“FRANKENCAMERA” open-source digital camera

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Stanford photo scientists are out to reinvent digital photography with the introduction of an open-source digital camera, which will give programmers around the world the chance to create software that will teach cameras new tricks.

If the technology catches on, camera performance will be no longer be limited by the software that comes pre-installed by the manufacturer. Virtually all the features of the Stanford camera – focus, exposure, shutter speed, flash, etc. – are at the command of software that can be created by inspired programmers anywhere. “The premise of the project is to build a camera that is open source,” said computer science professor Marc Levoy.

Computer science graduate student Andrew Adams, who helped design the prototype of the Stanford camera (dubbed Frankencamera,) imagines a future where consumers download applications to their open-platform cameras the way Apple apps are downloaded to iPhones today. When the camera’s operating software is made available publicly, perhaps a year from now, users will be able to continuously improve it, along the open-source model of the Linux operating system for computers or the Mozilla Firefox web browser.

From there, the sky’s the limit. Programmers will have the freedom to experiment with new ways of tuning the camera’s response to light and motion, adding their own algorithms to process the raw images in innovative ways.

Frankencamera at minimal cost

Levoy’s plan is to develop and manufacture the “Frankencamera” as a platform that will first be available at minimal cost to fellow computational photography researchers. In the young field of computational photography, which Levoy helped establish, researchers use optics benches, imaging chips, computers and software to develop techniques and algorithms to enhance and extend photography. This work, however, is bound to the lab. Frankencamera would give researchers the means to take their experiments into the studios, the landscapes, and the stadiums.

click to play animation

Animation demonstrating one example of how the Frankencamera extends and enhances photography.

For example, among the most mature ideas in the field of computational photography is the idea of extending a camera’s “dynamic range,” or its ability to handle a wide range of lighting in a single frame. The process of high-dynamic-range imaging is to capture pictures of the same scene with different exposures and then to combine them into a composite image in which every pixel is optimally lit. Until now, this trick could be done only with images in computers. Levoy wants cameras to do this right at the scene, on demand. Although the algorithms are very well understood, no commercial cameras do this today. But Frankencamera does.

Another algorithm that researchers have achieved in the lab, but no commercial camera allows, is enhancing the resolution of videos with high-resolution still photographs. While a camera is gathering low-resolution video at 30 frames a second, it could also periodically take a high-resolution still image. The extra information in the still could then be recombined by an algorithm into each video frame. Levoy and his students plan to implement that on Frankencamera, too.

Yet another idea is to have the camera communicate with computers on a network, such as a photo-hosting service on the Web. Imagine, Levoy says, if the camera could analyze highly-rated pictures of a subject in an online gallery before snapping the shutter for another portrait of the same subject. The camera could then offer advice (or just automatically decide) on the settings that will best replicate the same skin tone or shading. By communicating with the network, the camera could avoid taking a ghastly picture.

Of course users with Frankencameras would not be constrained by what is already known. They’d be free to discover and experiment with all kinds of other operations that might yield innovative results because they’d have total control.

“Some cameras have software development kits that let you hook up a camera with a USB cable and tell it to set the exposure to this, the shutter speed to that, and take a picture, but that’s not what we’re talking about,” says Levoy. “What we’re talking about is, tell it what to do on the next microsecond in a metering algorithm or an autofocusing algorithm, or fire the flash, focus a little differently and then fire the flash again — things you can’t program a commercial camera to do.”

Behind the lens cap

To create an open-source camera, Levoy and the group cobbled together a number of different parts: the motherboard, per se, is a Texas Instruments “system on a chip” running Linux with image and general processors and a small LCD screen. The imaging chip is taken from a Nokia N95 cell phone, and the lenses are off-the-shelf Canon lenses, but they are combined with actuators to give the camera its fine-tuned software control. The body is custom made at Stanford. The project has benefited from the support of Nokia, Adobe Systems, Kodak, and Hewlett-Packard. HP recently gave graduate student David Jacobs a three-year fellowship to support his work on the project. Kodak, meanwhile, supports student Eddy Talvala.

Within about a year, after the camera is developed to his satisfaction, Levoy hopes to have to have the funding and the arrangements in place for an outside manufacturer to produce them in quantity, ideally for less than $1,000. Levoy would then provide them at cost to colleagues and their students at other universities.

The son, grandson, and great-grandson of opticians, Levoy sees his mission as not only advancing research in computational photography, but also imbuing new students with enthusiasm for technology. This spring he launched a course in digital photography in which he integrated the science of optics and algorithms and the history of photography’s social significance with lessons in photographic technique.

