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hydralisk98 · 4 years ago

Text

Servitor(bright)+Entropy(dark) asset pack(s)?

Summary:

16^12, Maskoch, Maskutchew, Servitor, Entropy...

Braindump#1:

Sapients (Anthropomorphic Agents)

Sentients (Domestic Animals)

Fauna (Feral Animals)

Flora (Plants & Nature)

Synthetics

Droids

Robots

Rogue Servitors?

Vehicles (Land, Sea, Air, Space)

Furniture

Food

Consumables

Constructs (Buildings)

Greeting Cards & Stationery

Social

Crime

Idioms

Medium / Medias

Storage and containers

Analog media

Symbolic media

Digital media

Rationality (Logic... gates aka logic operators)

Astronomy

Anatomy

Colors

Dimensions

Directions

Kinships

Emotions

Time

Space

Government

Knowledge

Feelings

Law

Life & Health

Esoterism

Religion

Science

Philosophy

Trade

Tools

Water

Work

War

Society

Taboos

Shape

Possession

Physics

Numbers

Movement

Mind

Materials

Measurements

Love

Locatives

Light

Faces

Poses

Expressions

Slang

Technologies

Fantasies

Typefaces

Symbols

Clothes

Societal roles

Typographical ornaments

Early computing glyphs

Videophones

RTTY

Music

Art

Toys

Games

Stickers

Manifestation

Subliminals

Lambda Calculus/Turing Machines

Affirmations

Gratitude

Life scriptures

Time Scheduling and time tracking (Pomodoro?)

Connect dots

Color by number

Questions/Guess/Deduction

Coloring sheets

Sudoku

Battleship puzzles

Nonorams

Snakes and Ladders

Regular Playing Cards

Chess Pieces

Dice

Tarot Cards

Calendars

Time-of-day Clock

Almanacs

Extended Latin letters (French, English, German, Spanish, Portuguese, Hungarian, Czech, Polish...)

Greek letters & mathematics

Cyrillic letters

Arabic numerals & glyphs

Assyrian Neo-Aramic letters?

Unified Han logograms?

Hebrew glyphs?

Kaktovik Inupiaq numerals?

Punctuation

Invisible characters of ASCII (7-bit's 32 first symbols)

ANSI escape codes

Unicode / UTF-8 (32-bit) symbols

Windows-1252 code page's extra symbols

Counting

Adding

Substracting

Multiplying

Dividing

Remainder

Geometry

Probability

Trigonometry

Calculus

Algebra

Statistics

Discrete Mathematics

Data Structures

Algorithms

Hex dumps

Extravagant Disk Editor's dumps

.TXT

.NFO

.RTF

.ODT

.DOCX

.PDF

.SVG

Lisp

XML

XSL

HTML5

CSS & SCSS (Sass IRL)

WebASM

CTSS

ITS

Unix

Xerox' Mesa (Alto, Alto II, Star... Daybreak?)

RSX-11M

CP/M

Concurrent MP/M

MS-DOS

Xenix

Unix System-III

Unix System-V

PC-DOS

OS/2

MNT

Linux

Minix

*-BSD

AIX

z/OS

TSS/8 'LivingComputersMuseum+ Edition'

Fortran

Cobol

ALGOL-68

Lisp 1.5

SmallTalk

HolyC / CosmiC

Machine code

Assembly

C code

C++ code

C# code

.NET framework stuff...

Utchwendira system aka "Ekdel"

Verbs of action

Fandoms

Modifier Keys (Ctrl, Alt, Super, Function, NumLock, CapsLock, Home, End, PageUp, PageDown...)

Keypads/Keyboards (1 key, 2 keys, 4 keys, 6 keys, 8 keys, 12 keys, 16 keys, 20 keys, 24 keys, ~40% keys, ~60% keys, ~80% keys, ~106 keys...)

Video store things

Stores / Shops

Polaroid frames

MIDI keyboards

Unix v7-v9 / Plan9 / Inferno OS

[...]

Braindump#2:

Anthro human male base

Anthro human female base

Anthro human androgynous/NB base

5x5 tiles board for minimal Chess variant

12x12 pixels per sprite

12x12 cells per room

X number of rooms per meta room depending of each meta-room settings'

288x144 overworld meta-rooms per planet (FreeCiv Hexagonal overhead tiles)

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repwinpril9y0a1 · 8 years ago

Text

Sony a9: Why being better might not be enough

The Sony a9 is an impressive looking camera. At 20 frames per second, its able to shoot much faster than either of the professional sports cameras from the two big DSLR makers.

The Sony is also smaller and lighter than these cameras (even with a battery grip added, to get nearer to matching their battery endurance), and has autofocus coverage across a much wider region of the frame than a DSLR AF system can offer. On top of this, it’s $1500 cheaper than Canon's EOS-1D X II and $2000 less than Nikon's D5.

And, most importantly, my colleagues who've shot with the camera say that the AF performance is within the realms of that offered by the current generation of pro DSLRs.

So, game, set and match, Sony?

Our initial impressions, as well as the underlying specifications, suggest Sony's a9 is a highly capable piece of kit. But is that enough for it to elbow its way to the sidelines of the world's sports pitches?

Well, not necessarily. For moneyed enthusiasts, the Sony looks like a pretty competitive option. Though, of course, the cost isn't just about buying the body. If you have to make a switch to a completely new system, the costs extend to every item you need to replace.

