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Canon aims to please professionals with the EOS-1D X Mark III

24 Oct

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Canon has announced the development of its next flagship DSLR, the EOS-1D X Mark III. Sitting at the top of the company’s EF-mount lineup, the EOS-1D X Mark III will continue to prioritize speed, image quality and durability for the most demanding of professional photographers. We don’t have an enormous number of details just yet, but all signs point to this being a significant update for photographers that use the previous models day in and day out.

It’s no surprise that the heart of the new camera will be an all-new CMOS sensor with Dual Pixel AF and a new Digic processor. That combination will be able to produce not only standard JPEG and Raw files, but also 10-bit HEIF files for a greater tonal range than JPEGs are capable of. The Dual Pixel AF region of the sensor will cover 90% of the frame horizontally and 100% vertically, with 525 AF areas. We don’t yet know the sensor’s resolution, but Canon is touting “incredible low-light shooting capabilities,” so while we’re not anticipating a huge pixel count, you should expect high ISO performance to be very good (the older 1D X II was no slouch).

Canon has also updated the autofocus system used through the optical viewfinder – we don’t know how many AF points there will be, but we’re told that the central AF pixels have “28 times the resolution” of the 1D X II, and the ability to focus accurately in “even brighter and darker conditions than before.” New autofocus algorithms utilize deep learning.

This will be the most video-capable EOS camera Canon has yet released

Also interestingly (and cryptically), Canon is touting a new way to control autofocus points by using the AF-On button. We have no idea what this means, but we’ll bring you more details as they become available.

In terms of speed, the new camera will shoot at 16 fps through the optical viewfinder with autofocus, and 20 fps with AF when in Live View mode, whether you’re using the mechanical or electronic shutter. The camera will come with dual CF Express card slots, and the buffer has been increased by five times compared to its predecessor.

Canon told us that this will be the most video-capable EOS camera they’ve yet released, and we can confirm that it’s able to capture 10-bit, 4:2:2 video footage at up to 4K/60p. They’ve also built in a C-Log profile, to enhance users’ ability to grade the video files in post.

Other minor touches include the addition of backlit buttons, and though it uses the same LP-E19 battery as before, battery life is improved.

Details regarding pricing and availability aren’t yet available.

Press release:

POWERFUL, FASTER AND RUGGED: CANON ANNOUNCES THE DEVELOPMENT OF THE EOS-1D X MARK III CAMERA

MELVILLE, N.Y., October 24, 2019 – Canon U.S.A. Inc., a leader in digital imaging solutions, today announced that its parent company, Canon Inc. is developing the highly anticipated Canon EOS-1D X Mark III Camera – the successor to the world-renowned and award-winning EOS-1D X Mark II. Ideal for sports and wildlife, the flagship DSLR is being engineered and designed using feedback from the worldwide community of EOS-1D X and EOS-1D X Mark II photographers. Continuing Canon’s rich heritage of creating first-rate optical products, the EOS-1D X Mark III offers an enhanced autofocus system, with dramatically improved still and video image quality and communication. When using this camera, professionals will have the confidence they will get ‘the shot’ and can deliver it at a competitive speed – faster than ever before – ideal for the increasingly fast-paced industry.

“The innovations put forth by the new EOS-1D X Mark III will set the new standard for professional DSLR cameras and further cement Canon’s commitment to its professional photographers,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “In developing the new camera, Canon listened to extensive user-feedback from professionals out in the field. The result is a camera that has evolved from its predecessor and maintained the overall quality that professional photographers have come to expect from the Canon EOS-1D series.”

Need for Speed

The Canon EOS-1D X Mark III will be blisteringly fast – offering exceptional precision, reliability, high-performance autofocus and subject tracking – providing photographers with a tool that will help to capture the shot they are chasing. The camera’s new autofocus algorithm will improve stability and tracking when using both the Optical Viewfinder and in Live View shooting mode, using Deep Learning Technology and adapting to help facilitate accurate focus tracking for every shot.

