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Angry the Clown

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Everything posted by Angry the Clown

  1. Yes, I appreciate that too, although have I have encountered some occasions where it messes things up. Generally though, it does work, even down to letting me change the artwork.
  2. This and Final Fantasy VII Remake are really the remaining PS4 biggies that I have left to purchase and catch up on. I'm honestly not sure why my interest in this waned so fast. I've every intention of playing it, but I did ultimately come to react to media about it with something of a shrug, I think perhaps because it clearly commands a certain level of commitment as far as being in the right headspace is concerned. I need to feel in the right place to embrace its weirdness and apparent monotony, but I can't deny the attraction of its unique singular vision, flawed or not. Hopefully the game itself will really surprise me. I'll see how the price of the Director's Cut looks closer to Christmas (though my intention is to make FFVIII my big game of the holidays).
  3. I love, love, love those SL Summicrons. Spectacular optics across the range and I've always been weirdly impressed that they are all engineered to physically be the same size too. Definitely take a chance to play with your friend's SL2-S if you can. The SL bodies will go to war. They are like carrying a brick around, but honestly not that much heavier than an M (especially with M glass mounted, which they pair with very well). The subtle body refinements over the SL made the ergonomics of the grip better too. The only thing I don't understand is why they changed the strap lugs (I much prefer the ones that didn't protrude on the original SL body). Manual M lens focusing with the enormous EVF in the SL is a match made in heaven too. I still don't feel confident that Leica would have my back if I was looking for opportunities to earn money with their cameras, and right now I'm still in a place mulling over whether that's what I'd like to do with any camera anymore so am not entirely sure which path I want to take. I have video related projects I absolutely want to do, but whether I'm better off focusing on dedicated video cameras or getting a hybrid to still allow me to offer photographic services I am still unsure. Leica's repair turnaround speed, at least in the UK, isn't great, and Brexit's likely made it even worse given that all but the Q bodies (and I think C and T bodies) have to return to Wetzlar for repair. It's odd how they push the SL as a camera pros can use, which it is, but lack anything like Canon, Nikon, Sony or even Fuji's professional service support. If I could invest in two bodies right off the bat for safety it would be less of a concern. The SL2-S costs less than an R5 here which is kind of crazy even when you factor in the technological advancements, mostly af related, in the Canon. Yes, it's frustrating. I've said it before but the worst decision I made was parting with my 5D3 and M9 combo when I did, selling both for the M240. The 240 introduced a number of advancements to the M series that I felt that, while challenging for some paid work, would serve me just fine doing what I wanted to do. To some extent it did as having live view and the option of an EVF made the M quite versatile, but the troubles I had getting it repaired after the rangefinder drifted were a nightmare and soured me on Leica for quite some time, so I grabbed Fuji's XE-2 then and X-Pro 2, both of which I liked despite the fiddly ergonomics and frustrating menus. Even now with the X100V though, there's still something about the x-trans sensor files that I don't quite enjoy working with at the computer. Just a slight mushiness at times for lack of a better word. Fuji's cameras kind of feel made to serve their jpeg processing above anything else. The current X-Trans 4 sensor and processing definitely is an improvement for the quality of their RAW files though. I got the Q after the X-Pro 2 and I really could have held onto that were it not my one and only camera. The M10 was definitely the worthy successor to the M9 that the 240 should have been. I loved my M10-P, but it was sentimentality and PTSD following the loss of a family member I'd been caring for that drove me to trade in the Q towards buying one on an insane emotional whim. It was simply a camera I could not justifiably afford hanging on to, particularly since my glasses really only limit me to using a 50mm comfortably with an M. That's been a big lesson for me, and one many purchases have taught me but took me an age to actually heed, as while I don't get into debt buying any of this stuff I definitely need to think twice about just how much I can justifiably spend on a camera for personal use and not leave myself anything leftover for another camera for other purposes. My last Leica was the SL which I got as I wanted a workhorse camera again for paid assignments people were showing interest in hiring me for, and despite my hesitation about using any Leica for paid work, I was heavily swayed by the fact I could still hang on to my M lenses. Things were starting to well at the end of 2019 and I even had a video project that I felt confident the original SL would serve me just fine for.... but then 2020 happened. When I wasn't sure just what the hell 2020 was going to bring financially I just had to part with everything to give my savings a bump (turned out to be a the right decision however sad it made me). That's great. Curiously the pandemic hasn't compelled me to do much personal photography at all. My X100V arrived right at the start of it, which was just terrible timing, but even as things have eased I just haven't found myself wandering around the depths of the city as much. Things aren't helped by Capture One kicking my ageing laptop's fans into gear for even the most basic of tasks, and my longing to work at a larger screen. The pandemic also severely delayed my getting an eye test which I am seriously overdue for (I finally booked myself one for this Friday).