As many ideas as Levoy’s team may want to implement on the camera, the real goal is to enable the broader community of photography researchers and enthusiasts to contribute ideas the Stanford group has not imagined. The success of Camera 2.0 will be measured by how many new capabilities the community can add to collective understanding of what’s possible in photography.


Marc Levoy, professor of Computer Science and of Electrical Engineering and graduate student Andrew Adams with the open source camera.

BY DAVID ORENSTEIN (Stanford University 2009)

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AJA io HD “Still no drivers 6 weeks later”

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Friday the 24th of July 2009 Apple brought out Final Cut Pro 7 that was 6 weeks ago…July 29th AJA announce support for their KONA card V6.5 and to rub salt in the wound we now have a new version 7 which is Snow Leopard compatible.

I have emailed AJA regularly for the last 4 weeks asking them for an ETA for these drivers, I was told within 2 weeks and today sees the end of that 2 week timeline. As a customer of AJA and having paid £2500 for their HD box I think I and many others have been dealt a raw deal.

Their web site tells you to stick with FCS-2 until the new drivers are ready but companies like mine need to get to grips with Motion 4 etc and a 6 week delay is in my books totally unacceptable. I have various productions on hold waiting for these drivers.


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7D using a Wireless File Transmitter-Remote viewing of Live Video Feed !

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Wireless File Transmitter WFT-E5/E5A Canon has also announced a transmitter companion for the 7D. It’s a battery grip-style wired/wireless device that is most similar to the WFT-E4/E4A for the 5D Mark II, with some slick new bells and whistles mixed in.

Like that unit, the WFT-E5/E5A has three operating modes – FTP, PTP and HTTP (the HTTP mode is renamed WFT Server in the newer transmitter) – and can send pictures and video over a wired Ethernet or Wi-Fi link. Or, to a USB drive as well. If a GPS unit is connected to the device’s USB port, location information is added to the metadata of each picture file.

It’s also powered by the same Battery Pack LP-E6, supports Wireless Protected Setup for quicker configuration with certain wireless routers and includes vertical shooting controls.

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Wired Up: The WFT-E5/E5A attached to a 7D. Click to enlarge (Photo courtesy Canon)

New in the WFT-E5/E5A:

  • Support for 802.11a wireless networks, in addition to 802.11b/g.
  • A GPS device can now link over Bluetooth as well as USB. A compatible USB Bluetooth module, such as Canon Bluetooth Unit BU-30, must be inserted into the WFT-E5/E5A’s USB port for this to work.
  • WFT Server mode allows for remote viewing of the camera’s Live View feed, adjusting of shutter speed, aperture, ISO and various other camera settings, plus firing the shutter, all from the web browser of a linked computer, iPhone or other smartphone.
  • A 7D with a WFT-E5/E5A attached can be configured to fire multiple remote cameras, up to 10 in all, in concert with the 7D in your hand. Once configured, pressing the shutter button on the camera you’re using causes the remote cameras to fire as well, presumably with a slight delay. Transmission range is specified to be about 328ft (100m).As of now, both the local and remote cameras all must be 7Ds sitting on WFT-E5/E5As, but it’s a safe bet that future Canon digital SLRs and their transmitters will support this same feature. If this comes to pass, then different Canon cameras should be able to trigger each other and it won’t be necessary to have the same camera model and transmitter all around.

    Video An evolved version of the video mode in the 5D Mark II graces the 7D. If you’re familiar with that camera’s video capabilities, then you know a lot about the 7D’s video mode already. The new camera has all the video features of the 5D Mark II, including both manual and automatic exposure, three static AF modes that can be activated prior to and during video capture, both a built-in mic and a 3.5mm miniphone jack for an external stereo mic, a built-in speaker, automatic audio gain with no manual override, H.264-compressed movie files with a .mov extension, a 4GB clip length limit, the ability to start and stop video recordings with Canon’s Remote Controller RC-5 and RC-1, plus:

