Contacting Iain

If you’re looking for more information on Iain, please head to iain-anderson.com, where you’ll also find contact details at the bottom of the page. If you’re only looking for videos he’s made, try filmeverywhere.com instead.

This blog isn’t completely dead, but it doesn’t see many updates — apologies if you’re having trouble finding me through it.

On nutrition

While this blog has definitely been ignored for a few years now, squeezed between the instant gratification of Twitter, the friend-notification of Facebook, and the richer experience of YouTube, there are still things worth sharing that don’t fit into any of those buckets. Here’s one.

I try to stay healthy these days, and while I’m not losing weight (I could lost a few kilos) I’m not gaining it either. One thing that helps a lot is knowing how much sugar, fat and nutrition is in the food I eat, and that’s something that’s much easier here in Australia than in the US.

Almost every food item sold in a supermarket will have a nutrition information panel, and that’s true in the US and here. However, in the US, the information is only given as an amount within an arbitrary serving size, which is different for each food, with a far more prominent percentage of a “Daily Value” which may or may not be correct for you.

A pack of two Beyond Burgers, in the US (Credit: @michaelkammes)

With something like a burger patty, sure, a serving size makes sense. But for many foods, it doesn’t. Serving sizes are picked to make the other numbers look better, often useless unless you weigh your food, and

The only easy way to compare two foods is with percentages, because it’s true for any amount of food, and gives you a quick way to judge if a product is healthy or not by using rules of thumb like “avoid foods with greater than 3% sugar”. Providing nutrition info per 100g is a great way to do this, and Australian nutrition guidelines must include it. Therefore, imported products place stickers over the original nutrition info, like this:

The same exact Beyond Burgers sold in Australia.

Now it’s all pretty clear, there’s 15.9% fat in Beyond Burgers. (That’s not unusual for veggie burgers, but about triple the fat of the extra lean mince I prefer if I’m eating regular meat burgers.) That’s not clear from the US packaging unless you’re really good at mental arithmetic (18g/113g).

Here’s another example of two different cereal products. Neither are particularly healthy, but can you quickly tell which has more sugar?

Australian on the left, US on the right

The Australian cereal on the left is 21.5% sugar, easy to read from the 100g column, while the US cereal on the right is 26.6% sugar, which you need maths (8g/30g) to figure out.

Including a “per 100g” column on all products in the US isn’t going to turn around the obesity epidemic it’s facing; Australia (and the UK, and many other countries) have similar issues. But it would be a really helpful start, because the actual information is currently very well hidden indeed.

Recent videos

While I don’t have as much time to devote to YouTube videos as I’d like, here are a few of my more recent ones:

And if you have more time, here they all are!

I should also mention that I do shoot and edit video professionally too, so if you have an event you’d like to document or a presentation you’d like recorded, check out some of my work at filmeverywhere.com, and contact me via iain.a [at] iCloud.com.

Quartz Composer .qtz files working as screensavers on macOS Mojave

If you’ve upgraded to macOS Mojave (10.14) and been disappointed that your collection of .qtz screen savers stopped working, it’s good to know that you can get them working again for just a few dollars.

One of my Quartz Composer compositions
One of my Quartz Composer compositions

The app you’ll need is called Backgrounds, and it’s on the Mac App Store. This app lets you use Quartz Composer files as not only screen savers, but as desktop wallpaper as well. The developer has been responsive by email, and I’ve not had any problems.

Note: This is not a paid post! Also, a competing app (Mach Desktop 4K)  claimed to do the same thing, but didn’t work properly for me.

Review: Oculus Go

I’ll be trying to post my macProVideo articles here so they don’t get lost, and here’s my most recent:

Virtual Reality headsets have taken off in the last few years, and so far at least, they don’t seem to be a passing fad. Facebook, Valve and Sony have all made a big push into this space in a search to find the next big thing, and while the market is young, it’s expanding in several interesting directions. One is the push towards an untethered experience, and the recently released Oculus Go, from the Facebook-owned Oculus, is a big step towards that reality.

The article also include a technique to create a tiny, narrated 360° slideshow, perfect for sharing a series of still 360° images in a headset:

Export with File > Share > Send to Compressor. In Compressor, create a new MP4 preset, using HEVC as the codec, setting data rate to 10000Kbps, limit the frame size to 4096 wide, and frame rate to just 1fps. This will let a 2 minute video take less than 40MB, giving you a file that’s easy to transfer and load, but which tells a full story.

Read the whole article here.

Processing Photos

I take a lot of photos, and if I’m processing them live at a conference, I’ll probably use Lightroom from Adobe. However, that product has recently pivoted and been renamed Lightroom Classic CC. A new product has taken over its name, “Lightroom CC”, and while it might be nice, its core limitations of a single library where every image is uploaded to the cloud are both instant product killers for me. The existing Lightroom Classic CC still works, but naming it “Classic” seems a clear sign that the product’s days are numbered — and that’s a huge shame. While I love its capabilities and the quality of its output, it’s never been that fast, so it’s time to look for alternatives.

I should note that Photos, free with macOS, has been improving steadily (Curves finally in the High Sierra version!) but without proper bulk copy/paste of adjustments and deeper metadata control, it might not suit my needs. I haven’t switched to High Sierra full time, but when I do, I’ll give it a good look.

Still, there are other third party options. Recently I reviewed Luminar (2017) for macProVideo.com, and I liked it very much:

Luminar is that rare piece of software that hits the sweet spot for many users. It’s got the power to do what you want now, plus the features you’re going to want once you learn about them. It’s easy for novices to get into, but it doesn’t limit what professionals can do either. If you like photography, Luminar provides a solid image processing toolkit that can make your images really sing. Recommended. 

