Saturday, 21 February 2026

Multi-Sided Dice — Changing the Odds (Without Cheating)

 

Multi-Sided Dice — Changing the Odds (Without Cheating)

If you’ve ever rolled a die and thought, “I need the universe to be slightly more on my side,” then congratulations — you’re already thinking like a game designer, a statistician, or a student five minutes before an exam.

Most people meet probability via the humble six-sided die (d6). Lovely. Familiar. Comforting. Like a mug of tea that can also disappoint you on a 1.

But the moment you introduce multi-sided dice — d4, d8, d10, d12, d20 (and their more exotic cousins) — you’re no longer just rolling… you’re tuning the odds.

Let’s have a rummage in the maths toolbox.


1) What changes when you change the number of sides?

A fair die with n sides gives a uniform distribution:

  • Every number has probability 1/n

  • The average (expected) roll is (n + 1) / 2

So:

  • d6 average = (6+1)/2 = 3.5

  • d20 average = (20+1)/2 = 10.5

That means swapping a d6 for a d20 doesn’t just “add variety” — it shifts the whole centre of gravity of outcomes.

Bigger die = bigger spread.
More dramatic highs… and more tragic lows (because maths enjoys balance).


2) “I need at least a 5” — how the odds change fast

Suppose your game / experiment / teacher says:

“Success if you roll 5 or more.”

Let’s compare:

  • d6: outcomes 5–6 → 2/6 = 1/3 ≈ 33%

  • d8: outcomes 5–8 → 4/8 = 1/2 = 50%

  • d10: outcomes 5–10 → 6/10 = 60%

  • d12: outcomes 5–12 → 8/12 = 66.7%

  • d20: outcomes 5–20 → 16/20 = 80%

Same “target”, totally different reality.

So multi-sided dice let you keep the rules looking the same while changing how generous the universe is being behind the scenes. (This is also how some board games feel “kind” without admitting it.)


3) One big die vs lots of smaller dice (this is the really useful bit)

Here’s the twist: one die is uniform.
But adding dice changes the shape of the distribution.

Compare these:

  • d12 → results 1–12, each equally likely (flat distribution)

  • 2d6 → results 2–12, but not equally likely (peaked distribution)

With 2d6, totals in the middle happen far more often:

  • 7 is common

  • 2 and 12 are rare

So:

  • If you want outcomes to cluster around “typical” values: use multiple dice

  • If you want outcomes to feel swingy and unpredictable: use one bigger die

Game design translation:

  • Multiple dice = consistent characters, predictable systems

  • One big die = chaos goblin energy


4) “Make it exciting” vs “Make it fair”

People often say they want a game to be “fair”, but what they usually mean is:

  • “I want to feel I had a chance”

  • “I don’t want to fail five times in a row”

  • “I want the results to match skill… most of the time”

Multi-sided dice give you dials to turn:

To reduce random drama:

  • Use more dice (e.g., 3d6 instead of 1d20)

  • Or narrow the range (d6 instead of d20)

To increase drama:

  • Use a bigger single die (d20 gives epic swings)

  • Add “critical” rules (e.g., max roll = bonus event)


5) A quick classroom / home experiment (no lab coat required)

Try this with students (or willing family members who haven’t realised what’s happening yet):

Task: Roll each option 50 times, record totals, and plot a simple bar chart.

  • Option A: 1d12

  • Option B: 2d6

Prediction:

  • 1d12 will be flatter

  • 2d6 will build a hill in the middle

Extension:
Turn it into GCSE/A-Level discussion:

  • mean, median, mode

  • range and spread

  • why distributions matter (hello, real life)

If you want to go full “data-nerd”, stick it in a spreadsheet and let the bar chart do the storytelling.


6) Why this matters beyond board games

Multi-sided dice are really just simple models for random events:

  • choosing random samples

  • simulating “chance” in experiments

  • designing scoring systems

  • understanding risk and reliability

They’re also brilliant for explaining the difference between:

  • uniform probability (one die)

  • combined outcomes (multiple dice)

  • and why “more rolls” doesn’t always mean “more randomness” — it can mean more predictability.