When using the optical viewfinder the camera will use a new autofocus sensor, with approximately 28 times the resolution in the center of the EOS-1D X Mark II. Offering the ability to autofocus in even brighter and darker situations than before and with greater precision, the camera will have a range of autofocus capabilities, which will enable the photographer to get their shot. In Live View mode, users will be able to make use of 525 AF areas using the Dual Pixel CMOS AF system will cover approximately 90×100 percent of the image sensor. The camera will support significantly faster frame rates with full AF and AE, using either the optical viewfinder (up to approximately 16fps mechanical shutter) or Live View (up to approximately 20fps mechanical or electronic shutter). Additionally, the camera’s dual CFexpress card slots will enable more than five times the RAW burst depth of its predecessor.

Powered to Dominate

The development of EOS-1D X Mark III is a clear example of Canon’s commitment to pushing the boundaries of innovative imaging products featuring optically excellent technology. The camera will support an all new, Canon-developed, CMOS sensor and DIGIC processor, that will deliver greater image quality, at even higher ISOs, with the ability to capture stills in 10-bit using the HEIF (High Efficiency Image File) file format. HEIF produces wider dynamic range and greater color representation compared to JPEG. The power of 4K resolution brings stories to life – shoot 4K videos including 4K60p with 10-bit 4:2:2 Canon Log internal recording.

Conveniently Connected

For professionals, content delivery is just as important as image capture – the EOS-1D X Mark III will make it easy, featuring built-in Wi-Fi® and Bluetooth® low-energy connectivity in addition to GPS technology. To keep pace with ever-shortening deadlines, the camera will transfer data at more than twice[i] the speed of the EOS-1D X Mark II when using the built-in Ethernet connection, or the new optional wireless file transmitter – the WFT-E9, which is also compatible with Canon’s recently launched Cinema EOS C500 Mark II camera. Coupled with simpler network set-up the camera will greatly enhance the professional workflow.

A Familiar Feel with Improved Attributes

Existing EOS-1D series users will be familiar and comfortable handling the EOS-1D X Mark III allowing seamless navigation with trusted ergonomics – whilst the magnesium alloy body will offer the durability expected from Canon’s EOS-1D cameras. Professional photographers can trust the same impressive build-quality as the EOS-1D X Mark II – with phenomenal weather-sealing, standing up to harsh conditions, including wind, rain and humidity. With incredible low-light shooting capabilities, the camera will now feature select illuminated buttons that allow for precision operation in challenging, dark and dimly lit conditions.

The camera will also offer a new additional control for selecting AF points, built into the AF-ON button, allowing photographers to change AF points on-the-fly for the best composition – further helping to simplify their work. In addition, dramatically improved battery life – with the same LP-E19 – will allow professionals to shoot for longer periods of time, without having to change batteries, helping reduce the chance of missing a shot.

[i] Transfer speeds may be adversely affected depending on the usage environment.

Articles: Digital Photography Review (dpreview.com)

 
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Beach Please: Abandoned Surf Cincinnati Waterpark

28 Aug

[ By Steve in Abandoned Places & Architecture. ]

Wave goodbye to Surf Cincinnati, an abandoned water park and banquet hall complex that once entertained overheated Ohioans but now only breeds mosquitoes.

Cincy You’ve Been Gone

Plastic glass, jumbo shrimp, Surf Cincinnati? It may sound oxymoronic but the Surf Cincinnati water park conjured up a batch of bodacious beach blanket bingo in a place roughly equidistant from either ocean coast. A generation of wave-riding wannabe’s enjoyed the park’s many liquid-infused attractions until events conspired to shut the fun down at the end of the 2002 season.

Slip Slidin’ Away

Surf Cincinnati seemed to have it all when it opened in 1984. Situated on the border of Butler and Hamilton counties in far southwestern Ohio, the park complex boasted a huge wave pool, several kid’s pools, a winding “lazy river”, and an assortment of wild water slides built into the site’s rugged geological contours.

