Lives in Australia Sydney, Australia
Works as a Video editor / Technical Director
Joined on Sep 7, 2003
About me:

Take more photos and switch off the computer.


Total: 288, showing: 1 – 20
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In reply to:

onlooker: Why is he making this "apology" without the cuffs on? Why is this weirdo being treated differently than any normal person would have been?

Don't waste the court's money, waste his.

Link | Posted on Dec 12, 2017 at 18:30 UTC
In reply to:

ZoranHR: I like Josh Homme’s work. In my ears,he is a person responsible for creating some really exceptional albums. Like a clockwork,just to mention one of them.
His collaborations with other musicians and bands (in roll of a producer) gave more often great than average results.

I must say I don’t like his behaviour. Not just after this event,but before as well. He needs to pay for what he has done to this innocent person!
But unlike the others,I would still go on their concert,just like I did two months ago. Have a good and non-hypocrite day everyone! :-)

You like his work, is he a plumber by trade ?

Link | Posted on Dec 12, 2017 at 18:14 UTC
In reply to:

ozturert: 8K is coming because companies saw that they cannot increase sales with 4K :) "More, more, more" strategy...

360 really kills the art of editing and cinematography that is a huge part of the`film' look. Good for games though and technical applications.
I missed so much action or story when looking the `wrong way' with a 360 video.

Link | Posted on Nov 20, 2017 at 21:54 UTC
In reply to:

FelixC2013: "General opinion seems to be that 8K is a long way off"

No, really? Only for the ill-informed. In order to do 8K, you need to be a technically superior engineering company. With Sharp/Astro and now Black Magic, they are showing they are innovators instead of followers. I would assume we will see many 8K systems coming out in the near future to support the 2020 Olympics.

The new UHD standard will upgrade the system for broadcast with 10bit, rec 2020 , HDR and HFR. If they didn't include interlacing then fast action sports and camera moves would have unacceptable judder if shot at 25/30p. When 1080p60 becomes widespread for broadcasting then interlacing will be obselete. UHD supports up to 120fps.

Link | Posted on Nov 20, 2017 at 21:42 UTC
In reply to:

The Name is Bond: 8K in the cinemas is a waste of time. 5K is the limit. I doubt even teens can see the difference. 1080 is already cinema quality of just a few years ago. HDR is far more impressive than 4K.

To my mind 8K is about cropping/correcting/shake-reduction.

There are very few cinema releases in 4k, 2K is the norm and even then all those pixels aren't used with standard aspect ratios. Ratio 2:39 is 2048 x 856 that uses less pixels than 16x9 1080 in a 2K DCI container.
Projected 35mm after optical printing would be lucky to reach HD res.

Link | Posted on Nov 20, 2017 at 21:20 UTC
On article Review: Affinity Photo 1.5.2 for desktop (302 comments in total)
In reply to:

SantaFeBill: "Once you’ve clicked the Develop button, your edits are baked into that pixel layer. Did you overcrank the contrast when you imported the raw file? Sorry, you can’t go back into the Develop persona and change just that attribute; you’d have to select the pixel layer in the Photo persona, switch to the Develop persona, and then apply a negative contrast value to compensate. If you made a lot of changes, like gradient overlays, you’ll need to start over."
Thanks for making that clear. Since my first real understanding of editing was with CNX2, with its ability to go back and easily redo any step, that's how I think sw should work. The fact that Affinity doesn't means it's off my list for consideration (and saved bookmarks).
Actually, I probably couldn't get my head around its use pf PS icons, rather than text-labeled titles for options, as most other editors use. Text labels let me look and easily choose what I want to do, even if I'm using an editor with which I'm not that familiar.

Yes, the raw developer needs to be able save the settings so you can continue fine tuning before developing it. Would that be hard to implement ?
Otherwise a great tool.

Link | Posted on Sep 25, 2017 at 16:11 UTC
In reply to:

dgumshu: Is that a mirrorless with EVF? :-)

More competition for Nikon and Sony, oh And for the iPhone too. I wonder if they plan to release some tele photo and prime lens options.

No you view through the headlights.

Link | Posted on Jul 13, 2017 at 22:37 UTC
In reply to:

LDunn1: I do like the shape of the wings on the 787, beautiful, it just looks right, in the same was as a Spitfire wing looks so pleasing, or concordes lines.

Yes, they are looking far more eagle like.

Link | Posted on Jun 17, 2017 at 15:17 UTC
In reply to:

Boissez: Wow. 10-bit 4K 60p and a useful compressed RAW format as well as nifty SD-card friendly formats for ENG. All in camera. Can't ask for more.

8b 422 is all mpeg2 DTV broadcasts.

Link | Posted on Jun 2, 2017 at 22:28 UTC
In reply to:

Tommi K1: Is it a true raw, or raw like in a RED?

Tommi, Red was the first video camera capable of raw and has always used compression on the un-encoded sensor data. I'd rather the workflow benefits of a little compression than the invisible improvement of uncompressed.

