RRJackson

RRJackson

Lives in United States Bradenton, United States
Joined on Apr 27, 2008

Comments

Total: 101, showing: 1 – 20
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When I see things like this it always reminds me of the story of the Marquis de Condorcet. Fleeing the French Revolution and certain death, he stopped at a tavern for a meal. He asked for an omelet and when asked how many eggs he wanted, his reply was, "A dozen." His answer betrayed his station and he was returned to Paris for execution, although he was found dead in his cell before he could face the guillotine.

I prefer to travel with bags that seem horribly cheap. Saves me trouble in the long run. I actually wish someone would build a digital camera that looks like a disposable Kodak Funsaver. Something I could take into deepest, darkest Don't-Rob-Me-Istan without it attracting attention.

Direct link | Posted on May 21, 2015 at 22:44 UTC as 11th comment | 1 reply
On Interview: Canon's Chuck Westfall on the new XC10 article (347 comments in total)

Lousy 8-bit codec. Might as well buy a 4K cell phone.

Direct link | Posted on Apr 24, 2015 at 17:41 UTC as 47th comment | 5 replies
On Red introduces 'Weapon' camera with 8K sensor option article (104 comments in total)
In reply to:

RRJackson: Two things; the first is obviously that very few lenses are going to cover a sensor this wide. And the second is that Red still apparently thinks a brick is the height of industrial design.

Which is a terrible way to work and assumes a process that's conducive to needing a larger camera crew than necessary. You look at stills of Kubrick shooting with his Arri IIC and Cooke Speed Panchros and then you look at some of these guys shooting with a Red that's got 15 pounds of stuff bolted onto the outside of it and a lens the size of a fire hydrant.

Direct link | Posted on Apr 16, 2015 at 12:25 UTC
On Red introduces 'Weapon' camera with 8K sensor option article (104 comments in total)
In reply to:

princecody: Even if it does have 8k what tv or screen can render it?

Fabio, DCC cinema projection is currently limited to 2048×1080 (2K) or 4096×2160 (4K). Currently there are no 8K commercial theatrical cinemas that I'm aware of.

Direct link | Posted on Apr 16, 2015 at 04:48 UTC
On Red introduces 'Weapon' camera with 8K sensor option article (104 comments in total)
In reply to:

marcio_napoli: Red knows their market better than me, but as far as I'm concerned, I can't see Hollywood ready for 35mp footage.

Not even Hollywood can handle it. It's just too extra costly for IQ gains that exactly who cares?

35mp moving images, even for the masters at Hollywood, is not a walk in the park.

You get more expensive CG, make up, special make up, props, sets, wardrobe, deadlines, etc.

Blockbusters' budget are average at 100 - 200 million, at 2k.

For 35mp footage, you can bet it will increase another 100 million for extra technical requirements.

PS: if you wonder what I'm talking about, it's possible that you've never made a CG visual effect.

Going from DV resolution, to 1080p is massive in terms of technical skills required.

Jumping to 4k is another massive leap, and then there's this 35mp thing...

Not worthy the extra cost. Not even for Hollywood.

Bernard, extremely large files are useful for commercial still photography because it's WAY easier to touch up a large file than a small file. Not just for people, either. Although you can really zero in on lines and blemishes on models with a 40-megapixel image, but product photography benefits, as well. Tiny imperfections in products can be touched-up much more easily with a large file.

At this time, it's not nearly as easy to massage a moving image in that way. It takes a lot more manpower and of course rendering time.

Direct link | Posted on Apr 16, 2015 at 04:45 UTC
On Red introduces 'Weapon' camera with 8K sensor option article (104 comments in total)
In reply to:

RRJackson: Two things; the first is obviously that very few lenses are going to cover a sensor this wide. And the second is that Red still apparently thinks a brick is the height of industrial design.

Oh, I wasn't talking about design for the sake of beauty. I was talking about design for the sake of, "Ow, that brick is really digging into my carcass!"

Direct link | Posted on Apr 16, 2015 at 04:38 UTC
On Red introduces 'Weapon' camera with 8K sensor option article (104 comments in total)

Two things; the first is obviously that very few lenses are going to cover a sensor this wide. And the second is that Red still apparently thinks a brick is the height of industrial design.