Six Feet Under

Water sports weren’t the be-all and end-all at Surf Cincinnati, however. Those who preferred their recreation on the drier side could partake in miniature golf or go-kart racing. When it came time to unwind, two spacious banquet halls (and later, a popular watering hole called “Caddies”) served up refreshments of the edible and drinkable persuasions. Sounds like a can’t-lose concept, right? Wrong…

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Beach Please Abandoned Surf Cincinnati Waterpark

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[ By Steve in Abandoned Places & Architecture. ]

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Dear Nikon: Please let us keep the 20mm F1.8G, Love, Dan

20 Jan

An open letter to Nikon 

Dear Nikon, 

Dan Bracaglia here from DPReview.com. It’s been brought to my attention (mostly due to the nagging of coworkers) that the Nikkor 20mm F1.8G lens you’ve loaned us needs to be returned to Nikon ASAP. I guess this makes sense, seeing as we’ve had it for about 20 months now. But perhaps I can convince you, beyond a reason of a doubt to allow us just a little more time with it. I ask because I truly love this lens. And here’s why:

There’s no such thing as a perfect lens, but a lens can certainly be the right tool for a specific job, and to that extent, it’s perfect. Your 20mm F1.8G is just that for me.

I first moved to Seattle about five months before you shipped DPReview the lens. I’d previously been living in New York City and photographing live music. Back then I largely shot with a 17-35mm F2.8 (the lens motor has since died) and an on-camera flash. It was the perfect setup for the rowdy punk rock shows I frequented.

ISO 12,800, 1/160 sec at F2. Edited to taste in Lightroom.

But, after moving I realized I was going to have to switch up my music rig. I became aware that shows in small and mid-size venues in Seattle were well-documented, but shows happening in less traditional spaces, like friends’ basements, living rooms or art/community centers were often not photographed (despite being well-attended). So I launched a photoblog with the goal of documenting my local music community.

Out of respect for these intimate environments, I vowed to leave my flash at home and shoot available light only. And what could be better for documenting in the dark than fast primes? 

When shooting shows with available light, three things matter most to me in a lens: its size/weight (too large = too intrusive), it’s brightest aperture and its focus speed. Your 20mm, Nikon, is a perfect balance of all these things. A look at the Sigma 20mm F1.4 to gives an idea of how big and cumbersome a brighter 20mm lens could be.

And when paired with my D750, the combination is fast-to-focus (using the center area) even in conditions that are often too dark for me to physically see. This is incredibly impressive and useful. Even if I can’t tell whether or not my subject is in focus, I need to be able trust that my camera and lens can. Simply put, when used together the D750 and 20mm F1.8G sing.

ISO 12,800, 1/160 sec at F1.8. Edited to taste in Lightroom.

I’ve been mostly shooting it alongside your marvelously cheap 50mm F1.8D, which was actually my favorite Nikon lens (shocking!) before I got my paws on the 20mm 1.8G. I use the 50mm for detail shots and the 20mm to capture the tone of the room. Both are coat-pocketable and don’t add much bulk to the D750. Moreover both are sharp enough for me by F2.2 and fast-to-focus. The only thing I don’t like about the 20mm against the 50mm is the price, which is much more than the quintessential fast 50. 

That’s where the loan comes in. I know, I know, I’m lucky to be able to have access to loaner gear (we do ALSO use the lens for camera testing and sample image shooting), it’s just hard to justify spending $ 800 on a lens that will likely be soaked in beer within two weeks of my purchase (not that it’s ever happened to your 20mm…). I suppose I should be grateful for having had the chance to use a piece of gear and fall in love with it before buying it. After all, the inherent danger of using loaner gear from any brand, is getting attached.

At the the end of the day, maybe I should look at the $ 800 price tag as less about the cost of the lens and more about the price of being able to continue to document something I love, without drawing much attention. And to that regard, I owe it to myself, my community and you, to pony up and buy one. 

I’ll do that, but maybe after just one more loan extension?

Sincerely,

Dan Bracaglia

P.S. Anyone at Nikon want to purchase a slightly busted 17-35mm F2.8 for $ 800?