  4. I know you're joking given how that whole mess has played out, but honestly, if it's all been an attempt at a clever marketing campaign for something else then I think they've failed miserably, and I say at as one who came late to that whole story, never got caught up in it and had to catch up reading about it from the sidelines. Whatever it is just seemed to piss people off rather than keep them entertained and engaged in the way a truly effective marketing campaign should, so if it did in fact turn out to be a ruse leading to the reveal of something great, while I'd welcome that great thing, I wouldn't feel remotely forgiving of the whole affair that lead to a formal announcement.... unless it was a Jumping Flash reboot obviously.
  5. I'm assuming lack of Alan Wake trailer today with the announcement means it's being saved for the Sony stream.
  6. Keep going back and clicking the pills because the teasers actually seem randomised and you'll see different footage. How brilliant. The web marketing seems like a real throwback to the original film's website in 1999.
  7. Oh and it's brilliant how the teaser clips on the website tell you what the actual time is while you are watching them. I didn't even catch that first time round.
  8. https://thechoiceisyours.whatisthematrix.com Trailer goes online on Thursday. Click the pills on the website for some teases though. You'll get something different depending on which you choose. I must say it looks gorgeous (John Toll is the cinematographer). It was recently revealed that Tom Tykwer will be scoring the film. I'm sad that it's not Don Davis, but the longer time went on the more it seemed increasingly unlikely they could ever convince him to come back and do it (if they even wanted him to). Of all the other past Wachowski composer collaborators they might have chosen I'm actually glad it's Tykwer as I love the Cloud Atlas score. I'll be curious to know if they make any callbacks to Davis' themes. The score over the logo openings always make me smile.
  9. Yeah to be fair on iOS devices the Music app has never given me much trouble outside of some navigation confusion. My Mac OS woes are really all related to library management. I'm planning to have a Roon server set up at some point when I have the money to burn on a DAC, the subscription and storage requirements and keep my lossless library there. It's not something I will look into until I have settled on whatever my Mac desktop solution is going to be though. I'd also still keep Apple Music though purely for the convenience of accessing lossy music on my devices when I am on the move.
  10. Formal announcement of the Canon R3 (with the price and any remaining specs left to reveal) seems to be happening on the 14th. Set credit cards to stun. Reminder of the specs revealed so far: Backside illuminated image sensor (exif leak suggest 24mp) Multi-Controller & Smart Controller Vari-Angle Touch Screen NEW accessory shoe Wifi 5GHz High speed 30fps electronic shutter with AF/AE tracking + RAW shooting at this speed AF down to -7.0 EV 8 Stops Coordinated Control IS with Optical IS and In-Body IS 4K Canon Log3 Oversampled 4K Internal RAW video Inclusion of cars and motorbikes in AF tracking technology Speedlite shooting with electronic shutter The same weather sealing as the EOS-1D series LP-E19 Battery Dual card slot SD & CFExpress
  11. It's quite shocking when you consider how popular the application is, and how vital the application is given it is sold as part of Apple's expanded service ecosystem. I think the only native App many Mac users hate more is the podcasts app. I think services are better off without it. It's a good idea on paper, but in practice can be flawed and for collector's deeply frustrating. Let's say you own an album on CD, an older release that has since been remastered and re-issued, and that re-issue is the only version available on streaming... only the remaster happens to sound worse than the original album. Happens often. In that scenario, the matching algorithm would only serve up the latest incarnation of that album. It can be a nightmare for classical music fans too given how many recordings there are of the same piece of music. If you could manually select the option to match on an album by album basis, letting the user decide, then that wouldn't be so bad. But to have an algorithm scan your entire library for matches is just going to lead to headaches.
  12. https://store.kida-mnesia.com Much as I would love that edition I'm not sure I'm willing to hand over the £80. The black vinyl edition is going to be £40, and there's a companion hard back art book (£30) which I think I'd sooner have instead.
  13. Mmm, that's what I thought. I own a lot of films scores released by specialty labels which are CD exclusive so the Apple Music ecosystem sadly remains my best option for keeping everything in one place.
  14. Phone/Watch event announced for the 14th: I'm eager for iOS to launch. I'm really looking forward to the Focus features. That's going to completely change the way I use my devices (for the better by the looks of things). If there's one thing I hate most about the iOS UI it's the sense of clutter, but Focus finally seems to have found a tasteful and useful way to re-distribute and access applications.