Direct link | Posted on Apr 15, 2015 at 09:31 UTC as 8th comment | 7 replies
On Samsung NX1 Review preview (1232 comments in total)
In reply to:

Aroart: I have the best advise for Samy Sung...they have a great potential to turn the video world upside down like Blackmagic did.. Make your lens mount more adaptable for other lenses....be smart like Sony...oh and how can you expect pros to buy you when your video codec is a nightmare ...yes I know it's more efficient code but its not more efficient in work flow...this camera just might be just a bit to ahead for its time.. At least it's future proof for a few years...

I can see how transcoding to ProRes would be handy for editing, but I'm more annoyed at the master being 8-bit.

Direct link | Posted on Apr 11, 2015 at 05:42 UTC
On Samsung NX1 Review preview (1232 comments in total)
In reply to:

RRJackson: These mediocre 8-bit video codecs have got to go. With Blackmagic offering internal 10-bit ProRes 422, it's kind of sickening to see all the major still camera manufacturers still opting into (much) lesser codecs.

That said, this is a lovely offering. I still have an NX10 and love it. If I were going to upgrade this is probably the camera I'd buy. And then I'd whine to everyone who knows me about the codec.

I honestly don't know. It's just annoying to me that all the majors seemed to have stopped trying when it comes to codecs.

Direct link | Posted on Apr 11, 2015 at 05:40 UTC
On Samsung NX1 Review preview (1232 comments in total)

These mediocre 8-bit video codecs have got to go. With Blackmagic offering internal 10-bit ProRes 422, it's kind of sickening to see all the major still camera manufacturers still opting into (much) lesser codecs.

That said, this is a lovely offering. I still have an NX10 and love it. If I were going to upgrade this is probably the camera I'd buy. And then I'd whine to everyone who knows me about the codec.

Direct link | Posted on Apr 10, 2015 at 18:53 UTC as 130th comment | 2 replies
On Opinion: Why the Canon XC10 is a big deal article (810 comments in total)

It's got an 8-bit 4K codec like a Sony cell phone. And mini-jacks for audio. That is particularly insane since Canon has that Mini Advanced Shoe that's so handy on their consumer-level stuff. Boom, shoe mount microphone with no cables, but NO. It's like they have Alzheimer's or something and forget what toys they have on-hand to play with.

Direct link | Posted on Apr 9, 2015 at 00:38 UTC as 177th comment
On Go wide! Hands-on with Canon's 11-24mm F4 L article (227 comments in total)
In reply to:

Karen Casebeer: My question is why this new lens doesn't have image stabilization?

Because it's a wide-angle lens.

Direct link | Posted on Feb 7, 2015 at 16:26 UTC
On Go wide! Hands-on with Canon's 11-24mm F4 L article (227 comments in total)
In reply to:

MPA1: Only f4? Who wants a lens that slow? I think the Nikon 14-24 f2.8 is still better.

Really? Does f/4 really seem that slow to you? Because I'd buy an f/5.6 prime if the optics were free of distortion and chromatic aberration. I'd really prefer a slower lens that performs to the current crop of faster optics with a long list of design compromises.

Direct link | Posted on Feb 7, 2015 at 11:04 UTC
On Go wide! Hands-on with Canon's 11-24mm F4 L article (227 comments in total)

It will be interesting to see how much this distorts. Finding distortion-free wide-angle lenses is next to impossible. The best one I have any experience with is the Zeiss 21mm f/4.5 C Biogon T* ZM lens. It's the widest essentially distortion-free lens out there and Zeiss just discontinued it because of poor sales.

Of course, there's not a single digital camera that could really make use of it...in color, at least. It worked fine on the Leica M Monochrom.

I'd jump through all kinds of hoops, including changing platforms, for a lens as good as the Zeiss that could be used with a digital camera. We'll see soon.

Direct link | Posted on Feb 7, 2015 at 11:02 UTC as 33rd comment
On Canon EOS-1D C sees $4000 price drop in North America article (249 comments in total)

Now it's only twice as expensive as it should be.

Direct link | Posted on Feb 1, 2015 at 00:22 UTC as 42nd comment
On Opinion: The myth of the upgrade path article (1457 comments in total)
In reply to:

RRJackson: I shouldn't say anything, but you can work with whatever lens you can mount.