The newer Luminar 2018 will be updated to include digital asset management (i.e. multiple photo management like Lightroom) next year, and I’m very much looking forward to checking that out.

In the meantime, if you’re looking for an alternative to Lightroom, give Luminar 2018 a go? The same company also offer Aurora HDR 2018 for fans of HDR photography, and while I’m more into HDR for video myself, it just won App of the Year from Apple. Worth a look, and use the promo code “FUNWITHSTUFF” to save $10 on either app.

Full disclosure: yes, these are referral links, but it’s nice software, and there’s a free trial.

On HFR (High Frame Rate) video

Here’s a technical post about frame rates in video. Exciting, right?

Most higher quality shows in Australia are shown at 25 fps, and the whole image updates every second — this is Progressive, the p in 1080p. All our devices are progressive too — TVs, computers, phones, tablets. Feature films (shot on film or digital) are also progressive.

Broadcast TV signals are different. It’s all delivered as interlaced — 50 updates per second, half the image (a field) at a time. A field is every other horizontal line, meaning that an object that moves will be a little blurry. You can present progressive material within an interlaced stream, and it looks just like true progressive content. However, reality TV, sports and news are shot natively in interlaced. We’ve grown to associate a lower frame rate with feature films and high-quality drama, and a higher frame rate with “cheaper” content.

Modern TVs remove the interlacing, but also default to making all content look like it’s been shot at a high frame rate. By making this “smooth” look the default, a lot of people have been convinced that “smooth is good”. I (and many others) hate it though, and turn it off straight away. Partly because I don’t like the look, partly because with films it’s not what the filmmaker wanted, partly because the glitches (artifacts) that are visible when all those extra frames are invented are quite distracting. At the end of the day, though, the old “smooth means cheap” rule is not as absolute as it once was.

Most modern DSLRs only shoot progressive, because that’s what filmmakers (and computers) want. My new GH5 (lovely camera) is mostly used to shoot 4K at 25 fps, because that’s what I want to edit and deliver. However, it can also shoot in 50 or 60 fps in 4K, and up to 180 fps in HD. Mostly, that’s great for slow-motion, shooting a higher number of frames per second, but playing just 25 of them every second.

But it’s now possible to actually deliver 60 frames per second — HFR, or high frame rate. It’s still progressive, so there’s no artifacting, and it’s natively smooth, to keep fans of that look happy. The higher frame rate also brings with it a lower amount of blurring of objects in motion, and that’s a two-edged sword. When everything is perfectly sharp, it doesn’t feel like a story being told — it feels like actors on a stage. Turns out that a higher frame rate might be more realistic, but that’s not actually a good thing. Plus, those who hate the look still hate the look.

Any time a new technology is polarizing, or difficult to adopt, it will struggle. 3D struggled because of the glasses or headsets, because some people can’t see in 3D, and because it made life hard for creators. Even video games didn’t really adopt it much. It was present on the PS3, rarely used, and it’s now gone from PS4.

HFR is definitely polarizing; it destroys the suspension of disbelief and looks cheap to many. Still, it probably won’t go away like 3D did, because cameras will support it for slo-mo, and TVs need to support higher frame rates too. Plus, it may become more popular on YouTube — even if only for gaming. That gives it a decent chance at gradual acceptance, even if we aren’t going to see many more movies using HFR for a while.

https://www.technologyreview.com/s/602486/restoring-the-allure-of-the-movie-theater/

On CreateWorld and conferences

Conferences are terrific, but not only for the explicitly planned sessions. It’s the chats between sessions, it’s the chance conversations in corridors, it’s the random exchanges over a drink. Workshops can be great to open minds, and so can a good panel session. It’s not every day you get to introduce one of the custodians of Scratch to a new programming language, or hear how a new school is able to inspire its students, or build a robot and then program it — but I got to do them all over a couple of days.

Opening your mind is always a good thing. If you spend a lot of time teaching something, you’re an expert, often with a razor-focus, and that’s not great for your ego. A great antidote to “knowing it all” is coming to a conference like CreateWorld, because it reminds you that there’s a whole heap of stuff out there that you don’t know. Scratch is something I should know better. Building robots is something I should do more of, though I suspect I’ll remain a software fan. And interactive visual art can be built on all kinds of apps I don’t have my head quite around just yet.

For example, TouchDesigner, which I attended a workshop on, is a pretty amazing piece of software, and in the hands of an expert it can produce magic. It’s node-based and superficially similar to Quartz Composer (which I know pretty well) but I could still fall off the deep end in Touch Designer. While I appreciate its power, I found it like driving without a seatbelt or a windscreen. Too many ways to break it irrevocably, no safety net, and I’m just about curmudgeonly enough that some questionable UI decisions can put me right off. Still, others who have spent much more time in Unreal (or Unity, I guess) don’t have the same resistance.

(An aside: Certainly, I’m glad that there’s a wider world out there that isn’t all following the Adobe-Apple UI model, but I don’t want to completely re-learn the wheel every time, and I wish they wouldn’t reinvent the basics of selecting and moving. No, I don’t want to right-click and drag just to select something. No, I don’t think I should be able to create a situation where all my different elements are such different sizes I can’t see them all together. And yes, I do expect Undo to work reliably. Software that’s effectively pulled up from its own bootstraps has a certain appeal, yet for me it’s too fragile. But anyway.)

So why CreateWorld? I was invited to present a talk on FCP X. The talk itself will be online in the next few weeks, though I might re-record a presentation of it before then. In case I don’t, here are the slides, though the CoreMelt giveaway was of course for attendees only.

CreateWorld as a whole was terrific — just the right blend of the unexpected and the practical. A little bit of what I knew, just the right distance from my comfort zone, and an open bar at the dinner for good measure. If you work in the creative media space, this should definitely be a conference to attend. See you there next year?