7) The takeaway (before the d4 destroys your bare foot)

Multi-sided dice don’t just change the numbers.

They change:

  • how often you succeed

  • how swingy outcomes feel

  • whether results cluster or scatter

  • and whether your game/lesson feels “fair”, “brutal”, or “suspiciously generous”

So next time you’re tempted to say, “It’s just a different die”

No.
It’s a probability settings menu — in physical form.

And unlike most settings menus, this one can be launched across the room when someone rolls a 1.

Friday, 20 February 2026

Odd Time Signatures Aren’t Complicated… They’re Just 2s and 3s in a Trench Coat


Odd Time Signatures Aren’t Complicated… They’re Just 2s and 3s in a Trench Coat

Most music you hear is politely organised. It arrives on time, sits down neatly, and behaves itself in either 4/4 (“count to four, repeat until the biscuit tin is empty”) or 3/4 (the waltz: “one-two-three, look elegant, try not to fall over”).

But every so often, a piece of music turns up wearing a suspiciously large coat, sunglasses indoors, and a fake moustache… and you realise it’s not in 4/4 at all.

It’s in 5/4, 7/8, 11/8, or some other metre that makes your inner primary-school teacher reach for a whiteboard marker.

Here’s the secret: odd time signatures aren’t complicated — they’re just 2s and 3s in a trench coat.


Why use “strange” time signatures at all?

Because they do things that straight 4/4 simply can’t do as naturally.

1) They give you instant personality (and a built-in hook)

A groove in 4/4 can be brilliant… but it can also be dangerously familiar.
Odd metres create a distinctive “footprint” immediately.

  • 5/4 often feels like a confident, slightly off-kilter stride.

  • 7/8 can feel urgent and dancey, like it’s always leaning forward.

It’s the musical equivalent of someone walking into the room and you instantly thinking:
“Ah yes. They’re interesting. Possibly trouble. Definitely interesting.”


2) They match real speech and movement better than you’d expect

People do not speak in perfect blocks of four beats.

Try saying:

Don’t forget the camera battery.

That doesn’t naturally land in neat, symmetrical chunks. Odd metres let the stresses fall where they want instead of forcing them into a musical straightjacket.

This is why odd metres are brilliant for:

  • lyrics that sound conversational

  • rhythmic riffs that mimic real movement

  • music that wants to feel human rather than looped


3) They create forward momentum without changing the tempo

In 4/4, the downbeat arrives like a reliable bus. In odd metres, it’s more like a bus that’s technically coming… but not exactly when you expect it.

That gentle uncertainty makes the music feel like it’s pulling you into the next bar.

Great for:

  • film scoring

  • suspense and build

  • “something’s happening” YouTube underscoring

  • energetic instrumentals without turning everything into a panic attack


4) They’re a brilliant contrast tool (without touching BPM)

You can keep the same tempo, same harmony, even the same instrumentation — and simply switch metre to change the whole vibe.

For example:

  • Verse in 4/4 (comfortable)

  • Pre-chorus in 7/8 (uh-oh, something’s shifting)

  • Chorus back to 4/4 (big release)

It’s like walking slightly downhill for a while, then stepping onto a flat path again.
You didn’t notice the slope until it stopped.


5) They stop your music sounding like “another four-chord loop”

If you write regularly (or create lots of content), you start to recognise your own habits.

Odd metres are a friendly nudge that says:
“Try something new, Philip. Your chord loop is wearing the same jumper again.”


The simple way to understand odd metres

Most “weird” time signatures are just groups of 2 and 3.

Think accents, not maths.

  • 5 = 2+3 or 3+2

  • 7 = 2+2+3 or 3+2+2

  • 11 = 3+3+3+2 (or any sensible combination that doesn’t injure the drummer)

Once you feel those groupings, the metre stops being mysterious and starts being… well… fun.


A few musical examples (so you can actually hear it)

You don’t have to be a theory wizard. Just listen for where the “long step” happens.