  15. That's the big one for me. I also hate how if you have a compilation in your library, and a certain song isn't licensed to Apple Music, they will go and seek out the song from another album and add that album to your library automatically. To this day I don't believe there is any way to tell it not to do that. Still, I do like having my CD rips in the cloud as so much of what I buy and listen to is not available on streaming platforms, even if cloud sync can be buggy in its own right with Apple. As far as I know that's not a service Spotify can replicate (?).
  16. That's a shame to part with it, but I completely understand. I do genuinely believe it is the best digital camera Leica make (as an all round package), but it's unquestionably ultra niche and requires that complete and total love and commitment to B&W for it to make the slightest bit of sense, especially when you consider the regular Q2 converts to b&w beautifully and still has good dynamic range and pleasant noise up to 6400. I'm considering a Q2 for my birthday next year as it's a big one and worthy of such a grotesque indulgence if I can afford it, and I confess that I would certainly lean toward the Mono as it's what I love and tend to favour most of the time. With the mono, outside of the fact I just love b&w imagery, I'm primarily drawn to the workflow aspect of it most I think (not having to think about spending more time at the computer perfecting a conversion from colour, and honestly not having to worry about ISO at all. The latter adds to the longevity of the camera too. Assuming b&w is what you love of course, the sensor performance is so good on the mono cameras that more than five years down the line it's unlikely to feel outdated, whereas I know with a Q2 I'd ultimately be wanting a Q3 when it surfaces in a couple of years. Anything that would reduce the chance of my switching/upgrading to something else can only be a good thing given my history. If it wasn't for the shutter noise mechanism on the old M9 I actually think I'd have snapped up a used Mono M9 by now). There is that 5% part of me that would have some hesitation about the commitment to a Q2M though. I have some personal colour images that I'm fond of, not many, but having the benefit of choice at the computer is undeniable. In a perfect world one would own both, naturally. Very good Q2 vs Q2M vs M10M comparison here: https://www.reddotforum.com/content/2021/02/bw-iso-showdown-2021-leica-q2-monochrom-vs-m10-monochrom-vs-q2-vs-m10-r/ Considering I will typically add some grain in post, and the Q2's noise at 6400 (and even 12,500) is pleasant and very film like, there's little to make me think I'd be disappointed with the regular Q2. In fact, if intending to convert to b&w with the Q2, I think it gives you a lot even at iso 25,000. It's that detail and tonality retention that the monochromatic sensor gives you far into its iso range that is just magnificent though. Being locked into a 28mm is funny. I was apprehensive when I got the original Q, and found it challenging in some ways, while liberating in others, and it opened my interests into architectural photography. I ultimately parted with it for similar reasons regarding the focal length in the end, but I actually miss it and wish I had embraced its quirks and challenges more. If it wasn't my one and only camera at the time I'd have held onto it. The Q2/Q2M's obscene resolution makes the prospect of cropping more practical compared to the original Q too (Q2M crops in particularly. I've thrown some Q2M RAW DNGs into Capture One and it's just mind boggling how much resolution there is). Maybe it's because London is feeling more and more cramped to my eye that I find myself favouring a wider view more frequently. 35mm would be the sweet spot for me though as for isolating people you do have to get close with the Q even at 1.7 if you want some attractive depth of field. I'd still have my M10-P if the viewfinder would have been more comfortable with 35mm frame lines and my glasses (my go to of 50mm is just starting to feel too tight in the city these days). I think the TL would be wiser personally. It keeps the system compact in your bag, and you have the benefit of f1.4 which is a nice place to be able to go given the APS-C sensor inherently lacks as shallow a depth of field as a full frame will render. Have you considered any Sigma L mount lenses? It's interesting the CL-2 still has not surfaced yet. I want them to knock it out of the park with that when it arrives. Give it a sensor that outdoes the X-Pro 3, give it excellent autofocus and give it the Q2's EVF. If they can do that they honestly might just turn my head if they finally announce it before my birthday next Spring. I'd like to see it in a re-designed body too. If you wanted an SL (camera) I'd still recommend the SL2-S over the SL2 if you're happy to have 24mp. The SL2-S arguably has their best colour sensor in any of their cameras to date (it's their first BSI sensor so it's very good in low light. Beautiful colour reproduction too. I'd expect an M11 and probably all future colour full frame sensor Leicas to move to BSI sensors when announced).
  17. I finally fixed it. I closed the app and this time deleted the Genius.itb file from the app package contents, then rebooted into Music in safe mode (not the Mac's safe mode, but just holding option+command and booting Music app into a safe mode independently) and everything is now back to normal.