Articles: Digital Photography Review (dpreview.com)

 
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Please Touch the Art: Tactile 3D Portraits Let the Blind See Themselves

11 Jun

[ By SA Rogers in Art & Sculpture & Craft. ]

andrew myers screw art 13

“My nose isn’t that big!” protests portrait subject George Wurtzel as he runs his hands over his own image, rendered in paint on thousands of screws raised from a wooden board in a relief pattern. He might not be able to see the colors, or the play of light and shadow that gives the portrait much of its nuance and realism, but he can still experience it in a way that wouldn’t be possible if it were merely painted onto a canvas. For artist Andrew Myers, who specializes in these unusual sculptural paintings, this moment marks a concept that has come full circle since he first watched another blind man eagerly explore his art with his fingertips, six years ago.

andrew myers screw art 12

Myers doesn’t just allow people viewing his artwork to touch it, he actively encourages it, noting that it’s an important part of the experience of taking it in. Realizing that this could potentially allow a blind person to see their own portrait, he set out to create a custom work with artisan and teacher George Wurtzel as his subject. George teaches at a 300-acre summer camp for the visually impaired in California’s Redwood Forest, and has also been tasked with renovating a barn into a new Tactile Art Center full of accessible art, where blind artisans can both sell their own work and feel the 3D works of others.

andrew myers screw art 1

andrew myers screw art 5

andrew myers screw art 7

andrew myers screw art 8

“We snuck into George’s future gallery and  hung the portrait for him to discover,” says Andrew. “As he experienced this for the first time (and between bursts of laughter) he kept repeating the phrase, ‘mind boggling.’ Not every piece of art needs to or should be touched… but perhaps it’s time we took a look at how pervasive and mandatory our ‘no touching’ rules really are – it might help everyone see artwork a little differently.”

andrew myers screw art 15

andrew myers screw art 2

andrew myers screw art 3

While Andrew’s portrait of George is comprised of about 4,000 screws, other works require upwards of 20,000. One portrait, ‘Fading Thoughts,’ takes his work a step further by infusing a scene with a sense of motion, with screws seemingly being blown off the canvas.

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[ By SA Rogers in Art & Sculpture & Craft. ]

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Your Real Estate Agent Would Like Some Free Photography, Please

18 Oct

Please pardon the detour today. I need to rant. I'd like to share with you the ballsiest request for free picture use that I have ever gotten…

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Dear China, Please Make This.

26 Aug

Whoops, my bad. Lemme rephrase that:

?????????????????????????????????????????????????

Now, here's why:

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Dear Marissa Mayer, Please Give Us a Tool to Better Block Bad Actors on Flickr

26 May

As an opinionated blogger, watching Flickr roll out recent changes to the site this past week has been an interesting experience, to say the least.

Thanks, Marissa Mayer, for making Flickr awesome again. Thanks also to the Flickr team who have worked so hard to roll out these changes. The new Flickr is the most photo immersive experience anywhere on the web. It is far more engaging and far more beautiful than I ever could have imagined.

Witnessing and countering in the vile hatefest that the Flickr Help Forum has become this past week has also been interesting. Simply for expressing my opinion in a public feedback forum on the new design, I’ve been called a shill, a troll, a sock puppet, a scrotum sack, and many things far worse that I don’t really feel like printing.

I’ve been told that my photography is absolute crap, been accused of working for Yahoo, of being related to Marissa Mayer, of trying to pump up Yahoo’s stock price by supporting the changes — my work, motives and integrity have all been subject to relentless attacks there.

There is little civility in a forum taken over by the ugliest and most vulgar of what the web represents.

The vandalization of Marissa Mayer’s own Flickrstream, and the encouraged vandalism in the same forum, saddens me. To see someone leave an offensive comment on a Mother’s Day Photo, of all things, makes Flickr less of a place to want to spend time.

One Flickr staffer had to actually turn off public comments on his Flickrstream. “You are going to hell,” was the comment that made him turn them off.

There is, at least, a partial answer to this problem: give us a tool to block other users on Flickr.

Flickr already does have a blocking feature of course, it’s just super weak and only prevents someone from leaving a comment on one of *your* photos.