    • More resolution and frame rate options The 7D offers the following video output settings:
    • 1080p: 1920 x 1080 pixels at 30fps (actually 29.97fps)
    • 1080p: 1920 x 1080 pixels at 25fps
    • 1080p: 1920 x 1080 pixels at 24fps (actually 23.976fps)
    • 720p: 1280 x 720 pixels at 60fps (actually 59.94fps)
    • 720p: 1280 x 720 pixels at 50fps
    • SD: 640 x 480 pixels at 60fps (actually 59.94fps)
    • SD: 640 x 480 pixels at 50fps
    • Canon projects that the typical maximum clip length for 1080p and 720p video will be about 12 minutes. This jumps to about 24 minutes for SD video. As with the 5D Mark II, the actual maximum clip length will vary greatly with scene content, scene movement and ISO.
    • Tweaked frame rates Some of the 7D’s frame rates – for example, 29.97fps rather than 30fps, as noted above – should allow for easier syncing with separately-recorded audio in a variety of video editing applications. (The 5D Mark II’s true 30fps frame rate leads to syncing difficulties in some programs).
    • Higher audio sample rate The 7D’s audio sample rate is 48khz, up from 44.1khz in the 5D Mark II.
    • Higher data rates, possibly When comparing 1080p video at the same frame rate of similar scenes, the 7D’s data rates are typically 5-10% higher than the the 5D Mark II’s (40mbits/s vs 47mbits/s, for example). This could be an anomaly of the video we’ve shot with the two cameras. Nevertheless, the data rate jump is consistent.
    • In-camera video trimming Trimming of the start and the end of a clip is possible.
    • Still/video mode switch The addition of the aforementioned mode toggle and start/stop button combo makes it much easier to switch to video and quickly start recording, without sacrificing ready access to Live View when shooting stills.

    The only apparent advantages of the 5D Mark II’s video mode are somewhat shallower depth of field effects (thanks to its use of longer focal lengths for a given field of view), a maximum ISO of 12,800 (the 7D’s maximum ISO when capturing video is 6400) and somewhat cleaner video at higher ISO settings.


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Philip Blooms take on the Canon 7D

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As you may have guessed I am not a big fan of the Canon 7D thanks to the APS 1.6x sensor, but Mr Bloom has re-edited this sketch and it’s rather funny, worth a watch.

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Rights Managed vs Royalty Free Footage

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For all your video production needs in Scotland, get in touch with Small Video Productions

Canon 7D with APS sensor “A glorified domestic camera”

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Canon boast they spoke to 5000 photographers when designing this camera well they never spoke to me nor Philip Bloom as we would have told them to upgrade the sound capabilities and a must would have been a swivel LCD viewfinder. I have been using the 5D Mk11 for an introduction to a video and take it from me the static viewfinder is definitely a big minus point when using a 35mm camera for video work. APS-C is also a downer considering it’s suppose to be the wee brother to the 5D Mk11. This means a 50mm lens becoming an 80mm lens with a 1.6x conversion. Unlike my counterpart Mr Bloom I think this is a backwards step for Canon users.

We all used to own 35mm cameras and a 50mm lens was always 50mm…since some idiot engineer in Japan decided to use smaller chipsets giving us a 1.6x conversion the world of 35mm photography has changed and not for the better. If you use a 50mm lens on an APS camera it’s 80mm and if you use an APS lens on a full frame camera you loose picture area…it’s a joke.

Nikon bring out the D3 full frame then bring out the D700 wee brother FULL FRAME…. why oh why do Canon insist on on getting it wrong. Canon don’t want to hurt sales of the “PRO” full frame cameras so why call it a 7D or are we going to get the 5D Mk111. Funny but in my maths class in school less than a handful of students enjoyed conversions and percentages yet if you are unfortunate enough to own an APS camera you are forced to calculate 1.6x what ever Canon L lens you buy…eg 24-105mm = 38-168mm. There is only ONE plus side to this camera for video users using the 1.6x conversion and that is a 200mm lens becomes a 320mm focal length, great for wildlife.







  • 18MP APS-C CMOS sensor
  • 8fps shooting
  • ISO range up to 12800
  • 100% Viewfinder
  • 19 cross-type AF points
  • iFCL metering system
  • Dual “DIGIC 4”
  • Full HD movie
  • Integrated Speedlite Transmitter
  • 3” Clear View II LCD
  • Magnesium alloy body with environmental protection

Designed by you, built by Canon

18 Megapixel APS-C CMOS sensor
The EOS 7D offers superb resolution thanks to its 18MP CMOS sensor. Offering the photographer the choice of flexibility and creativity.

8 frames per second
Shoot 18MP 14-bit images at 8 fps as standard, in a burst of up to 126 large JPEGs; photographers can capture both detail and action.