However, there are a number of factors that make it more difficult for a working professional to change systems. We spoke to a couple of photojournalists at The Seattle Times about the factors beyond sticker price that might stand in the way of switching (not specifically to Sony but to any other system).

Lenses

Lenses are one of the biggest factors in deciding whether to swap systems. Not only are lenses every bit as important as cameras themselves when making images but also, especially at the pro and sports end of the market, can easily cost more than a camera body. Often the bulk of the cost of changing systems lies in the need to sell your existing lenses and buy new ones, with the precise cost depending on which lenses you need.

Lens availability is another significant hurdle. Sony has been making strides with its GM lens series but there's a distinct lack of the long and fast telephoto lenses that sports shooters depend on.

'Go to any sporting event: the Olympics, the Super Bowl and it comes down to the same basic configurations: short zoom, long zoom, super telephoto'

'Go to any sporting event: the Olympics, the Super Bowl and it comes down to the same basic configurations: short zoom, long zoom, super telephoto. Essentially a 16-35, 70-200 and 400 mm F2.8,' explains Seattle Times photographer Dean Rutz.

'What all these companies lack is the super prime telephoto,’ he says: ‘I can't logically make the switch without a 400mm F2.8 or equivalent. At least a 300mm F2.8. A 70-200 equivalent isn't sufficient.'

Bettina Hansen, Rutz's colleague at the Seattle Times agrees: 'for sports I use a 16-35, 70-200 and one of either the Canon 200-400, 400 F2.8 or 500 F4.'

Sony has introduced a 100-400mm F4.5-5.6 GM alongside the a9, but that's not the same as having a 400mm F2.8 available.

Then, of course, there's the issue of who owns the lenses. If your employer has spent money on a particular lens system or the rental house with which you have an account and a working relationship only supports certain systems, then this can become a significant barrier to switching.

This is certainly the case for Rutz: 'my employer provides a generous amount of Canon gear for my work, which is predominantly sports related.'

'The Times owns everything [I use],' says Hansen. 'Changing isn't totally impossible, though. Our boss did say: "let us know what you want, next time we have to replace gear," but we tend to replace bodies one year and lenses the next. Those super-telephotos are used on a pool basis, so you can't necessarily change while everyone's on another system.'

Sony has clearly looked at the needs of a range of pros, with the inclusion of features such as an Ethernet connector. 'That's how the wires do big events,' says Hansen: 'Olympics, World Series, etc - the shooters sit in designated spots and images transmit instantly to editors as they are shot via Ethernet.'

The short flange-back distance of the a9 leaves enough room to fit an adapter to allow the mounting of any DSLR lens, but there'll be a significant change in performance associated with this. Sony only promises 10 frame per second shooting when adapting its own A-mount lenses, and we're told that both subject tracking (Lock-on AF) and Eye-AF will be unavailable when using non-native mount lenses (this has always been the case even with previous a7 bodies).

'Performance reportedly will degrade with the adapter,’ says Rutz: ‘I'd need to see the practical application of it before committing.'

Accessories

As well as bodies and lenses, changing systems incurs a range of associated expenses, Hansen points out.

'Rain gear is important for sports like football,' she says: 'We use Think Tank Hydrophobia rain gear, which isn't cheap. That's pretty popular among photojournalists.'

'The other thing is cards: we've invested heavily in Compact Flash,' she says. 'That might not seem like much, but we have nine photographers at the moment, so it really adds up. Then there's cases. We've got bags that are designed to perfectly fit a pro level DSLR and everything you need to shoot a football game and get it on a plane. Are we going to have to replace those, too?'

Some of these expenses are likely to be small, but it's all a question of unknowns.

Support

Professional gear tends to be built pretty tough, but it's not indestructible. Focus motors fail, lenses get dropped, sensors need cleaning. Working professionals, particularly photojournalists and sports photographers need a good degree of support if anything goes wrong: since neither the news nor a big game will wait for their gear to get fixed.

This is what the competition looks like: Canon Professional Service's loan stock for the 2016 Rio Olympics.

As a results, Canon, Nikon and Sony all have 'Pro' support schemes that promise a certain level of service, usually including a defined repair period and loan equipment being available in the meantime.

'CPS is huge to us,' Hansen stresses: 'For instance, say I am shooting a Seahawks game, I break a lens, shear it off at the lens mount or it gets stuck on the camera: I can send it in and have a loaner pretty quick. Canon also has a rep in Seattle so we can just go to him if we need something, he'll often come to the games.'

Sony's Pro Support program has been expanded to include more countries, but can it offer the degree of service that pro sports shooters have come to expect?

Sony has said it's beefing-up its Pro support system, opening two walk-in support centers and extending coverage to Canada. The program is also available in Australia, Japan, Hong Kong, Germany, Switzerland, Austria and the United Kingdom, though the service level may differ across territories.

This is a key requirement, says Rutz: 'the challengers need better pro services and outreach, as well as big primes, to be able to push the other companies off their perch.' One thing in Sony's favor? If you mostly use the electronic shutter, your mechanical shutter will have a longer life. That's something, at least.

Familiarity

Then, beyond the practical concerns, there are the personal aspects. Canon and Nikon's pro cameras have been carefully iterated, generation to generation, so they include the improvements asked for, while also maintaining backwards-compatibility so that users who have spent years with one brand will find the latest model immediately familiar.