Example 1: 5/4 (grouped 3+2)

Count it like:
ONE-two-three ONE-two
Clap on the ONE each time.

A classic reference point: a certain famous jazzy 5/4 groove (you’ll know it when you hear it — it turns up in TV, films, and every drummer’s “look what I can do” moment).

Example 2: 7/8 (grouped 2+2+3)

Count:
ONE-two ONE-two ONE-two-three

This one is brilliant for energetic riffs. It feels like it’s always slightly ahead of you, in a very motivating way.

Example 3: Mixed metre (4/4 + 3/4)

This is the “phrase tidy-up” metre.
You’ve written something that naturally wants to end a beat early — so you let it. No padding. No filler. No musical small talk.


A practical tip for writers, musicians, and content creators

If odd time signatures feel intimidating, don’t “learn 11/8”.

Just learn:

  • where the accents are

  • and how to group 2s and 3s

That’s it.

Odd metres aren’t there to confuse the listener.
They’re there to make the music feel alive.

And if anyone asks why you used 7/8, you can say:
“It’s not weird. It’s just 2s and 3s in a trench coat.”
Then walk away before they ask you to clap it.


Thursday, 19 February 2026

DaVinci Resolve: Blink… and There’s Another Update!


 DaVinci Resolve: Blink… and There’s Another Update!

It feels like every time I open DaVinci Resolve, there’s a new version waiting for me.

Not just a polite little bug fix.

A whole new feature set.

New AI tools.
New grading controls.
New editing workflows.
New audio tricks.

And I find myself thinking:

“I’ve only just mastered the last update!”


The Pace of Change is Relentless

In video production — whether for GCSE science lessons, sailing tutorials for pmrsailing.uk, or YouTube content — software evolves at a staggering pace.

What used to require:

  • Separate compositing software

  • Dedicated colour grading systems

  • Specialist audio tools

Is now integrated into one platform.

That’s extraordinary.

But keeping up? That’s a job in itself.


The Hidden Cost: Learning Time

Every upgrade means:

  • Watching tutorials

  • Testing new features

  • Rethinking workflow

  • Adjusting keyboard shortcuts

  • Updating old project templates

As someone running a multi-camera studio and producing regular educational content, that learning curve is real.

It’s tempting to ignore updates.

But…


The Benefits Are Huge

Each version usually brings:

What once took hours now takes minutes.

That’s not incremental improvement — that’s transformative.

For educational video, that means:

  • Cleaner diagrams

  • Faster turnaround

  • Better sound for online lessons

  • More professional delivery

And that directly benefits students and viewers.


The Bigger Lesson

Technology is not slowing down.

If anything, AI tools inside editing software are accelerating the pace of change.

You either:

  • Resist it and fall behind

  • Or lean into it and grow

Yes, it’s hard work.

But the upside?
Creative freedom, efficiency, and results that were once only possible in major broadcast studios.


Final Thought

Keeping up with evolving technology is demanding — especially when you’re also teaching, filming, editing, sailing, and detailing the restoration of a B-Rater!

But standing still isn’t an option.

The tools are improving.
The possibilities are expanding.
And that’s exciting.


Wednesday, 18 February 2026

One Camera Only – A 360 Camera or a Smartphone?

 


One Camera Only – A 360 Camera or a Smartphone?

When you’re travelling light – whether that’s filming a science practical in the lab, capturing B-roll on the Thames, or documenting the restoration of a boat– sometimes you just want one camera in your pocket.

But which one?

A smartphone or a 360 camera?


📱 Smartphone

Why a Smartphone Makes Sense

Most of us already carry one. Modern phones shoot:

  • 4K (often 60fps)

  • Excellent HDR

  • Strong stabilisation

  • Surprisingly good audio (with external mic support)

For me, with science education videos, a smartphone on a tripod over a lab bench can produce excellent results, especially with good lighting. For quick GCSE or A-Level clips, it’s efficient and immediate.