High ISO
For handheld shooting in low light, the EOS 7D offers ISO speeds of up to 6400. Expandable to ISO 12800, for low light scenes where using flash is undesirable.

100% Viewfinder coverage
The 100% coverage viewfinder with 1.0x magnification provides the most complete and natural view of your subject. The Intelligent viewfinder offers shooting information never before seen in an EOS, including the Dual Axis Electronic Level to ensure perfect horizons.

19-point cross-type AF system
A newly designed AF sensor with Zone and Spot AF modes gives the photographer new ways to select AF points. All points are cross type with the centre point offering both f/2.8 and f/5.6 sensors.

iFCL metering system
A new 63-zone dual layer metering sensor analyses Focus, Colour and Luminance information, providing accurate and consistent metering.

Canon’s Dual “DIGIC 4” provides the EOS 7D with the power to deliver outstanding colour reproduction from its high resolution CMOS sensor. DIGIC 4 also delivers 14 bit processing, excellent noise reduction, long battery life, Face Detection AF and Full HD movie recording.

Full HD movie recording
Complementing outstanding still imaging capabilities with Full HD 1080 video recording including selectable frame rates and full manual control.

Integrated Speedlite Transmitter
EOS 7D includes the ability to control multiple Speedlites without an ST-E2 or 580EX II, and includes a built-in 15mm wide angle flash. Expand your flash photography.

3.0” Clear View II LCD
The 3.0” Clear View II LCD features 920,000 dot resolution, a wide viewing angle and new solid structure for improved image viewing in bright conditions. Live View displays real-time images on the LCD, offering three auto focus modes.

Magnesium alloy body with environmental protection
The magnesium alloy body offers weather sealing equivalent to the acclaimed EOS-1N, EOS Integrated Cleaning System and 150,000 release shutter durability. The EOS 7D has been designed from the ground up to be used by the most demanding photographers.


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Zacuto-Critics Webisode 2 with Steve Weiss and Philip Bloom

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I think some of the chosen footage was lame and did not allow Steve and Philip to express themselves as well as they did in Episode 1

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The Sony DSR-PD175 SD camcorder (HVR-Z5 without HDV)

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175=Z5Very interesting Sony have decided we are not all going to follow the HD Pied Piper after all, instead they now decide to back peddle and introduce the DSR-PD175 mini DVCAM camcorder, just when we were all about to auction our spare mini DV tape on EBAY.

Even more interesting is the fact that this camcorder is in-fact a Sony HVR-Z5 without HDV…this is such a backwards step by Sony. Tom Hardwick pointed out in DV INFO that this is nothing more than a Z5 without the HDV badge, it even tells us in the Sony PR “It uses the same chassis as the state-of-the-art HVR-Z5E HDV Camcorder introduced in 2008”..OK it’s £500 less than a Z5 but why should you buy the exact same camcorder for £500 less with no HDV. This also gives us a heads up with it’s low light capabilities as it will be no better than a Z5 which I have reviewed and can be viewed in the VIDEO TUTORIAL section of this blog.

The price is disappointing for one reason…it’s SD, no interchangeable lens and TWO YEARS OLDER TECHNOLOGY (2007 for 2008 launch)…£2500 would have been nearer the mark.

dsrpd175p-_nl-webThe Sony line..

Class Leading Standard Definition Handheld Camcorder

The DSR-PD175P is simply the best standard definition handheld camcorder ever produced by Sony. It uses the same chassis as the state-of-the-art HVR-Z5E HDV Camcorder introduced in 2008 with many of the same advanced features, including the all-new high performance Sony G-Lens which combines a ClearVid array and advanced Exmor image-processing technology for class leading picture quality and low light performance.

The weight distribution and control layout of this chassis has set new ergonomic standards for handheld operation, while operational flexibility is further enhanced by support for the HVR-MRC1K Compact Flash Solid State recorder. In every respect, the DSR-PD175P is a natural successor to the legendary DSR-PD170P Camcorder for customers who need the highest performance and latest technology but don’t currently have a requirement for High Definition.

DVCAM is the global standard for professional Standard Definition acquisition introduced by Sony as a higher performance, more reliable version of consumer DV while retaining full compatibility. Its advantages are further extended by a comprehensive product range, including Master Series VTRs tailored to broadcast requirements. Typical DVCAM applications range from wedding videography to corporate video and broadcast television. It is the ultimate ubiquitous digital broadcast and professional tape format.