  18. It's certainly tempting not to renew Apple Music in January and try Spotify. I'll think about it (I'm not sure how that might affect my interest in the watch and playing music from that though). I do benefit from the fact my CD Rips in Apple Music will upload to the cloud to stream to my other devices. I left the Music app open all night and it was still looping on 'Updating Cloud Music Library' without actually adding or updating anything. I've rebooted my router, logged in and out of the Music app, unticked and ticked sync library in the settings...etc. I've just de-authorised my MacBook Pro from Apple Music and re-linked it again, but that doesn't seem to have fixed anything either. I'd love to say a short wait for Monterey will quickly fix this, but then I remember that my Macbook is effectively now obsolete in Apple's eyes and will not be able to run the new OS.
  19. I'm very curious to see how it compares to the X-T4/X-Pro3. I still think it was a mistake not making the X-pro3's monitor behave similarly to the ones like on the R6/R5, and indeed the ZFc, as such an approach would have still allowed users to keep the display closed, while giving everyone else the option of having it flipped over and visible. I don't use the viewfinder much on the X100V as it's quite cramped with my glasses, so the limitations of the LCD on the X-Pro3 was a real turn off for me knowing that it shares the same hybrid viewfinder as the X100. The ZFc's EVF is only 2.6m dot 0.68 magnification so I'd probably find that a bit too fiddly for my tastes too as that's lower res than the one in the X100V/XPro3 (though higher magnification). I don't know what the refresh rate is on the Nikon. I've realised as EVFs have become more prevalent their performance and specs have become one of the most important factors in my choosing cameras on account of my glasses. Second to ergonomics the EVF is without a doubt a hugely important factor in my never ending Goldilocks complex when it comes to camera bodies. To date the best I've ever used in a camera I've owned was the one in the SL (and I know the SL2/SL2-S EVF is even better). When I tried it in store I found Q2's EVF to be a definite improvement over the EVF on my original Q that I had, and is probably the limit of what I can tolerate when it comes to eye relief and resolution in a smaller viewfinder. I'm sure I'd be very comfortable with the R5's EVF too as its specs are basically on par with the SL2, just without the whopping .78x magnification on the Leica. I suspect the R6's lower resolution EVF would be pretty acceptable as I believe the magnification and fresh rates are still the same between that and the R5.
  20. Is Apple Music broken for anyone? For the last few days attempts to add any albums to my library on MacOS are just met with the a spinning circle (I don't mean a beachball, but after you click the 'add' button in the app itself it turns into a red spinning circle). Adding albums via my phone or iPad works, but does not sync to update the library on the Mac. I signed out of the Music app on the Mac, then back in again, but it just hangs on 'updating cloud music library' spinning endlessly with no actual retrieval of my cloud library taking place.
  21. What makes this is especially funny (by which I mean embarrassing) is that I was literally looking at something Leica related just before reading this. In my defence I DID say that I have other interests that swallow up the bulk of my spending. Specifically in terms of entertainment spending though, which was really what I was getting at, I think games have indeed been a uniquely, or perhaps more accurately put, consistently expensive hobby compared to books, music, cinema/dvd/blu-rays...etc, and I say that as someone with a horrible history of regularly spending north of £100 on a single monograph to sit on my already overstuffed bookshelves.
  22. Firstly, fuck you too obviously. I think I'm simply wrestling with the (inevitable) reality of games now following music, movies and TV down the path of online platforms making them feel instantly disposable, and how that has altered the way we consume and respond to entertainment, and has even altered the way creators might think about work they produce. Game Pass is brilliant, and almost seems tailor made for someone like me who still likes games but has other interests that are more likely to swallow up the lion's share of my disposable income. Consequently the value such a service offers feels like something of a culture shock given the history of gaming being a uniquely expensive hobby, and one that I might otherwise feel priced out of this generation. If there's a philosophical point, it's more about how these things have changed our engagement with media rather than the question of our enjoyment.
  23. I was thinking about this the other day, but it's interesting how the Game Pass factor has left me a lot more easy going of the game's troubled development than it otherwise might have (dare I say indifferent), particularly when we're three months from release and barely know anything about the campaign which is the only aspect of interest to me. I'm not sure that's good thing in the grand scheme of things, that a subscription service should somewhat render a product "criticism proof" by nature of games feeling like free handouts. Naturally, if I don't like it I can in fact still say so and/or stop playing and move on to something else, but the very nature of Game Pass, and to a lesser extent PS+, requiring such little investment on my part can certainly skew my view of a game's development and quality.
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