so when you align it you can settle down on a surface like it is here. It all depends on the lenses you put on it but with something like this PL prime you obviously need that adjustment to get the camera up higher but with a longer tripod plate on the base it becomes stable enough to set down.

This Camvate one is OK and great value for £35. Takes standard Manfrotto QR plates (they do an Arca Swiss version as well) to swap the cameras and has adjustable rail height for the lens support. https://www.amazon.co.uk/dp/B0749MLGHG

The shame about this really is that in the BM camera control spec, you can have access to a pretty full range of colour correction tools for lift/gamma/gain, contrast, gamma, offsets etc. to create in camera looks in real time. There are quite a few full on CCU controllers for the Ursa that use this capability and although it is still in the spec for the Pocket 4K, the commands are ignored by the camera when you send them. Hopefully they might switch it on in a future update. How dare you. My people will be in touch with your people over this scurrilous accusation

Nice piece. Oh and the cheque is in the post for this plug Mind you, I hope the notes he was taking were along the lines of "lets track this maverick down and license it" rather than "lets track this cheeky bastard down and sue him" !

The S1R is very, very similar to the Leica SL in dimensions and weight (**cough** what a shocker **cough**) so people can do a fairly accurate comparison already on camerasize.com Here it is against the GH5.... It is a lot heavier of course but some heft, as you say, is no bad thing when it comes to balance especially as this being a full frame camera it will invariably be having more substantial lens lumps put on it. I think one of the factors regarding the weight that is less of an influencing issue for people than it was a couple of years ago is that gimbals can take much bigger payloads now.

Seems there are probably enough of us on here with the same idea who live in enough different countries to form our own internal AirBnB to pull it off with. If we all agreed to a minimum standard of tripod and lights etc being left in each of our houses then we would all be able to travel light as well !

I've never been but no one I've known who has been there has had anything other than praise for it. I've always been put off by the flight time but, hey, if I'm living in Tokyo I'm practically in the local area.

Obviously the video that you linked to (by the way, you should edit your post so that the url is on the line down so it embeds the video) is a seriously budgeted production and whilst this won't go anywhere near answering all of your questions it is a good primer for some of the basic shot types and techniques when filming cars on a more modest scale.

Because of the SL connection, there are used lenses out there you can buy right now that will work with it but you'd have to be quite keen to buy them Thats actually one of the cheaper prices I've yet seen for that particular lens to be honest so maybe this launch is already having an effect ! Again because of the SL connection, smart adapters do exist to buy today from Novoflex who produce adapters with AF from EF and Nikon to the L mount which are about £350-400. The Nikon one has a major caveat though in that it will only work with the newer lenses with electronic diaphragm control. This is an area where you would hope that Sigma will be able to step in with an L version of their MC11 adapter for EF at least which should be considerably cheaper. I doubt they will be doing anyone that favour for a while though as they'd sooner you buy their new lenses for it ! For everything manual, the M mount adapter obviously gives you the ability to put Leica M lenses on it (not just the expensive stuff but cheap fast full frame Voigtlanders and 7Artisans) but also acts as a gateway mount to put pretty much all other lens types on via adapters. The L mount was obviously very niche up until now as it was a Leica only thing but I expect to see a lot more of the cheaper convertor manufacturers bringing out direct mount conversions so that you don't have to stack adapters like M>EF>R to get Leica R lenses on it etc