Sony’s Exclusive High-performance G Lens

Discover the exceptional optical performance of Sony’s G Lens. This sophisticated lens incorporates Sony’s unique optical technology and unparalleled quality control. Moreover, it’s been optimised to perfectly complement the camcorder’s advanced image sensor and image-processing technology, thus expanding your shooting possibilities.

mk09070102_03_dsrpd175p-_nl-1Express yourself more fully with the utmost precision of Sony’s G Lens.

Major ‘G’ Lens Features on the DSR-PD175P

  • The camcorder’s 29.5mm wide-angle, 20x optical zoom ‘G’ Lens offers a field of view that’s ideal for many shooting situations, ranging from broad landscape shots to close-up shots where it is difficult to obtain sufficient distance from the subject.
  • Two ED (Extra-low Dispersion) glass elements reduce the chromatic aberrations caused by differences in light refraction to minimise colour fringing. The advanced 10-group, 15-element lens structure also includes three compound aspheric lenses for images that are crisp and clear, even when shooting at a high zooming ratio.
  • Advanced optical lens technology enables Sony’s Exmor Sensor system realise sharper images with higher resolution and less noise, even when shooting in very low light.
  • The six-blade iris diaphragm is almost circular, which allows operators to incorporate creative background blur into their shots for beautiful visual effects.

Natural-touch Lens Operation

The ergonomic layout of the zoom, focus and iris control rings makes operation of these three functions possible with just one hand.

The zoom function can be controlled by any of the following:

  • The lens barrel ring
  • The lever at the lens grip
  • The lever on the camera handle

A high-speed zoom mode is also available. The digital extender system increases the zoom ratio to approximately 30x.

The iris control ring can be customised via the menu to:

  • Select and control the iris or the exposure
  • Open and close iris direction

The exposure function is ideal for varied shooting environments that range from very dark to very bright, allowing easy one-handed control using single-ring operation.

Sony’s Super SteadyShot system (optical) helps you achieve a stable picture, even when camera handling is unsteady.

Three built-in ND (Neutral Density) filters – 1/4, 1/16 and 1/64 – help to vary the depth of field with iris control.

Cutting-edge Imaging System With Exmor Technology

The DSR-PD175P boasts cutting-edge features including unique Exmor technology which maximises the potential of the camcorder’s imaging system. This includes the same column-parallel A/D conversion and dual noise-cancelling method used in Sony’s top-of-the-line camera models. Multiple A/D (analogue to digital) converters on each pixel row convert analogue signals to digital as soon as they are generated, unlike traditional technology that only has one A/D converter on each chip.

Exmor technology helps eliminate the influence of external noise, which can often enter the signal chain during transfer to the A/D converter. As a result, you get high-quality digital signals with extremely low noise.

By adopting this groundbreaking technology, the Exmor Sensor system enables the DSR-PD175P to achieve a low light sensitivity of just 1.5 lux (At 1/25 shutter, auto iris and auto gain).

Progressive Scan Mode

The DSR-PD175P provides SD-quality 25p footage. The 25p image captured by the sensor system is recorded as an interlaced signal by dividing each frame into two fields. This enables compatibility with current editing and monitoring equipment that only accept interlaced signals, while maintaining the quality of the 25p image.

Progressive scan mode is suitable for feature films, documentaries and music videos, where the content is required to have the filmic look.

Picture Profile

Up to six different picture set-ups, including gamma and colour settings, can be registered in the memory as a Picture Profile™. This labour-saving function allows operators to easily recall customised picture set-ups for various shooting conditions. It is also useful for matching footage shot at different times or for multi-camera operation.

Smooth Slow Rec

The Smooth Slow Rec function of the DSR-PD175P enables smooth slow-motion playback by capturing images 4x faster than normal (200 fields/s). In this mode, quad-speed images are captured for six seconds, stored in the built-in buffer memory, and then recorded to tape (in either DVCAM or DV format) as slow-motion pictures lasting 24 seconds.

This quad-speed image capture is the fastest speed available on any compact handheld camcorder.

Smooth Slow Rec is ideal for sports or nature photography, where the action can be viewed more easily in slow motion, and opens up many creative possibilities.

Shot Transition Function

The Shot Transition™ function allows for smooth automatic scene transitions. After you have programmed a shot’s START and END point settings (e.g., for zoom, focus, iris, gain, shutter speed and white balance) and pressed the start button, a smooth picture transition takes place over the duration of the shot by automatically calculating the intermediate setting values.