Link | Posted on Jun 1, 2017 at 17:14 UTC
On article Is it time to adopt DaVinci Resolve for video editing? (32 comments in total)
In reply to:

Doux Vide: I'm a very casual video shooter, no big needs. I currently use PowerDirector or Vegas (depending on the features I want).
Resolve seems to be a very good tool, but I fear it may be a little too complicated (not "user friendly" enough) for me...
I will give it a try an see! I may either add it to my software palette, but I doubt I will totally switch to it...

They state in that video that v14 is 10x faster and it's already very quick.

Link | Posted on May 8, 2017 at 05:56 UTC
On article Is it time to adopt DaVinci Resolve for video editing? (32 comments in total)
In reply to:

StevenE: I use Creative Cloud and it's a great suite but its also buggy and it's a never ending monthly subscription. If Davinci is stable, fast and full service, I'd switch. In fact at $300 I may try it concurrently with Premiere etc.

Reactive, yes Reslove is a bit different since it can save to a project server with the full version. Use `Export Project' instead.

Link | Posted on May 7, 2017 at 21:18 UTC
In reply to:

Snapper2013: The music from the start was good for about 1 minute then the music gets really annoying for the rest of the video. The timelapse apart from the music was enjoyable.

or an engine running without oil.
Maybe this track -

Link | Posted on Apr 30, 2017 at 11:25 UTC
In reply to:

dennis tennis: Apple innovations lies in squeezing the most profit. That's their genius. There's ten thousand new suckers born every minute. Praise the Lord! God Bless Apple.

Howabout, no I stuck with XP pro through those releases, never jump in until its been proven. I couldn't understand the belly aching about 8.1, just click desktop and your back to V7 as far as I could see.

Link | Posted on Apr 6, 2017 at 16:43 UTC
In reply to:

RMGoodLight: Sorry to troll, but why does this news belong here on DPREVIEW?

Also some cameras can now shoot video, even 4K as well as stills and require an electric computer to process it.

Link | Posted on Apr 6, 2017 at 16:31 UTC
In reply to:

Kabe Luna: Apple would benefit from the realization that these are creative tools not art objects. At the end of the day, these things need to be practical.

Please, no more innovation, just catch up and use the old box and fill it with the best off the shelf technology, how hard is it as a lot of people make hackintoshes.
Lock Jonny in the sandpit and tell him to make some new watchbands and let the engineers do what engineers do.

Link | Posted on Apr 5, 2017 at 18:03 UTC
In reply to:

forpetessake: They haven't mentioned RBGW CFA which are soon to come to the next camera near you.

Years ago the Sony F828 had an RGBE sensor (emerald) giving more greens but there was issues with it.

Link | Posted on Mar 30, 2017 at 17:00 UTC
In reply to:

knickerhawk: Kudos to Richard and the others who helped him put together this piece that does an excellent job of explaining a difficult topic. Would it be too much to ask for a follow-on article about the software dimension of the problem - i.e., differences in demosaicing algorithms, deconvolution and related postprocessing strategies for minimizing and repairing the unwanted effects of aliasing (and anti-aliasing)? That would be genuinely helpful.

Also, using Siemens star crops from your studio scene test shots for your examples makes sense, but there was a lost opportunity to explicate and illustrate the common "false detail" effect of aliasing by including some magnified crops from the etching of the Dutch family in the DPR studio scene.

I've often wondered about the processing power and compromises made to de-bayer realtime in camera for video capture. With the Red camera you have several quality options in post to make it play at speed when grading. To use Full de-bayer you need a good GPU or a Red Rocket card that is really a dedicated GPU. The more time it spent guessing the missing colours the better. Back in 2008 rendering Red raw using a workstation cpu would take several seconds per frame at full quality.

I doubt these can fit inside a camera yet.

Link | Posted on Mar 30, 2017 at 16:45 UTC
In reply to:

TN Args: Are you using the term 'colour resolution' properly? I thought it was measured in bit depth. The ability to resolve colour accuracy.

Resolution is really about the number of pixels and bit depth determines the colour palette. Just 10bit has almost no banding with shots and grades that are prone to it.

Link | Posted on Mar 30, 2017 at 16:26 UTC
In reply to:

Richard Murdey: "very few people would be happy with a filter that blurred the resolution down to 1/4 of the pixel height"

Perhaps not, but that's close to how many of the photos we look at these days are presented to us: 24-36~50? MP sensors downsampled to view on, at best, 8-10 MP screens.

I've long wondered why no one offered a "purist option" in-camera setting where each Bayer RGBG 4-pixel cell of a 24 MP sensor was mapped to a single RGB "pixel" to give a 6 MP image file. Like Pentax pixel shift mode but without the pixel shift...

Richard, Sony actually made a single RGB sensor on one of their early cine cameras, I think it was the Genesis so it's possible. It was only HD therefore only needed a 6mpx or maybe 8mpx sensor that was doable at the time with high quality.
I remember the rep at the trade show saying, `no bayer here, full RGB'. I think there was issues with Bayer and video back then and only consumer cameras were Bayer. Prior to this all pro video cams were 3 chip RGB capture but with larger sensors this became huge, required a big dichroic block and more critical physical alignment. 3 x 2/3" sensor broadcast cameras are still alive and well making 20:1 constant f1.4 zooms possible.
Good article DPR.

Link | Posted on Mar 30, 2017 at 16:07 UTC
Total: 288, showing: 1 – 20
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