Rutz gives just a small example: 'I think most sports photographers rely on back-button focus to balance framing and frame rate in a rapid-fire sequence. Canon has a big, fat button on the back of their cameras that's easy to find, on the fly but most other cameras have made that button too flush to be as instinctive. That's an area that needs to be addressed.'

Interestingly, Hansen highlights exactly the same thing: 'Back button focus is one of the first things you learn when you're getting into photojournalism and sports photography.'

Sony has clearly heard about this need and has added a dedicated AF-On button on the a9, so it'll be interesting how our pros get on with it, once they've had a chance to use the camera.

The Sony a9 has a dedicated AF-On button, but is it pronounced and well-positioned enough to ensure your thumb hits it without having to think?

That said, if the performance gain is sufficient, most pros will take the time to learn new tricks and work around any oddities. 'The quirks of these new systems can be mitigated - honestly - if there's less difference in fundamental performance than what you're already used to,' says Rutz.

'It does take time to get used to these new cameras,' he says: 'but most [professionals] I know are geeks and they're more than willing to play with the assets until they get the swing of it.'

Hansen, having already moved from Nikon to Canon, agrees: 'If you're in the field, you're always experimenting. Learning a new system isn't so hard. You find the menus that are important to you and you learn those.'

'Familiarity helps, though,' Rutz says: 'At a point photography is reflexive and the camera has to fit into that, versus you having to adapt to the camera.'

A question of inertia

Overall, then, there are a series of factors beyond just the cost that contribute to the inertia that acts against working professionals changing systems. As such, being better might not be enough for Sony's a9 to make a significant dent in the pro sports market.

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chpatdoorsl3z0a1 · 8 years ago

Text

Sony a9: Why being better might not be enough

The Sony a9 is an impressive looking camera. At 20 frames per second, its able to shoot much faster than either of the professional sports cameras from the two big DSLR makers.

And, most importantly, my colleagues who've shot with the camera say that the AF performance is within the realms of that offered by the current generation of pro DSLRs.

So, game, set and match, Sony?

Lenses

Lens availability is another significant hurdle. Sony has been making strides with its GM lens series but there's a distinct lack of the long and fast telephoto lenses that sports shooters depend on.

'Go to any sporting event: the Olympics, the Super Bowl and it comes down to the same basic configurations: short zoom, long zoom, super telephoto'

Bettina Hansen, Rutz's colleague at the Seattle Times agrees: 'for sports I use a 16-35, 70-200 and one of either the Canon 200-400, 400 F2.8 or 500 F4.'

Sony has introduced a 100-400mm F4.5-5.6 GM alongside the a9, but that's not the same as having a 400mm F2.8 available.

This is certainly the case for Rutz: 'my employer provides a generous amount of Canon gear for my work, which is predominantly sports related.'

'Performance reportedly will degrade with the adapter,’ says Rutz: ‘I'd need to see the practical application of it before committing.'

Accessories

As well as bodies and lenses, changing systems incurs a range of associated expenses, Hansen points out.

'Rain gear is important for sports like football,' she says: 'We use Think Tank Hydrophobia rain gear, which isn't cheap. That's pretty popular among photojournalists.'

Some of these expenses are likely to be small, but it's all a question of unknowns.

Support

This is what the competition looks like: Canon Professional Service's loan stock for the 2016 Rio Olympics.

Sony's Pro Support program has been expanded to include more countries, but can it offer the degree of service that pro sports shooters have come to expect?

Familiarity

Interestingly, Hansen highlights exactly the same thing: 'Back button focus is one of the first things you learn when you're getting into photojournalism and sports photography.'

Sony has clearly heard about this need and has added a dedicated AF-On button on the a9, so it'll be interesting how our pros get on with it, once they've had a chance to use the camera.

The Sony a9 has a dedicated AF-On button, but is it pronounced and well-positioned enough to ensure your thumb hits it without having to think?

'It does take time to get used to these new cameras,' he says: 'but most [professionals] I know are geeks and they're more than willing to play with the assets until they get the swing of it.'

'Familiarity helps, though,' Rutz says: 'At a point photography is reflexive and the camera has to fit into that, versus you having to adapt to the camera.'

A question of inertia

from DIYS http://ift.tt/2oCdgfk

#DIYS

0 notes

stormdoors78476 · 8 years ago

Text

Sony a9: Why being better might not be enough

The Sony a9 is an impressive looking camera. At 20 frames per second, its able to shoot much faster than either of the professional sports cameras from the two big DSLR makers.

And, most importantly, my colleagues who've shot with the camera say that the AF performance is within the realms of that offered by the current generation of pro DSLRs.

So, game, set and match, Sony?

Lenses

Lens availability is another significant hurdle. Sony has been making strides with its GM lens series but there's a distinct lack of the long and fast telephoto lenses that sports shooters depend on.

'Go to any sporting event: the Olympics, the Super Bowl and it comes down to the same basic configurations: short zoom, long zoom, super telephoto'

Bettina Hansen, Rutz's colleague at the Seattle Times agrees: 'for sports I use a 16-35, 70-200 and one of either the Canon 200-400, 400 F2.8 or 500 F4.'

Sony has introduced a 100-400mm F4.5-5.6 GM alongside the a9, but that's not the same as having a 400mm F2.8 available.

This is certainly the case for Rutz: 'my employer provides a generous amount of Canon gear for my work, which is predominantly sports related.'