Transition types can be selected from a choice of LINEAR, SOFT STOP and SOFT TRANS, and transition time can be set from 3 to 90 seconds.

DVCAM/DV Selectable Recording

The DSR-PD175P adopts the DVCAM format, which is the worldwide standard SD format for professional handheld camcorders.

If you require a longer recording time, the DSR-PD175P is also capable of recording and playing back DV format signals (SP mode only).

Assignable Features

The DSR-PD175P provides up to seven ASSIGN buttons for quick access to frequently used functions suitable for variable shooting conditions. Some default functions are pre-assigned by name.

The assignable functions are AE Shift, Back Light, Colour Bars, Digital Extender, End Search, Expanded Focus, Fader, Focus Macro, Hyper Gain, Index Mark, Marker, Peaking, Photo, Picture Profile, Push Auto Iris, REC Review, Ring Rotate Direction, Shot Transition, Smooth Slow REC, Spot Light, Steady Shot, TC Reset and Zebra.

XtraFine LCD Panel

The DSR-PD175P is equipped with a 3.2-inch-type widescreen XtraFine™ LCD panel on the front of its handle. This has a high resolution of approximately 921,000 pixels, which allows for easier focus adjustments. It can also display virtually 100% of the recorded picture area at a colour temperature of approximately 6500K.

XtraFine EVF

The 0.45-inch-type XtraFine EVF (Electronic View Finder) has approximately 1,227,000 pixels and three independent LEDs for red, green and blue colours. This technology allows users to monitor objects with remarkable colour reproduction accuracy and high resolution*.

The EVF has a choice of colour or black-and-white display modes. It also displays virtually 100% of the picture area at a colour temperature of approximately 6500K.

* When the camcorder is panned quickly, or when an object on the screen moves quickly, the R/G/B primary colours may be seen on the object in the EVF momentarily

InfoLITHIUM L Series Battery Compatibility

The DSR-PD175P uses the same L series batteries as the DSR-PD170P, so you can use your existing chargers and batteries

Versatile Audio Input Selection

The DSR-PD175P offers a versatile choice of audio inputs. It features a newly designed high-quality built-in stereo microphone, as well as two XLR audio input channels for connecting to either professional microphones or an external-line audio source. A 48V microphone power source can also be supplied.

By adjusting the INPUT ASSIGN switch located on the side panel of the DSR-PD175P, you can easily assign the two audio input channels to either the built-in stereo microphone or an external-line audio source, or dedicate one channel to each and record them separately or mixed.

When assigned to one channel, the built-in stereo microphone acts as a wide-directional monaural microphone.

On-handle Zoom Lever and Rec. Start/Stop Button

In order to facilitate zoom control and recording operation during low-angle shooting, an additional zoom lever and a rec. start/stop button have been added to the carrying handle. The rec. start/stop button has a hold function to prevent accidental operation.

The three-position slide switch located on the side of the handle lets users select the zoom control type from FIX, VAR and OFF. In FIX mode, zoom speed is determined by the speed setting selected in the menu, where eight speeds are available. In VAR mode, zoom speed can be adjusted manually using the zoom lever.

HYBRID Solution With HVR-MRC1K

The DSR-PD175P is ready for HYBRID DVCAM/DV operation, when connected to the optional HVR-MRC1K Memory Recording Unit via an i.LINK connector. In HYBRID operation, you can simultaneously record video footage to both a tape and a standard CompactFlash (CF) card.

Three recording options:

  • Synchronous recording
  • Relay recording
  • HVR-MRC1K-only recording

For user convenience, the DSR-PD175P can display status information of the HVR-MRC1K on its LCD. This status information includes:

  • Connection status
  • REC status
  • Remaining CF recording time

The recording time on a 16-GB CF card* in DVCAM and DV format is approximately 72 minutes.

* At least 133x speed and 2-GB capacity is required.

One-touch Clip-type Microphone Holder

A one-touch clip-type microphone holder makes it easy to attach and remove the microphone for quick storage.

Digital Still Camera Function With Memory Stick Duo

The Memory Photo function allows the camera to be switched to progressive scan mode for capturing still images. Files can be recorded on Memory Stick Duo™ media in a choice of two sizes: 1080×810 pixels (4:3) or 1440×810 pixels (16:9).

For all your video production needs in Scotland, get in touch with Small Video Productions

Adobe’s official line on Snow Leopard compatibility

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Adobe Creative Suite 4 Solutions and Mac OS X Snow Leopard

Q Are Adobe® Creative Suite® 4 products and components compatible with Mac OS X Snow Leopard (v10.6)?