If you've got a prime that doesn't distort too much or suffer from really bad fringing you can make due with it for a lot of situation, almost no matter what the focal length. As long as you don't need 7 feet for the minimum focus distance.

If you have a 90mm f/2.8 Macro and it's your only lens you'll learn to make it sing for you, even if the angle of view seems a little tight.

Or the opposite; people walk around with an iPhone with a lens that has the same effective angle of view of a 30mm lens on a 135-based camera and most people never give it a second thought. That's what they have and they use it.

Well, I've never owned a large format camera, but I've owned a few medium format cameras. I know people who've used medium format lenses on 35mm cameras and I even used to use a Zeiss 120mm macro lens intended for medium format on a 35mm motion picture camera that was obviously running a frame size very similar to APS-C. Still, 135-based sensors seem like a very good compromise now, for many of the same reasons 35mm film ended up being such a good balance between negative size and print quality. My own personal feeling is that it's a good place to be for most photography enthusiasts, but obviously costs are an issue for many. Not to mention ease of use and portability.

Direct link | Posted on Jan 13, 2015 at 05:21 UTC
On Opinion: The myth of the upgrade path article (1457 comments in total)
In reply to:

stern: I think that APS-C is the digital age's version of the film-era's "small format" (SLR format; German: Kleinbild). Small format is currently marketed as digital "full frame". But those cameras are just too HUGE compared to our old 35mm SLRs. Conclusion: "FF" is mainly a marketing gag that gets less exciting as smaller sensors (APS-C, 4/3, MFT) keep improving their IQ. "FF" is and will stay a niche market IMHO; just like "medium format" has been in the bygone film-days, and will stay a niche product in the future (ironically, medium format comes with a larger sensor than the ill-named "full format"; however fantastic the medium format Pentax 645 D might be - BTW anybody here who's going to buy Pentax' medium format IQ-beast?).

I'd buy the Pentax if I could afford it. I had a Pentax 67 II and a Pentax 645NII back in the day.

Eventually very large sensors will stop being so impossible to build inexpensively. I actually really look forward to a day when a digital 6x9 is possible. One day there will be a digital camera similar to the old Fuji GSW690III and I'll be really excited for the day when I can start complaining about its price!

Direct link | Posted on Jan 12, 2015 at 22:47 UTC
On Opinion: The myth of the upgrade path article (1457 comments in total)
In reply to:

RRJackson: I shouldn't say anything, but you can work with whatever lens you can mount.

If you've got a prime that doesn't distort too much or suffer from really bad fringing you can make due with it for a lot of situation, almost no matter what the focal length. As long as you don't need 7 feet for the minimum focus distance.

If you have a 90mm f/2.8 Macro and it's your only lens you'll learn to make it sing for you, even if the angle of view seems a little tight.

Or the opposite; people walk around with an iPhone with a lens that has the same effective angle of view of a 30mm lens on a 135-based camera and most people never give it a second thought. That's what they have and they use it.

Well, my point (however poorly made) was that you should get a lens that meets a few criteria (including that its image circle will cover a 24mm x 36mm circle) and take some photos. If you can afford a more capable camera later that's great.

Direct link | Posted on Jan 12, 2015 at 22:41 UTC
On Opinion: The myth of the upgrade path article (1457 comments in total)

I shouldn't say anything, but you can work with whatever lens you can mount.

If you've got a prime that doesn't distort too much or suffer from really bad fringing you can make due with it for a lot of situation, almost no matter what the focal length. As long as you don't need 7 feet for the minimum focus distance.

If you have a 90mm f/2.8 Macro and it's your only lens you'll learn to make it sing for you, even if the angle of view seems a little tight.

Or the opposite; people walk around with an iPhone with a lens that has the same effective angle of view of a 30mm lens on a 135-based camera and most people never give it a second thought. That's what they have and they use it.

Direct link | Posted on Jan 11, 2015 at 22:29 UTC as 141st comment | 4 replies

This fast response is a very welcome change in Nikon's policy. It's nice to see them quickly acknowledge the issue, understand the appropriate fix and offer it to consumers quickly. Nice to see a big company learn from its past mistakes.

Direct link | Posted on Jan 10, 2015 at 05:53 UTC as 28th comment | 5 replies
Total: 101, showing: 1 – 20
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