'Performance reportedly will degrade with the adapter,’ says Rutz: ‘I'd need to see the practical application of it before committing.'

Accessories

As well as bodies and lenses, changing systems incurs a range of associated expenses, Hansen points out.

'Rain gear is important for sports like football,' she says: 'We use Think Tank Hydrophobia rain gear, which isn't cheap. That's pretty popular among photojournalists.'

Some of these expenses are likely to be small, but it's all a question of unknowns.

Support

This is what the competition looks like: Canon Professional Service's loan stock for the 2016 Rio Olympics.

Sony's Pro Support program has been expanded to include more countries, but can it offer the degree of service that pro sports shooters have come to expect?

Familiarity

Interestingly, Hansen highlights exactly the same thing: 'Back button focus is one of the first things you learn when you're getting into photojournalism and sports photography.'

Sony has clearly heard about this need and has added a dedicated AF-On button on the a9, so it'll be interesting how our pros get on with it, once they've had a chance to use the camera.

The Sony a9 has a dedicated AF-On button, but is it pronounced and well-positioned enough to ensure your thumb hits it without having to think?

'It does take time to get used to these new cameras,' he says: 'but most [professionals] I know are geeks and they're more than willing to play with the assets until they get the swing of it.'

'Familiarity helps, though,' Rutz says: 'At a point photography is reflexive and the camera has to fit into that, versus you having to adapt to the camera.'

A question of inertia

from DIYS http://ift.tt/2oCdgfk

#DIYS

0 notes

rtawngs20815 · 8 years ago

Text

Sony a9: Why being better might not be enough

The Sony a9 is an impressive looking camera. At 20 frames per second, its able to shoot much faster than either of the professional sports cameras from the two big DSLR makers.

And, most importantly, my colleagues who've shot with the camera say that the AF performance is within the realms of that offered by the current generation of pro DSLRs.

So, game, set and match, Sony?

Lenses

Lens availability is another significant hurdle. Sony has been making strides with its GM lens series but there's a distinct lack of the long and fast telephoto lenses that sports shooters depend on.

'Go to any sporting event: the Olympics, the Super Bowl and it comes down to the same basic configurations: short zoom, long zoom, super telephoto'

Bettina Hansen, Rutz's colleague at the Seattle Times agrees: 'for sports I use a 16-35, 70-200 and one of either the Canon 200-400, 400 F2.8 or 500 F4.'

Sony has introduced a 100-400mm F4.5-5.6 GM alongside the a9, but that's not the same as having a 400mm F2.8 available.

This is certainly the case for Rutz: 'my employer provides a generous amount of Canon gear for my work, which is predominantly sports related.'

'Performance reportedly will degrade with the adapter,’ says Rutz: ‘I'd need to see the practical application of it before committing.'

Accessories

As well as bodies and lenses, changing systems incurs a range of associated expenses, Hansen points out.

'Rain gear is important for sports like football,' she says: 'We use Think Tank Hydrophobia rain gear, which isn't cheap. That's pretty popular among photojournalists.'

Some of these expenses are likely to be small, but it's all a question of unknowns.

Support

This is what the competition looks like: Canon Professional Service's loan stock for the 2016 Rio Olympics.

Sony's Pro Support program has been expanded to include more countries, but can it offer the degree of service that pro sports shooters have come to expect?

Familiarity

Interestingly, Hansen highlights exactly the same thing: 'Back button focus is one of the first things you learn when you're getting into photojournalism and sports photography.'

Sony has clearly heard about this need and has added a dedicated AF-On button on the a9, so it'll be interesting how our pros get on with it, once they've had a chance to use the camera.

The Sony a9 has a dedicated AF-On button, but is it pronounced and well-positioned enough to ensure your thumb hits it without having to think?

'It does take time to get used to these new cameras,' he says: 'but most [professionals] I know are geeks and they're more than willing to play with the assets until they get the swing of it.'

'Familiarity helps, though,' Rutz says: 'At a point photography is reflexive and the camera has to fit into that, versus you having to adapt to the camera.'

A question of inertia

from DIYS http://ift.tt/2oCdgfk

#DIYS

0 notes

pat78701 · 8 years ago

Text

Sony a9: Why being better might not be enough

The Sony a9 is an impressive looking camera. At 20 frames per second, its able to shoot much faster than either of the professional sports cameras from the two big DSLR makers.

And, most importantly, my colleagues who've shot with the camera say that the AF performance is within the realms of that offered by the current generation of pro DSLRs.

So, game, set and match, Sony?

Lenses

Lens availability is another significant hurdle. Sony has been making strides with its GM lens series but there's a distinct lack of the long and fast telephoto lenses that sports shooters depend on.

'Go to any sporting event: the Olympics, the Super Bowl and it comes down to the same basic configurations: short zoom, long zoom, super telephoto'

Bettina Hansen, Rutz's colleague at the Seattle Times agrees: 'for sports I use a 16-35, 70-200 and one of either the Canon 200-400, 400 F2.8 or 500 F4.'

Sony has introduced a 100-400mm F4.5-5.6 GM alongside the a9, but that's not the same as having a 400mm F2.8 available.

This is certainly the case for Rutz: 'my employer provides a generous amount of Canon gear for my work, which is predominantly sports related.'

'Performance reportedly will degrade with the adapter,’ says Rutz: ‘I'd need to see the practical application of it before committing.'