A. Yes. Working closely with Apple, Adobe has tested and determined that our Adobe Creative Suite 4 products and components are compatible with Mac OS X Snow Leopard.

Q. Is Mac OS X Snow Leopard (v10.6) important to Adobe Creative Suite 4 customers?

A. Yes. Mac OS X Snow Leopard (v10.6) —the latest version of Apple’s operating system—delivers a productive computing experience for creative professionals. Adobe and Apple have worked together closely to test that Adobe Creative Suite 4 products and components run reliably and efficiently on Intel‐based systems running Mac OS X Snow Leopard (v10.6) with optimal performance and user experience. Please see below for known issues we have discovered in our testing. As with any new release of an operating system, there may be additional unexpected issues that arise that may not have been uncovered during our testing efforts.

Q. Will older versions of Adobe creative software—such as Adobe Creative Suite 3 or Macromedia® Studio 8 software—support Mac OS X Snow Leopard (v10.6)?

A. Older versions of Adobe creative software were not included in our testing efforts. While older Adobe and Macromedia applications may install and run on Mac OS X Snow Leopard (v10.6), they were designed, tested, and released to the public several years before this new operating system became available. You may therefore experience a variety of installation, stability, and reliability issues for which there is no resolution. Older versions of our creative software will not be updated to support Mac OS X Snow Leopard (v10.6).

Q. Will Adobe continue to test its Adobe CS4 applications on Mac OS X Snow Leopard (v10.6)?

A. Yes. Adobe sets high standards of quality, stability, and reliability for our professional products, and we worked closely with Apple to test that Creative Suite 4 products and components run on Mac OS X Snow Leopard (v10.6). Please see below for known issues we have discovered in our testing. As with any new release of an operating system, there may be additional unexpected issues that arise that may not have been uncovered during our testing efforts. If you encounter any issues, please report them by going to www.adobe.com/misc/bugreport.html and clicking “Report A Bug”. Please note that we do not respond to submissions, however we do review the information closely with the appropriate teams, and continue to test and monitor the user experience.

Q. Do any of the Adobe CS4 applications require updates to be compatible with Mac OS X Snow Leopard (v10.6)?

A. If you are running the latest updates for Creative Suite, Acrobat® software, and Adobe Reader® software, your software will operate on Snow Leopard (v10.6). However, please see below for known issues we have discovered in our testing. Please note that Acrobat users do need to have version 9.1 or later installed in order to produce Adobe PDF files on Snow Leopard (v10.6). Select the “PDF” button in the Print dialog and choose “Save as Adobe PDF” to access the new feature. You can visit www.adobe.com/support/downloads to monitor if and when any updates are posted, or search on the keyword “Snow Leopard” for more details.

Q. How do I install any required updates for Mac OS X Snow Leopard (v10.6) compatibility?

A. For Acrobat, users will need to update to version 9.1 or later to operate on Snow Leopard (v10.6). Updates for Acrobat and other Creative Suite products and components are made available through the Adobe Updater, a utility that is installed with Adobe products or components to manage the download and installation of updates for you. As long as the automated notification feature in Adobe Updater is turned on, you will be alerted automatically when the updates are available. You can then follow the onscreen instructions to download and install the updates. Alternatively, you can open the Adobe CS4 product or component that requires an update, choose Help > Updates to open the Adobe Updater, check all of the updates you want, and click Download and Install Updates. Lastly, you can also visit www.adobe.com/support/downloads to monitor when updates are posted, then download and install the updates for each relevant Adobe CS4 product or component.

Q. I am a volume licensing customer. How do I get updates for my Adobe CS4 products or components?

A. Adobe recommends following your company’s internal guidelines to manage updates. You may want to contact the IT or technical person who manages your Adobe licenses for information about your corporate policies on updating software. For volume licensing customers, information is available for IT managers on how to silently push installations of Adobe CS4 updates at http://kb2.adobe.com/cps/491/cpsid_49171.html. For individual users, there is an Adobe Updater (choose Help > Updates) to download and install updates for Adobe CS4 products and components for individual system updates.

Q. Are the trial versions of Adobe CS4 products and components compatible with Mac OS X Snow Leopard (v10.6)?

A. Yes. If a full version of an Adobe Creative Suite 4 product is compatible with Mac OS X Snow Leopard (v10.6), then the trial version of that product is compatible as well. The known issues described below also apply to the trial versions.

