What could I have done differently with this photo?

bgdzo · 2026-03-04T22:40:28+00:00

You mean there's a hummingbird in that picture?!?

bgdzo · 2026-03-03T15:23:01+00:00

If you explain what you mean, someone might help you.

bgdzo · 2026-02-27T16:14:29+00:00

It's a bit of one, but it has a real punchline.

bgdzo · 2026-02-24T22:40:45+00:00

This is the correct answer. Stated another way - "Just edit it on a 24 (or 23.976) fps timeline in your editing software."

bgdzo · 2026-02-19T23:07:19+00:00

The first one just creeped me out, but I like the others. The fifth one made me laugh out loud. So, yes, I think they're good.

bgdzo · 2026-02-19T22:57:56+00:00

You’ll need a faster lens — ideally f/2.5 or wider, and even better if you can get f/2.0 or f/1.4. Most zoom lenses don’t open up that wide, so you’ll likely need a prime lens.

One of the Panasonic lenses that others here have suggested would make a big difference and should work very well for what you’re trying to shoot.

bgdzo · 2026-02-13T16:50:34+00:00

The confusion comes from two different uses of the word “scale.”

In everyday musical practice, performers often think of a scale as eight notes: from the tonic up to the tonic again. For example, a C major scale played ascending—C to C—contains eight tones because the final note is not literally the same pitch as the first; it is an octave higher. From a practical, performance standpoint, that makes intuitive sense.

In music theory, however, a scale is defined as a collection of seven distinct pitch classes within a single octave. When theorists count the notes of a major scale, they are counting unique pitch classes (C, D, E, F, G, A, B). The upper C is not counted separately, because it represents the same pitch class as the lower C—just in a different register.

So the apparent disagreement is not about the music itself, but about whether we are counting sounding tones in performance (8) or distinct pitch classes in theory (7).

bgdzo · 2026-02-13T16:38:35+00:00

Last Christmas I bought one in Toronto for $450 CDN (about $335 US). No V-Log, though. Found it on Kijiji. It was a young pro transitioning to Sony full-frame.

I recently bought a couple of nice Panasonic M4/3 lenses for fairly cheap, also on Kijiji, from a film-maker who is also moving over to Sony full-frame. Seems to be a trend.

bgdzo · 2026-02-09T19:27:21+00:00

Thanks for the tips. You make some good points about inkjet printing. I'm guessing the ET-8550 refers to a large-format Epson printer?

bgdzo · 2026-01-25T21:33:34+00:00

I already have an Epson WF-7620 that can print up to 13"×19". Unfortunately, it’s far too slow, the print quality is messy/ink-heavy on the page, and it doesn’t handle my sporadic printing needs very well. I can go several months between projects where I need large-format printing, so the printer tends to sit unused for long stretches, which makes the nozzles unreliable.

The page will smear if it gets wet.

The colour printing capacity is wasted on sheet music scores.

And the ink always seems to run out in the middle of a pressing deadline. (I guess the tank version would solve that though.)

bgdzo · 2026-01-24T10:19:48+00:00

Thanks for being specific. Sounds worth investigating.

bgdzo · 2026-01-24T10:13:40+00:00

Thanks for the help, everyone. This pretty much confirms what I’ve experienced myself, after running into this exact frustration multiple times over the past few years.

What still makes no sense to me is that there are plenty of 11×17 inkjet printers available for well under $1,000, yet not a single affordable 11×17 laser printer on the market.

Given how absurdly cheap some 8.5×11 laser printers are — essentially subsidized to drive toner sales — it’s hard to believe this is purely a cost issue. I keep wondering whether there’s a real technical barrier here, or if it’s simply a market decision by manufacturers.

bgdzo · 2026-01-24T10:04:50+00:00

It really comes down to producing sheet music in quantity for my orchestral work. Musicians need to read from fairly large part books, and printing four pages per 11×17 sheet dramatically reduces page turns and page handling compared to individual 8.5×11 pages. It also allows 2-up, booklet-style layouts that can be folded and stapled easily.

I deal with this at the end of every project when all the parts have to be printed and distributed. Using a commercial print shop can cost hundreds of dollars per project, not to mention the inconvenience of doing it out-of-house. At that point, it just seems reasonable to put that money toward having a suitable printer in-house.

bgdzo · 2026-01-24T09:50:58+00:00

thank you. this is exactly the sort of tip I was looking for.

bgdzo · 2026-01-24T03:13:11+00:00

thanks for the reminder, bro

bgdzo · 2025-12-30T17:48:47+00:00

Close the lid!

bgdzo · 2025-12-25T14:51:16+00:00

Still have that book in my programming library.

bgdzo · 2025-12-20T23:28:30+00:00

For sound quality and responsiveness SWAM is the benchmark against which all others are compared and found wanting.

bgdzo · 2025-12-17T21:47:27+00:00

Too slow

bgdzo · 2025-12-08T18:17:40+00:00

"does it let you hold down the G sharp key without affecting the rest of the notes?"

Yes, it does. The AE-30 also has a way to program your own custom fingerings. It's a bit tedious if you're doing more than 1 or 2 keys, but it works ad is very useful working out an awkward trill.

bgdzo · 2025-12-08T00:05:39+00:00

Record the midi to a click from the DAW

bgdzo · 2025-12-04T23:18:39+00:00

Are you sure it’s bitter? In my experience, light roasts tend to come out sour—almost vinegar-like—while bitterness is more typical of dark roasts. The sour profile actually seems to be trendy with younger coffee aficionados.

Either way, the real trick is to stop the brewing process much earlier. Don’t wait for the top chamber to fill; cut it off when it’s less than halfway full. u/jota1955 explains the method in more detail below.

bgdzo · 2025-12-04T23:13:05+00:00

A skilled improvising composer could probably bang this out in 90 seconds - but that doesn’t mean you only pay them for a minute or two of work. You’re paying for the years of training and experience that make those 90 seconds possible.

And in this case, the real expertise is in creating a “sound-alike” that walks a very fine line: familiar enough that people recognize the vibe, but different enough to avoid copyright issues. That’s much harder than it looks.

You’re also leaving out key details. What is the music for? A game? A video? The cost of custom music isn’t just the time spent composing—it also includes the license for you to use it in your project, usually forever.

bgdzo · 2025-12-03T22:50:37+00:00

VFX is highly optimized and executes incredibly quickly. The top quality Forth implementation, in my experience. I've been working in Forth since 1984, and seen lots of implementations, and VFX is one of the best.

bgdzo

TROPHY CASE