Accessories

As well as bodies and lenses, changing systems incurs a range of associated expenses, Hansen points out.

'Rain gear is important for sports like football,' she says: 'We use Think Tank Hydrophobia rain gear, which isn't cheap. That's pretty popular among photojournalists.'

Some of these expenses are likely to be small, but it's all a question of unknowns.

Support

This is what the competition looks like: Canon Professional Service's loan stock for the 2016 Rio Olympics.

Sony's Pro Support program has been expanded to include more countries, but can it offer the degree of service that pro sports shooters have come to expect?

Familiarity

Interestingly, Hansen highlights exactly the same thing: 'Back button focus is one of the first things you learn when you're getting into photojournalism and sports photography.'

Sony has clearly heard about this need and has added a dedicated AF-On button on the a9, so it'll be interesting how our pros get on with it, once they've had a chance to use the camera.

The Sony a9 has a dedicated AF-On button, but is it pronounced and well-positioned enough to ensure your thumb hits it without having to think?

'It does take time to get used to these new cameras,' he says: 'but most [professionals] I know are geeks and they're more than willing to play with the assets until they get the swing of it.'

'Familiarity helps, though,' Rutz says: 'At a point photography is reflexive and the camera has to fit into that, versus you having to adapt to the camera.'

A question of inertia

from DIYS http://ift.tt/2oCdgfk

#DIYS

0 notes

repwincoml4a0a5 · 8 years ago

Text

Sony a9: Why being better might not be enough

The Sony a9 is an impressive looking camera. At 20 frames per second, its able to shoot much faster than either of the professional sports cameras from the two big DSLR makers.

And, most importantly, my colleagues who've shot with the camera say that the AF performance is within the realms of that offered by the current generation of pro DSLRs.

So, game, set and match, Sony?

Lenses

Lens availability is another significant hurdle. Sony has been making strides with its GM lens series but there's a distinct lack of the long and fast telephoto lenses that sports shooters depend on.

'Go to any sporting event: the Olympics, the Super Bowl and it comes down to the same basic configurations: short zoom, long zoom, super telephoto'

Bettina Hansen, Rutz's colleague at the Seattle Times agrees: 'for sports I use a 16-35, 70-200 and one of either the Canon 200-400, 400 F2.8 or 500 F4.'

Sony has introduced a 100-400mm F4.5-5.6 GM alongside the a9, but that's not the same as having a 400mm F2.8 available.

This is certainly the case for Rutz: 'my employer provides a generous amount of Canon gear for my work, which is predominantly sports related.'

'Performance reportedly will degrade with the adapter,’ says Rutz: ‘I'd need to see the practical application of it before committing.'

Accessories

As well as bodies and lenses, changing systems incurs a range of associated expenses, Hansen points out.

'Rain gear is important for sports like football,' she says: 'We use Think Tank Hydrophobia rain gear, which isn't cheap. That's pretty popular among photojournalists.'

Some of these expenses are likely to be small, but it's all a question of unknowns.

Support

This is what the competition looks like: Canon Professional Service's loan stock for the 2016 Rio Olympics.

Sony's Pro Support program has been expanded to include more countries, but can it offer the degree of service that pro sports shooters have come to expect?

Familiarity

Interestingly, Hansen highlights exactly the same thing: 'Back button focus is one of the first things you learn when you're getting into photojournalism and sports photography.'

Sony has clearly heard about this need and has added a dedicated AF-On button on the a9, so it'll be interesting how our pros get on with it, once they've had a chance to use the camera.

The Sony a9 has a dedicated AF-On button, but is it pronounced and well-positioned enough to ensure your thumb hits it without having to think?

'It does take time to get used to these new cameras,' he says: 'but most [professionals] I know are geeks and they're more than willing to play with the assets until they get the swing of it.'

'Familiarity helps, though,' Rutz says: 'At a point photography is reflexive and the camera has to fit into that, versus you having to adapt to the camera.'

A question of inertia

from DIYS http://ift.tt/2oCdgfk

#DIYS

0 notes

grgedoors02142 · 8 years ago

Text

Sony a9: Why being better might not be enough

The Sony a9 is an impressive looking camera. At 20 frames per second, its able to shoot much faster than either of the professional sports cameras from the two big DSLR makers.

And, most importantly, my colleagues who've shot with the camera say that the AF performance is within the realms of that offered by the current generation of pro DSLRs.

So, game, set and match, Sony?

Lenses

Lens availability is another significant hurdle. Sony has been making strides with its GM lens series but there's a distinct lack of the long and fast telephoto lenses that sports shooters depend on.

'Go to any sporting event: the Olympics, the Super Bowl and it comes down to the same basic configurations: short zoom, long zoom, super telephoto'

Bettina Hansen, Rutz's colleague at the Seattle Times agrees: 'for sports I use a 16-35, 70-200 and one of either the Canon 200-400, 400 F2.8 or 500 F4.'

Sony has introduced a 100-400mm F4.5-5.6 GM alongside the a9, but that's not the same as having a 400mm F2.8 available.

This is certainly the case for Rutz: 'my employer provides a generous amount of Canon gear for my work, which is predominantly sports related.'

'Performance reportedly will degrade with the adapter,’ says Rutz: ‘I'd need to see the practical application of it before committing.'

Accessories

As well as bodies and lenses, changing systems incurs a range of associated expenses, Hansen points out.