That seems like quite a price gouge for buying that lens as a separate item from its bundle value of £700 in the original leak yesterday. ------------------------ LUMIX S1R Overseas price: Body 3, 399 GBP, lens kit 4, 199 GBP LUMIX S1 Overseas price: Body 2,199 GBP, lens kit 2,999 GBP ------------------------ Those prices seem fairly accurate based on today's leak of a UK dealer's page (which looks like Park Cameras based on the styling) and would put the battery grip at about £200 I said the other day in a thread that camera prices were reaching levels that my outdated valuation scale deemed to be getting a bit excessive and even bearing that in mind I'm still looking at that price of £4348 for a camera with an f4 kit lens and thinking "blimey". And the least said about the £5448 for a camera with a 50mm f1.4 lens the better I don't think the prices are excessive compared to other FF offerings necessarily just that they probably should have been cheaper to get their foot in that particular door. I think they'll have an uphill battle for quite a while trying to establish the Panasonic brand in that kind of territory with stills shooters. For Panasonic's higher end stills shooters, its a massive leap to go from a G9 to that anyway, let alone when you can't take your lenses with you so I'm not sure how much brand loyalty they can rely on in this instance. The alliance as a whole isn't just about these two cameras in isolation though so the landscape might look a lot different in a year's time when Sigma's lenses and new SD Quattro's are available with that mount as well as subsequent Leica models.

Compared to the Sennheiser UHF stuff the Sarmonics are way cheaper but its more or less the same against this Sennheiser 2.4gHz system is what I was referring to. The XSW-D ENG kit has the lav and transmitter, the XLR transmitter and one receiver. Adding an additional receiver brings the whole kit up to around £400 which is the same amount to have the equivalent twin channel Saramonic UHF setup. I think for an awful lot of people with only a £400 budget for a new wireless setup for a DSLR etc this Sennheiser 2.4gHz system is going to be by far the better choice. I've got a Saramonic system and, yeah, well...its OK but I w ul t w n o r ly on t fo pa d w rk Apologies for the dropouts there

This one is not a bad test at all but the suspense element was completely lost by not matching the FOV of the cameras (odd because it uses a zoom) and of course there being consistency between the two legacy cameras making it obvious which one was the new one. And the difference is definitely clear in the ungraded footage. Definitely adds to the weight of needing movement in the test.

I don't think using the exact same lens on each camera is optional and its where a lot of these comparison videos on YouTube are doomed before they start. With the very different sensor sizes between the original and new Pocket cameras it is going to have to be a zoom one to match the FOV of the shots. To reduce the advantage the smaller sensor camera has by virtue of it using the stronger performing area of the lens, it should be a lens that covers full frame. And a constant aperture one obviously. From the list that @graphicnatured has just put up that would be the Nikkor 24-70mm f2.8 that would be the most appropriate. If you only have one copy of the lens and want exact matched content with movement in it then the solution to not being able to shoot simultaneously would be to actually have a static scene but have the camera on a motorised slider which would then give you a consistent repeatable movement.

I'm presuming the kit lens in those prices is the 24-105mm f4 If its £700 in the kit that means its probably £850-900 as a separate item. Considering that is a £4K saving over the Leica 24-90mm (which is f4 at the long end anyway) I think that might well find its way onto more than a few Leica SLs. Including mine. Fascinated to see what Sigma are going to bring to this and when.

I don't think there is a dual receiver for the 2.4gHz systems like this (though arguably the receivers seem compact enough to not have be a huge footprint even if you used two of them) but there are for the regular UHF systems. I think the closest system price wise to this Sennheiser system is probably the Saramonic one. Their twin receiver, lav with transmitter and plug on XLR transmitter is around $400 total. Above that would be the Sony equivalents that Saramonic have obviously modelled their units on and which have a price difference that you'd expect for the more premium product.

It is a whole lot more accessible now than it was when I was first working there 20 years ago. Partly because of technology and partly because of the inevitable seep from globalisation. The first few times I worked there we had translators/fixers in tow all the time to make sure we didn't get lost or breach some bowing or business card handling protocol, all of which just added to the heightened sense of otherness about the place. Once we'd shaken them off, it became a whole lot less jarring and unsettling and we started to embrace the weirdness instead of fearing it! Despite the changes over the years its still got enough of that weirdness and difference to let you know that you are definitely in a foreign country. It just a lot easier now to find your way back to the hotel when you get lost! That reassurance actually adds to it because it encourages you to wander about and go where the wind blows you. Plus, the high tech toilets are a thing of endless intrigue and adventure.