On the other hand, even if you block someone, they can still attack you in all sorts of other places on Flickr, where you spend time. Flickr users should be able to use the public areas of the site without being subject to vile personal attacks. The Help Forum, Groups, other people’s photos, all should be places where Flickr users can visit and feel safe and comfortable.

I left Flickr groups for good a few years back (so did a lot of my friends). The reason why I left was that groups were becoming too ugly. Especially as an opinionated and high profile user, I found myself subject to constant terrible attacks. There was nothing that could really be done about this. Sure, you could report someone violating the Flickr Community Guidelines to Flickr, and maybe 5 days later their account would be deleted, but then they’d just make up a new troll account and be right back at it over and over again.

It was simply easier to just leave the public community of Flickr than to deal with the hate.

When I first joined Google+, I saw some of these same bad actors appear over there, too. I’d watch both myself and my good friends be attacked by others — jealous, petty haters and trolls, mostly. But then Google did a really smart thing. Google rolled out a really strong blocking tool and, just like that, all the hate went away.

You see, on Google+, when you block somebody, they become entirely invisible to you. They are entirely filtered out of all of your views on G+. Poof. Gone for good, not just in your stream, but *everywhere* for you on the site — and that has made Google+ a far better, nicer and more polite place for community than Flickr. Where the Flickr community is a negative hatefest, the G+ community is the most amazing, optimistic, supportive community I’ve ever known online.

You see, blocking the worst of the web doesn’t just filter it out of your view. The more significant thing that it does is it *encourages* civility.

Right now on Flickr we have no power against incivility. People can be as nasty and as rude and as ugly and as disrespectful as they want. They can spam the Flickr help forum with images of excrement (as they actually did last week) and you can’t do a damn thing about it — but if you give us the ability to block these bad actors, then their power is reduced. They know that as soon as they begin the ugliest of hate that the vast majority of positive contributing members will simply block them. Their audience is diminished and soon they are standing on a soap box shouting only to the 10 or so other users who share their hate filled outlook on life.

Before I quit using Flickr groups, one particular nasty member was looking at the photos that I was favoriting (this is forced public and Flickr won’t allow me to control who gets to see it — unlike on G+ where it is private) and this person began leaving vile comments on every photo that I was commenting on. This way, every single one of their comments was showing up in my recent activity, even though I’d blocked them from commenting on my own photos. That’s just wrong.

If Flickr wants to be a place where community can flourish, they need to give us tools to protect ourselves from the hate.

Marissa, I don’t need to tell you how bad the hate can be on Flickr. If you’ve reviewed your own Flickrstream this past week, you know what I’m talking about. It’s deplorable. Especially when any user can so easily just keep making anonymous troll account after anonymous troll account — please, give us a tool to remove the bad actors from our Flickr experience.

This week’s new design work was fantastic, now let’s go to work on improving the community for those of us who want to positively contribute there as well.


Thomas Hawk Digital Connection

 
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loading please wait

12 Feb

faught him like 15 times, he tabbed everytime, then i get a loading screen.
Video Rating: 3 / 5

 
 

Can we go Faster, Please? Lexar 1000x CF Cards

10 Dec

This isn’t so much a review as a “I had the chance to use the Lexar 1000x CF cards and wanted to tell you about my experience”

Time is one thing that we’re all finding we have less and less of, so anything that speeds a process up is a good thing. I’ve recently changed my focus (boom boom) in the kind of photography work I’m taking on, and find myself approaching weddings and portraits. Whilst a portrait shoot might be anywhere from 50 to 200 images, depending on what the person is after, a wedding might be 1000 images or even more – depending on the length of the wedding, the locations, the people involved etc… That can be anywhere from 20 to 40gb of images (camera depending, etc) and shifting that data into your computer can be time consuming.

Lexar 1000x memory cards

The Lexar is quick in camera, emptying the buffer more quickly than any of my other CF cards including, but only just, the Sandisk Extreme Pro, but that’s not really an issue for me – I shoot with a Canon 5DMKII and MKIII and the Sandisk and the Lexar are fast enough for burst modes in both of these cameras, despite the newer MKIII being almost twice as fast as the MKII.