'Rain gear is important for sports like football,' she says: 'We use Think Tank Hydrophobia rain gear, which isn't cheap. That's pretty popular among photojournalists.'

Some of these expenses are likely to be small, but it's all a question of unknowns.

Support

This is what the competition looks like: Canon Professional Service's loan stock for the 2016 Rio Olympics.

Sony's Pro Support program has been expanded to include more countries, but can it offer the degree of service that pro sports shooters have come to expect?

Familiarity

Interestingly, Hansen highlights exactly the same thing: 'Back button focus is one of the first things you learn when you're getting into photojournalism and sports photography.'

Sony has clearly heard about this need and has added a dedicated AF-On button on the a9, so it'll be interesting how our pros get on with it, once they've had a chance to use the camera.

The Sony a9 has a dedicated AF-On button, but is it pronounced and well-positioned enough to ensure your thumb hits it without having to think?

'It does take time to get used to these new cameras,' he says: 'but most [professionals] I know are geeks and they're more than willing to play with the assets until they get the swing of it.'

'Familiarity helps, though,' Rutz says: 'At a point photography is reflexive and the camera has to fit into that, versus you having to adapt to the camera.'

A question of inertia

from DIYS http://ift.tt/2oCdgfk

#DIYS

0 notes

exfrenchdorsl4p0a1 · 8 years ago

Text

Sony a9: Why being better might not be enough

The Sony a9 is an impressive looking camera. At 20 frames per second, its able to shoot much faster than either of the professional sports cameras from the two big DSLR makers.

And, most importantly, my colleagues who've shot with the camera say that the AF performance is within the realms of that offered by the current generation of pro DSLRs.

So, game, set and match, Sony?

Lenses

Lens availability is another significant hurdle. Sony has been making strides with its GM lens series but there's a distinct lack of the long and fast telephoto lenses that sports shooters depend on.

'Go to any sporting event: the Olympics, the Super Bowl and it comes down to the same basic configurations: short zoom, long zoom, super telephoto'

Bettina Hansen, Rutz's colleague at the Seattle Times agrees: 'for sports I use a 16-35, 70-200 and one of either the Canon 200-400, 400 F2.8 or 500 F4.'

Sony has introduced a 100-400mm F4.5-5.6 GM alongside the a9, but that's not the same as having a 400mm F2.8 available.

This is certainly the case for Rutz: 'my employer provides a generous amount of Canon gear for my work, which is predominantly sports related.'

'Performance reportedly will degrade with the adapter,’ says Rutz: ‘I'd need to see the practical application of it before committing.'

Accessories

As well as bodies and lenses, changing systems incurs a range of associated expenses, Hansen points out.

'Rain gear is important for sports like football,' she says: 'We use Think Tank Hydrophobia rain gear, which isn't cheap. That's pretty popular among photojournalists.'

Some of these expenses are likely to be small, but it's all a question of unknowns.

Support

This is what the competition looks like: Canon Professional Service's loan stock for the 2016 Rio Olympics.

Sony's Pro Support program has been expanded to include more countries, but can it offer the degree of service that pro sports shooters have come to expect?

Familiarity

Interestingly, Hansen highlights exactly the same thing: 'Back button focus is one of the first things you learn when you're getting into photojournalism and sports photography.'

Sony has clearly heard about this need and has added a dedicated AF-On button on the a9, so it'll be interesting how our pros get on with it, once they've had a chance to use the camera.

The Sony a9 has a dedicated AF-On button, but is it pronounced and well-positioned enough to ensure your thumb hits it without having to think?

'It does take time to get used to these new cameras,' he says: 'but most [professionals] I know are geeks and they're more than willing to play with the assets until they get the swing of it.'

'Familiarity helps, though,' Rutz says: 'At a point photography is reflexive and the camera has to fit into that, versus you having to adapt to the camera.'

A question of inertia

from DIYS http://ift.tt/2oCdgfk

#DIYS

0 notes

hydralisk98 · 6 years ago

Text

Dump

(_DEFINE) CATEGORIES: Health, Relationships, Possessions, Skills, Identity, Powers, Lifestyle. [...] uncategorized generic LIST ITEMS: electronics, sex, gender identity, sexual orientation, pronouns, family, friends, classmates, coworkers, books, games, movies, stationary supplies, school, work, memory, arts, music, wardrobe, languages, knowledge, country, ethnicity, appearance, body, metabolism, height, weight, names, age, birthplace, favs, handwriting, dislikes/pet peeves, pet(s), tech, hobbies, accessories, home, crush/boyfriend/girlfriend, best friend, authorities, grades, vocabulary, introspection, research skills, reading, writing skills, creative expression, freedom of expression, freedom of use, shapeshift, time travel, teleporation, omni-communication, leadership, organization, wealth, development skills, design skills, data, storage, source code access, information access, forgotten / lost goods, access to magical services, religion, beliefs, reputation, relations with supernatural entities, telekinesis, clairvoyance, retro-cognition, strenght, dexterity, constitution, intelligence, wisdom, charisma, past lives' memories, scripting/coding skills, basic computing skills, mathematical skills, tribe, energy, laws, youth, lifespan, aesthetic style, side projects. [...]