Strengths

✔️ Simple workflow
✔️ Great for talking-head or structured shots
✔️ Easy editing on-device
✔️ Social media ready

Weaknesses

✖️ You must frame carefully
✖️ Miss the action outside your field of view
✖️ Limited creative reframing afterwards

If you don’t point it at the moment… you’ve missed it.


🔄 360 Camera

Now this is a different philosophy entirely.

A 360 camera records everything around it.

For sailing on the River Thames or on the coast or filming manoeuvres in a power boat, this is powerful. You don’t have to guess where the action will happen — you capture it all and decide later.

Strengths

✔️ Never miss the moment
✔️ Reframe in post-production
✔️ Incredible dynamic angles
✔️ Great for training and analysis

For example:

  • Reviewing tacks and gybes from every angle

  • Analysing crew movement

  • Creating immersive YouTube or VR content

Weaknesses

✖️ Lower image quality per “normal” frame
✖️ More editing time
✖️ Can look gimmicky if overused

A 360 camera is not about point-and-shoot — it’s about capture now, decide later.


🎥 Which One Wins?

It depends on your purpose.

Choose a Smartphone If:

  • You know exactly what you’re filming

  • You want speed and simplicity

  • You’re creating direct-to-camera teaching content

  • You need reliable audio

Choose a 360 Camera If:

  • You don’t know where the action will happen

  • You’re moving (sailing, cycling, walking)

  • You want flexibility in editing

  • You enjoy creative reframing


🧠 A Deeper Question

This isn’t really about hardware.

It’s about control vs flexibility.

  • Smartphone = intentional framing

  • 360 camera = editorial freedom

Tuesday, 17 February 2026

Clouds in Infrared and Ultraviolet – Seeing the Sky Differently

The same cloud in UV and IR

Clouds in Infrared and Ultraviolet – Seeing the Sky Differently

When we look up at the sky, we think we’re seeing “everything”. But of course, we’re only seeing a tiny slice of the electromagnetic spectrum — visible light.

With the right filters and camera modifications, clouds become completely different subjects in infrared (IR) and ultraviolet (UV) photography.

And if you enjoy science, sailing, or simply understanding the weather properly, this is fascinating territory.


☁️ Infrared (IR) – The Dramatic Sky

Infrared photography records light just beyond red, typically around 720nm and above.

What happens to clouds?

  • Blue sky becomes very dark (because Rayleigh scattering is reduced in IR)

  • White clouds become brilliant and luminous

  • Water vapour absorbs differently

  • High-altitude clouds stand out dramatically

The result?
A sky that looks almost stormy — even on a pleasant day.

For sailing photography (and yes, this matters when filming at Upper Thames SC), IR can:

  • Enhance definition of cloud structures

  • Reveal moisture differences

  • Make otherwise flat skies look powerful

  • Highlight developing cumulonimbus before the eye really notices contrast

It’s almost like turning up the drama slider on the atmosphere.


🌤️ Ultraviolet (UV) – The Scientific Sky

Ultraviolet photography is much harder.

Lenses, sensors and filters all behave differently in UV, and many modern lenses block UV entirely.

But when you capture it:

  • Sky brightness changes significantly

  • Haze becomes more apparent

  • High-altitude scattering increases

  • Thin cloud layers can show structure invisible in visible light

UV is particularly interesting for:

If you teach GCSE or A-Level Physics, this is Rayleigh scattering in action — not just in a textbook, but in the sky above your head.


🌦 Why This Matters

For photographers:

  • Creative impact

  • Unique landscape results

  • Weather storytelling

For sailors:

  • Better awareness of cloud development

  • Spotting high thin layers before wind shifts

For science students:

  • Real-world electromagnetic spectrum applications

  • Scattering theory made visible

  • Atmosphere physics you can photograph


My Take

Having used multispectral cameras for science and sailing content, I’m always struck by how much information we ignore simply because our eyes can’t see it.

Clouds aren’t just white blobs.
They are complex optical phenomena interacting with wavelength, particle size, humidity, and solar angle.

And with IR or UV?
They tell a completely different story.