Apart from playing UHD movie video/music/radio, downloading online contents, AirPlay mirroring and DLAN streaming media files, this free video player software furnishes a treasure house where you can build your personal multimedia library stylishly. From here on out, you can access and manage the online videos DLNA Share list and playlists, sort out your favorite audios/videos, and create new playlist(s) in the Library of 5KPlayer as you wish.
The first mirrorless interchangeable lens camera (MILC) built to the Micro Four Thirds (MFT) system design standard, it dispensed with the SLRs optical viewfinder, reflex mirror, and complex mechanical components, substitutng an electronic viewfinder (EVF) that displays a live view image diectly off the 17.3 x 13mm Live MOS sensor. Eliminating the mirror box results in a smaller, lighter camera, and the smaller image circle of the MFT format allows for smaller, lighter lenses that are interchangeable with all MFT cameras. The G1 used a contrast-detection AF systen that pefromed on a par with the phase-detect systems in contemporary DSLRs, and has the advantage of providing full-time AF before, during and after the exposure. The G1 is considered a landmark camera because it kicked off a robust new market for mirrorless interchangeable lens system cameras.
The cable movie channel mainstay - Don Coscarelli's The Beastmaster arrives on 4K UHD Blu-ray from Vinegar Syndrome in a glorious collector's edition set as the first entry in their deluxe UHD line VSU. Whether you grew up watching this movie on HBO or TBS - The Beastmaster remains one of the better sword and sorcery movies of the 80s standing alongside the big blockbuster genre giants of the time. Sourced from a new 4K scan of the interpositive, the film has never looked or sounded better. The Native 4K HDR10 transfer brings vivid details and colors to this fantasy gem along with 2 fully restored Blu-ray editions including one with newly produced VFX along with some incredible bonus features to match. This is an essential piece of the collection and Vinegar Syndrome knocked it out of the park. Must Own.
Kudus to the cast - Marc Singer and Tanya Roberts hold the screen as an attractive pair. Singer cuts to the quick nicely hamming things up where necessary while also bringing a lot of physicality to the role. Rip Torn looks like he's having a blast playing a maniacal wizard while John Amos is basically playing a new take on Little John from the Robin Hood myth. Everyone is playing full out with this movie leaning into the comedy when necessary but not letting things get so silly the film becomes too self-aware.
But because of the frequency that The Beastmaster was on television - I never owned it. Never felt the need to because I'd seen it so many times. Now watching this new 4K UHD Blu-ray release from Vinegar Syndrome, I realized it'd been the better side of 15 years or longer since I actually sat down to watch this movie. Even with the constant familiarity of "oh right this part!" I had a blast reconnecting with it. Included in this set is a version of The Beastmaster with some new visual effects. Don't worry - Coscarelli didn't go full "Lucas" on his film - the visual effects changes are relegated to some of the dodgy optical effects and have only been updated slightly. So slight at times it's not immediately apparent that anything has been changed.
Throughout the film - details are absolutely spectacular. Facial features, the intricate - and sometimes less so - costuming, the film's production design, everything is on full display with tremendous results. The scenery for all of the California and Las Vegas desert area locations is beautiful stuff. the makeup work for the various creatures and the gnarly witches offers a cleaner look than I've ever seen them in this movie.