(?) KLARA list items= Female, bisexual, cisgender, she/her, vintage electronics passion and expertise, somewhat middle-class Assyrian family in Quebec, a dozen of pretty close friends, best friend and boyfriend in her appartment, studying in Maisonneuve Cegep in Montreal in first year of Multimedia Integration Technique, working in a electronics' shop as a warehouse/factory worker and sometimes as a cashier, loves to write into zines and taking notes on paper, authorities are really respectful kind and tolerant with her, several non-fiction books and manuals in her bookcase, a couple of retro video games and a few simple tabletop games excluding her TTRPGs, between 12 and 24 different documentary and entertainment movies to watch on a quite average sized CRT television, several artistic and serious work supplies in her very own huge custom backpack which also has a few keychain collectibles and stickers on, photographic memory, great animation artist and blogger that she has just started up this month, classic metal and old patriotic songs music enthusiast, vaporwave plus vintage aesthetic wardrobe with a few minimalist and DIY clothes alongside the elegant ones, some traditional Assyrian dresses and accessories as well, speaks French English Neo-Aramaic and German fluently, curiosity drives her to research everyday so yes she knows hell of a lot about a handful of topics online, living in southern Lanaudiere in Canada, Assyrian-Canadian ancestry and heritage as Klara Ashur, jet black short hair olive green eyes tan skin mesomorph, 5'6", 130-140lb, 20 years old, August 1st 1998, somewhere around or within the Greater Montreal region, autistic and INTP personality, Leo astrology sign, moderately salty food, quite irreligious and kind-hearted parents, winter season, classical-style high quality handwriting, dislikes fear and dishonest people, "macro" the two years old black female shy but affectionate turkish angora cat born on May 20th 2016, geek and nerdy plushie collection, DSi, iPod Shuffle, iPhone 11, P52 laptop, really great i5 desktop computer, fancy drawing tablet, gamer girl headphones and ear buds, volunteering at local tech museum for restoring and maintaining old computer systems, quite active and reactive friendly tribe / group / fandom, earmuffs glasses scarf student-cap gauntlets gloves headphones?, really big low-cost high-quality service appartment shared with her boyfriend and her BFF, Constant is a quiet but dedicated boyfriend who take care of Klara's emotions and listens to her extensively but within reason, Arya is a charming woman friend who loves to iterate on ideas and do projects with Klara when she is somewhat free onto weekends, very rich vocabulary but especially in German and English, all authorities of Klara deeply respects her at the point of staying alongside her at most times, she always had quite great / awesome grades in all of her studies, she is a expert of research and dedicates some time everyday to both researching topics and doing some meditation & gratitude journaling, great writing skills that awaits clever use in her projects and further grades, she expresses her emotions into her art especially animations and indie game demo development, no censorship or restriction over her thoughts or any content from her that doesn't hurt directly anyone, Klara is free from all forms of controversy, she can shapeshift and astrally project herself into a Serperior Naga form or anything she wishes at any given moment, when she is time travelling her existence and mindset is always guaranteed to exist no matter what she does and where she does so in the timelines, she can teleport between dimensions and on every space position as well while still being safe from any evil elements from anything really, she can always manage to communicate with whatever she wants to communicate with, her guardian angel come to speak with her once every month so I feel good to confess and iterate calmly every little while, she is a excellent leader and ruler over people and is able to execute the best justice there is without any doubts, she is quite well organized, she can manifest as much money as she feels like she wants without any form of debt, she has unlimited bandwith on all devices as well as unlimited data storage, she owns much physical storage space where she usually keeps her unused technological systems, she always finds what she seeks and quickly even if it was lost or forgotten, she has access to all possible source code and primary source evidence information, Klara is extremely grateful of everything she has that is positive or constructive, she can access magic and magical services with ease, she heals from all forms of injury real quick, she has a lifespan of at least six hundred years and the whole universe is totally chill with that, several side projects and opportunities towards greatness, photogenic, vlog, shopping hauls, recording many major and minor history events, priviledge to speak with several historical figures, (vintage computer systems: PDP-15, PDP-12, PDP-11/60, PDP-8/E, Xerox Daybreak, PLATO V terminal, SDS Sigma 6, IBM /360 model 25, IBM 650, Commodore Amiga 3000, Commodore CBM-II, Commodore 128D, SEGA Genesis, SEGA Dreamcast, NeXTCUBE, VAXmate, DECmate III+, VT-180, Robotron K 1840, DCPU-16, HP-85B, HP-86B, Intellec 40, Teletypes, Typewriters, Peipherals, VT-300, Symbolics 3650 Lisp Machine, DEC Rainbow 100, Warsaw Pact "micro" computers, Micro-80 kit computer of 1983 Soviet Union, household mainframe computer of the future, Portal 2's vintage computer systems, Altair 8800B, S-100 computers, ), (games: Half-Life 1, Quake, Quake II, Half Life 2, Portal 2, Civilization 5 Complete, Europa Universalis IV, Baba is You, Crazy Taxi, and eleven games which are unique to my timeline at the very minimum), (movies: much fascinating documentaries and fiction movies tailored to my tastes and that most are unique to my timeline), (people: []), (Q&A Klara Ashur), (software with src code and legit key gens: Windows 3.1, NeXTSTEP, Linux Mint Cinnamon 19.2, CP/M, MP/M, Z-machine internals, magical operating system tailored to my exact needs across dimensions, OS/12, OS/8, RSX-11M, Inferno OS, Unix V5-V7, Wolfenstein TNO's Nazi Germany computer operating system, several weird OSes from many timelines, Hypno-OS from MerchantSoft, FreeBSD, Xerox Pilot OS, OS/8, OS/12, .);

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rtscrndr53704 · 8 years ago

Text

Sony a9: Why being better might not be enough

The Sony a9 is an impressive looking camera. At 20 frames per second, its able to shoot much faster than either of the professional sports cameras from the two big DSLR makers.

