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: 283, showing: 1 – 20
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On article Review: Affinity Photo 1.5.2 for desktop (291 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
On article These are the four cameras that won Oscars in 2017 (112 comments in total)
In reply to:

silentstorm: I'm wondering what does DPR mean by "true" RAW recording? Care to elaborate further? Sony seems to be the only one saying their F55 & F65 can record true 16bit RAW for video with wider than film colour gamut. Really curious to know more detail about "true" here.


422 also designates the amount of colour sub sampling and I was comparing Sony's 4K colour sub sampling to it. A Bayer sensor could be described as a 211 device in luminance and chroma samples.

Link | Posted on Mar 5, 2017 at 19:14 UTC
On article These are the four cameras that won Oscars in 2017 (112 comments in total)
In reply to:

silentstorm: I'm wondering what does DPR mean by "true" RAW recording? Care to elaborate further? Sony seems to be the only one saying their F55 & F65 can record true 16bit RAW for video with wider than film colour gamut. Really curious to know more detail about "true" here.


`The previous generation of Sony CineAlta CCD-based Super 35mm cameras used linear RGB pattern'

Like Foveon RGB capture but with a one plane sensor. 3x CCD cameras also captured RGB but it was recorded in 422.

`To maintain the high resolution in green in all directions, including diagonal one, Sony proposes a new Q67 pattern for new 4K camera systems'

This looks like a 422 compromise for 4K but still more than Bayer.

Link | Posted on Feb 28, 2017 at 20:33 UTC
In reply to:

Chaitanya S: just looked at preview, pretty impressive what Fuji is doing in camera business.

Fuji (and Canon) have been doing this for a long time -

Link | Posted on Feb 22, 2017 at 14:30 UTC
In reply to:

Ebrahim Saadawi: Such great lenses with great prices. So bumped I can't use them on my 5DIV or anything other than the restrictive E mount.

They do state E-mount/short flange distance "enable the compact, lightweight design" so these lenses would be considerablly different if made for DSLRs, is the most likely case scenario.

Still. A bit sad. Fujinon Zooms for Still glass prices! and it's f/2.8 constant. Bummer.

Yes very sporting prices and it looks like Fuji focus, zoom and iris servos will bolt straight on. Why aren't all serious lenses calibrated in T stops, bad for marketing I guess?

Link | Posted on Feb 22, 2017 at 14:27 UTC
On article CES 2017: Hands-on with the Kodak Super 8 (426 comments in total)
In reply to:

Mark Turney: Well, we live in an analog universe so it's no wonder to me why digital tends to "feel" wrong. But I'm also not sure that going back to a old technology is the answer, especially considering that Kodak digitizes the film from what I understand, looping us right back to that which we seek to avoid.

Anyway .... just some food for thought 💭

This is a digital sensor but when and if it becomes a commercial reality remains to be seen. DR would only be limited by how many photons it could count over time.

Link | Posted on Jan 10, 2017 at 06:32 UTC
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