HDR10 darkens the image a stop or two compared to the included 1080p Blu-rays, but It looks more dramatically pleasing without being overly dark or overly bright. It hits that sweet spot. Colors are vivid with natural tones allowing for primaries to really pop. Blues and reds are stunning. Black levels are spot on with a deep inky presence and terrific image depth. The color grading combined with the enhanced black levels gives the numerous firelight sequences that desired orangey/red luminance with appreciable shadow gradience for some often stunning visuals. A little bit of speckling occurs and there are a couple of fine-line scratches that pop up here and there, but they're very rare and often barely noticeable. Some I only saw because I've effectively watched this movie now three times in as many days switching between the discs. Considering the elements used, this is a gorgeous restoration effort. The only way this could possibly be any better is if that negative ever turns up in someone's garage somewhere. 4.5/5
While the 4K Ultra HD Blu-ray transfer is the cream of the crop, the included 1080p Blu-ray transfers are no slouch. Both the original version and the new VFX edition are sourced from the same 4K restoration and are virtually identical aside from the new effects shots - which again are so slight you may not even notice. Details are clear and clean throughout and again better than any DVD that ever came before - but don't quite enjoy the same level of clarity as to the full 4K UHD image. Colors are bold with beautiful primaries, those blue skies over the Valley of Fire State Park locations is beautiful stuff. Black levels are strong but compared to the 4K disc again, they don't quite hit the same inky depths - and the various grading of film grain can be a bit more apparent. Again - this is a terrific transfer in itself and had this movie not also gotten a 4K UHD Blu-ray, this alone would be a cause to celebrate. 4.5/5
The 4K UHD Blu-ray and both 1080p Blu-ray presentations come packed with impressive DTS-HD MA 2.0 Stereo and DTS-HD MA 5.1 audio mixes. This is a case where it's 100% dealer's choice which way you want to run the movie. Both tracks are impressive in their own regards. While I would normally go with Stereo just to preserve the film's original presentation and mirror my nostalgic experiences watching this movie on television - that 5.1 mix is a welcome addition. It's not overly processed, it doesn't add new sound effects to punch up the surround quality - it just enhances the spacing and atmospherics of the elements for a little more immersive presentation. Surrounds and rears aren't always engaged, this mix is still front/center loaded but compared to the stereo track it has more heft to it. Dialog for both mixes is on point, clean and clear without issue. The fantastic score by Lee Holdridge comes through beautifully. Free of any hiss or age-related issues both tracks are clean without issues. Levels are on point without needing to be adjusted.
Vinegar Syndrome went full out for the bonus features for this new Limited Edition release of The Beastmaster. Fans get to enjoy the excellent archival audio commentary with Don Coscarelli and cowriter/producer Paul Pepperman. Then there is a brand new audio commentary with Coscarelli and Pepperman moderated by Joe Lynch giving the conversation a new dynamic for a lively and engaging listen. If that wasn't enough you get a brand new full feature-length making-of documentary which is an essential watch for fans, home movies shot on set, outtakes, stills, and tons of other archival materials from other releases. The bonus features for this release really is the full package keeping fans occupied for several hours. Even then there's a case to be made that the new version with new VFX that Coscarelli oversaw is a bonus feature in of itself so chalk on another two hours for that!
In our opinion, Sony consistently makes the best full-frame mirrorless cameras. They have many more years of development under their belt than Canon or Nikon. For APS-C cameras, Fujifilm makes the best mirrorless cameras.
The biggest disadvantage is that the sensor on a mirrorless camera is fully exposed when you change lenses. (On a DSLR the mirror partially protects the sensor.) Also, many mirrorless cameras have sub-par battery life when compared to DSLRs.
That said, the projector's three wide-XGA LCD imaging chips achieve the rated full HD resolution by using Epson's pixel shifting technology. That leads in this case to soft focus on some content compared with native 1080p projectors. But all in all, at $1,299, the Pro EX10000 is a bargain for those who need an affordable projector that can be easily moved around and has the brightness to host a lights-on/shades-up presentation.
Under the skin, the Pro EX10000's solid-state light path starts with a powerful blue diode laser. The beam uses a phosphor wheel and a dichroic mirror to deliver individual red, blue and green light streams that are aimed at the projector's three 0.62-inch polysilicon LCD panels. As noted, in an unusual twist for a 1080p Epson (or any other claimed 1080p projector today), the imaging chips are native 1366x768 resolution and doubled with Epson's pixel-shifting technology to achieve the full HD pixel count on screen. In this case, the projected images are steady and solid, but small characters can exhibit a soft focus. On the plus side, the Pro EX10000's three-chip architecture guarantees equal color and white brightness and zero rainbow artifacts, both being potential issues with the single-chip DLP projectors it directly competes with.
In its Dynamic mode, our sample of the Pro EX10000 put out 5,180 ANSI lumens, 15 percent over its 4,500-lumen rating, making it one of the brightest projectors in its class. That said, the Dynamic mode favors green tones over red in its images, which can lend a ghoulish cast. It's got enough brightness to leave the lights fully on but is better for presentations than for viewing a movie or photographs of natural scenes. 2b1af7f3a8