BTM_Pix

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.

They have diversified from tinned vegetables to tinned fruit a few times with some right lemons.

Yes, a Leica SL. If only to know if the AF actually works on mine because I've never been able to bring myself to lay down the cash for Leica's ones !

I'm more interested in the lenses than the camera at this point.

This is the intercepted phone call of him requesting the boss of the state broadcaster RAI to get two actresses parts in TV shows as a favour to opponents he was negotiating with to get a majority in parliament. The fawning subservience of the head of RAI to him and the way these favours are being requested definitely suggests the Director will be waking up to an equine body part on his pillow if he doesn't comply

This is a fairly comprehensive run through of setup and sample footage from it. He gets some heat in the comments about the footage being in slow motion and not using a heavier lens so make sure you check out Parts 2 and 3 from his channel where he addresses both of those with more setup and footage. My feeling from this and other videos is that it struggles without additional stabilisation, through at least using handles (which he adds in Part 3) or without an EasyRig or vest/arm combo that I've seen in some others.

The prospect of returning to live in the UK for extended spells is just too onerous for either of us, particularly in its current fractious and directionless state. I figure if I'm going to have to pay through the nose for accommodation to live in a country where I have very limited insight into what the actual fuck is going on around me then I'd sooner do it in a place with decent public transport and cheap cameras The politeness becomes infectious when you are there though. 99% of the grumpiness that I encounter in places like London is usually just a defensive reflection of everyone else being like that. Flash mob videos are one of my guilty pleasures because its amazing and very moving to see the transformation in bustling, often snarling public spaces when a bit of unexpected spontaneous niceness is visited upon them.

Me and my better half have been living the dream as it were of working in one country while living in a different one (UK and Spain) for a few years. In her case, its quite static (UK from Spain) but with me, depending on what it is I'm up to, I will do jobs in both countries and also other EU countries as well. It works really well and completely seamlessly (with VOIP, calls are transferred from her colleague as though she was in another room rather than another country) and the lifestyle difference is fantastic, particularly for her as her commute to work lasts about 15 seconds each way rather than 45 minutes each way. I would definitely recommend it if you have the sort of job (or can even create or learn the sort of job) that can be done remotely or is an easily re-locatable skill. What I would caution though is that if you are doing it as a mixed nationality couple then you somehow safeguard against the possibility of one of your countries conjuring up an omnishambles that completely torpedoes all that as ours will be in 58 days, 7 hours, 53 minutes and 27 seconds from now At which point, I'll be a non-EU citizen trying to live and work in an EU country and she will be an EU citizen living in an EU country working for a non-EU country. Currently browsing short term rentals in Tokyo....

I'm intrigued by this because anything involving Berlusconi and the Italian courts is usually, erm, "interesting" https://en.wikipedia.org/wiki/Trials_and_allegations_involving_Silvio_Berlusconi I'm particularly surprised by how quickly the Vimeo case got ruled upon considering how many legal cases involving him in the Italian courts have unusually lengthy durations, in many cases long enough for the statute of limitations to run out or for the law to be changed by a government that he was leading at the time. When Mediaset (the parent company) sued YouTube for very similar violations to Vimeo in 2008, it took seven years to be resolved. https://tbivision.com/2015/10/22/mediaset-google-resolve-youtube-row/ That resolution included Mediaset having official content on YouTube so that might also inform what is going on in terms of going after Vimeo. Looking at who, apart from Berlusconi, owns Mediaset, 30% of it is owned by Vivendi who also happen to own 90% of DailyMotion. So both YouTube and DailyMotion by virtue of their relationships with two key owners of Mediaset would certainly benefit from a competitive streaming platform like Vimeo (and by extension Livestream who it now owns) having their wings clipped like this. Having said that, I'm not sure it is anything as united and cohesive as that as, of course, Silvio being Silvio, he is currently trying to to sue the balls of Vivendi as well !

I think they'll keep the X-Pro line as they are pretty much in a field of one with that type of camera and have such an established and enthusiastic user base for it that they can rely on to buy the next one in the cycle. Even for new users they'll see the X-Pro as a gateway drug to the rangefinder version of the GFX so I'd be surprised if there wasn't at least an X-Pro3. I think the XT and XH line will definitely have to come together sooner rather than later purely because of the fact that cameras like the Z6 are offering the best of both of them (and more) in full frame. I don't think they necessarily have to go full frame (Fuji are definitely positioning themselves that medium format is the better step up) but they do need to have the same features at a price that reflects the perception of full frame always being 'better'. The X-H2 will have to have the video spec of the X-T3 with IBIS for about £1500 to make any sense as a differentiator to the X-T3 (£1300) and as a better value against the Z6 (£2000). After that, I think they should merge them for the X-T4 and if they want to make something video centric then they should go the whole hog and do it in a cinema camera/camcorder form factor.

If you take the XT2 and the XT20 as the template for differences, it will be varying amounts of just a bit less. The just a bit less for quite a bit less is probably going to be quite enough for stills but might not be quite enough for video. The used price of an XT3 will likely be circa £1000 pretty soon so if the XT30 is around or above £800 (likely it will be) it will be tricky if it leaves off too much in the video aspect. At that level they should be putting IBIS in it but I think they will keep that as an exclusive for the XH line. https://mirrorlesscomparison.com/preview/fuji-xt2-and-xt20/

Yes, fully variable on a wheel. The fastest speed is 28mph. So, fast enough to track my wife driving her SmartCar on a motorway. The active tracking on an Osmo Pocket would create a large amount of automated control. Set the active track on the subject while the Wiral is parked and it should take care of it. Indeed

I think the Wiral LITE wire rig is something that is bringing interesting possibilities to a consumer level. It is particularly well suited to having something like an Osmo attached to it so you can articulate the camera remotely while it is running and also offers another dimension to 360 cameras. With an Osmo Pocket you have a fully remote controlled articulated 4K stabilised wire cam for €600. A lot of the videos of it (like that one) focus on sports usage of it but there are a number of other examples that show its possibilities outside of that context.