And, most importantly, my colleagues who've shot with the camera say that the AF performance is within the realms of that offered by the current generation of pro DSLRs.

So, game, set and match, Sony?

Lenses

Lens availability is another significant hurdle. Sony has been making strides with its GM lens series but there's a distinct lack of the long and fast telephoto lenses that sports shooters depend on.

'Go to any sporting event: the Olympics, the Super Bowl and it comes down to the same basic configurations: short zoom, long zoom, super telephoto'

Bettina Hansen, Rutz's colleague at the Seattle Times agrees: 'for sports I use a 16-35, 70-200 and one of either the Canon 200-400, 400 F2.8 or 500 F4.'

Sony has introduced a 100-400mm F4.5-5.6 GM alongside the a9, but that's not the same as having a 400mm F2.8 available.

This is certainly the case for Rutz: 'my employer provides a generous amount of Canon gear for my work, which is predominantly sports related.'

'Performance reportedly will degrade with the adapter,’ says Rutz: ‘I'd need to see the practical application of it before committing.'

Accessories

As well as bodies and lenses, changing systems incurs a range of associated expenses, Hansen points out.

'Rain gear is important for sports like football,' she says: 'We use Think Tank Hydrophobia rain gear, which isn't cheap. That's pretty popular among photojournalists.'

Some of these expenses are likely to be small, but it's all a question of unknowns.

Support

This is what the competition looks like: Canon Professional Service's loan stock for the 2016 Rio Olympics.

Sony's Pro Support program has been expanded to include more countries, but can it offer the degree of service that pro sports shooters have come to expect?

Familiarity

Interestingly, Hansen highlights exactly the same thing: 'Back button focus is one of the first things you learn when you're getting into photojournalism and sports photography.'

Sony has clearly heard about this need and has added a dedicated AF-On button on the a9, so it'll be interesting how our pros get on with it, once they've had a chance to use the camera.

The Sony a9 has a dedicated AF-On button, but is it pronounced and well-positioned enough to ensure your thumb hits it without having to think?

'It does take time to get used to these new cameras,' he says: 'but most [professionals] I know are geeks and they're more than willing to play with the assets until they get the swing of it.'

'Familiarity helps, though,' Rutz says: 'At a point photography is reflexive and the camera has to fit into that, versus you having to adapt to the camera.'

A question of inertia

from DIYS http://ift.tt/2oCdgfk

#DIYS

0 notes

porchenclose10019 · 8 years ago

Text

Sony a9: Why being better might not be enough

The Sony a9 is an impressive looking camera. At 20 frames per second, its able to shoot much faster than either of the professional sports cameras from the two big DSLR makers.

And, most importantly, my colleagues who've shot with the camera say that the AF performance is within the realms of that offered by the current generation of pro DSLRs.

So, game, set and match, Sony?

Lenses

Lens availability is another significant hurdle. Sony has been making strides with its GM lens series but there's a distinct lack of the long and fast telephoto lenses that sports shooters depend on.

'Go to any sporting event: the Olympics, the Super Bowl and it comes down to the same basic configurations: short zoom, long zoom, super telephoto'

Bettina Hansen, Rutz's colleague at the Seattle Times agrees: 'for sports I use a 16-35, 70-200 and one of either the Canon 200-400, 400 F2.8 or 500 F4.'

Sony has introduced a 100-400mm F4.5-5.6 GM alongside the a9, but that's not the same as having a 400mm F2.8 available.

This is certainly the case for Rutz: 'my employer provides a generous amount of Canon gear for my work, which is predominantly sports related.'

'Performance reportedly will degrade with the adapter,’ says Rutz: ‘I'd need to see the practical application of it before committing.'

Accessories

As well as bodies and lenses, changing systems incurs a range of associated expenses, Hansen points out.

'Rain gear is important for sports like football,' she says: 'We use Think Tank Hydrophobia rain gear, which isn't cheap. That's pretty popular among photojournalists.'

Some of these expenses are likely to be small, but it's all a question of unknowns.

Support

This is what the competition looks like: Canon Professional Service's loan stock for the 2016 Rio Olympics.

Sony's Pro Support program has been expanded to include more countries, but can it offer the degree of service that pro sports shooters have come to expect?

Familiarity

Interestingly, Hansen highlights exactly the same thing: 'Back button focus is one of the first things you learn when you're getting into photojournalism and sports photography.'

Sony has clearly heard about this need and has added a dedicated AF-On button on the a9, so it'll be interesting how our pros get on with it, once they've had a chance to use the camera.

The Sony a9 has a dedicated AF-On button, but is it pronounced and well-positioned enough to ensure your thumb hits it without having to think?

'It does take time to get used to these new cameras,' he says: 'but most [professionals] I know are geeks and they're more than willing to play with the assets until they get the swing of it.'

'Familiarity helps, though,' Rutz says: 'At a point photography is reflexive and the camera has to fit into that, versus you having to adapt to the camera.'

A question of inertia

from DIYS http://ift.tt/2oCdgfk

#DIYS

0 notes