Though, this can be an issue when you’re shooting fast events or continually filling your buffer before the card can write that data to its memory. Where the 1000x really came into its own was when transferring to my laptop via USB3 – I’m fortunate to be using a mid 2012 Macbook Air when on a location shoot, and so can transfer my files using the Lexar USB 3.0 card reader and the USB3 port on the laptop. Zoom zoom zoom.

The speed difference between USB 2 and USB 3 is vast…. So, let’s go back to USB 1.0 — 12Mbps then, USB 2.0 at 480Mbps and we all ‘wowed’ so now, USB3.0 is able to transfer at a theoretical 4.8Gbps…..Don’t fear, I’m not going to geek out on you – let’s call it USB2 was fast at roughly 40Mbps, USB3 is about ten times as fast.

So, taking a 16GB card full of images and transferring them via the Lexar USB3 (UDMA7) reader means that your transfer takes no time, when compared with an older card….

My basic test, for you, went like this… Take the iPhone stopwatch, take a 10gb file (Video) and transfer it to the card… Twice… Then download it again, twice!

We’ll start with the aData 16gb ….”not sure of the speed” CF card..

Upload to my aData 16GB card took — 08:11.7
Download from my aData 16GB card took — 04:07.3

Yeah, was like watching paint dry! – That card is a backup for when all else fails!

So let’s go to the Sandisk UDMA 7 Extreme Pro 32GB..

Sandisk Upload — 01:46.4
Sandisk Download —  02:56.3 (odd that up was faster than down, right? Well, this isn’t a lab)

Right then, let’s pop the Lexar 1000x 16gb CF card in… UDMA7

Lexar 1000x upload took — 02:15.8
Lexar 1000x download took — 01:22.6

Yeah, lightning! – That download was the important bit, the upload being plenty fast enough. From 4 minutes down when using the aData to 1:22 of the Lexar 1000x is pretty good.

The Lexar comes with recovery software and is competitively priced. The Lexar 16GB is currently $ 77 and the Sandisk Extreme Pro 16GB is $ 79. The aData was about ten bucks, it’s true – you get what you pay for.

Lexar Professional 1000x 16GB

SanDisk 16GB Extreme Pro

So, bottom line, do you need to buy the fastest memory card on the planet? Well – A few questions – is your camera new enough to handle a UDMA7 memory card? Are you able to take advantage of USB 3 on your computer? Does your shooting style require faster memory cards? — If you’ve answered yes, then simply click the link above and buy one. (They are affiliate links, and we thank you for your continued support)

Now that you’ve read all this – maybe it’s time to pop across to another article on ‘how to care for your memory cards‘

Hope that helps some of you umming and ahhhing about the newer faster compact flash cards.

–Sime

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Can we go Faster, Please? Lexar 1000x CF Cards


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M83 – We Own the Sky 3D Final (watch in HD please)

08 Jul

Runner up See high res 3D version here: www.fofp.com/M833D.mov See high res 2D version here: www.fofp.com or low res www.youtube.com This the 3D version of my entry to the contest. See this link( www.youtube.com and email info@fofp.com for a free pair of 3D glasses to see this 3D version. For the first 200 only. After that supply is gone then others can get 3D anaglyph(red/cyan) glasses for free by sending a self addressed envelope to: www.rainbowsymphony.com If picked as the official video perhaps glasses will be available in some local stores. Produced by: Warren Kommers Shannon Benna Sara Ivicevich Directed by: Warren Kommers Cinematography: Harris Charalambous Girl: Maya Brown Guy: Shawl Stoller 3D Consultant: Ray Zone Bike Rigging: Aaron Knoke Lighting and Camera: Ryan Stumpe Contact: warren@fofp.com Big Thanks: Ray Zone Ryan Stumpe Aaron Knoke Stereoscope Vasco Nunes Rob Bennett Midnight Ridazz The Smell