Q. Is Adobe aware of any major issues, bugs or odd user experiences when using Adobe CS4 products or components with Mac OS X Snow Leopard (v10.6)?

A. Adobe Creative Suite 4 solutions are designed to perform to the high standards and level of performance, quality and user experience our customers expect. In our testing, we did discover a few functional areas that display unusual user experiences. One involves a unique configuration running Adobe Creative Suite Infrastructure (CSI) update v1.0.1 on Mac OS X Snow Leopard (v10.6). Users may be unable to update their CSI Extensions via the Connections Panel. The cause is related to interaction between Creative Suite 4 products and Apple’s JavaTMRuntimeEnvironment(JRE)v.1.6. The update wil appear to be complete, but the user will again receive notification that the update is available at every update check interval. Users who have not installed the CSI update v1.0.1 will not be impacted, but they also will not receive notifications about available extension updates. Users who installed the CSI update v.1.0.1 and the corresponding extension updates prior to upgrading to Mac OS X Snow Leopard (v10.6) will also not be impacted by the issue. Adobe Extensions affected include the Connections panel itself, the KulerTM extension, Search for Help, and Share My Screen. Adobe plans to have an additional update for the CSI and related files as soon as possible. Our testing has also uncovered another issue involving Adobe Drive used with Adobe Version Cue® CS4 Server. At this time, Adobe Drive does not run on Snow Leopard (v10.6). For customers that are dependent on Adobe Drive and Adobe Version Cue, we recommend that they do not upgrade to Snow Leopard at this time. Please visit www.adobe.com/support to check the Adobe knowledgebase for the latest information related to Mac OS X Snow Leopard (v10.6).

Q. I use a number of plug‐ins with my current version of Creative Suite. Are these plug‐ins compatible with Creative Suite running Snow Leopard (v10.6)?

A. Adobe has conducted testing that has shown that some 3rd party plug‐ins are not compatible with Adobe After Effects® CS4 running on Snow Leopard (v10.6). Customers are encouraged to check plug‐in compatibility by contacting the plug‐in vendor before upgrading to Snow Leopard (v10.6). For third‐party products, contact the manufacturer for guidance on their support for Snow Leopard (v10.6).

Q: Is Adobe aware of any major issues, bugs or odd user experiences when using Acrobat or Adobe Reader with Mac OS X Snow Leopard (v10.6)?

A. Adobe has tested installing and running Adobe Reader 9.1 on Snow Leopard and has found a few issues. Customers will receive an “Invalid System Check” message when downloading and installing Adobe Reader with Snow Leopard in 64‐bit mode. To install Adobe Reader on Snow Leopard, download and run the installer with the operating system running in 32‐bit mode. Adobe Reader will then run in either 32‐bit or 64‐bit mode. Please note that older versions of Adobe Reader are not supporting Snow Leopard. Also, Acrobat and Adobe Reader will not view PDF files within Safari when running Snow Leopard in the default 64‐bit mode, but PDF files can be opened outside of the browser. PDF files can be viewed in‐line when running Safari in 32‐bit mode. Please visit www.adobe.com/support to check the Adobe knowledgebase for the latest information related to Mac OS X Snow Leopard (v10.6).

Q. Will Adobe offer technical support for its CS4 products and components running on Max OS X Snow Leopard (v10.6)? What about for older versions of Adobe’s Creative Suite software?

A. Adobe will support Creative Suite 4 software running with Snow Leopard according to its standard customer support policies. Older versions of Adobe Creative Suite software were not designed to run on Mac OS X Snow Leopard (v10.6), so you may experience issues installing and using the software for which there are no solutions. Please note that support for Creative Suite 3 applications is currently available through Adobe’s paid support program. Visit www.adobe.com/support to check the Adobe knowledgebase for the latest information related to Mac OS X Snow Leopard (v10.6), and for detailed information about our complimentary and paid support programs.


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Fast stabilizer for FCP from Core Melt

Categories: Miscellaneous No Comments

Core Melt

CoreMelt has released Lock & Load, a new video editing plugin for Final Cut Pro. It’s a stabilizer that the folks at CoreMelt say runs at six times the speed of Apple’s built-in stabilizer, Smoothcam.

Lock and load is capable of intelligently ignoring foreground motion, even on busy scenes or with dark backgrounds. No need to choose tracking points, as the plug-in intelligently analyzes the entire clip for you. With intelligent adaptive zoom, Lock & Load will automatically compensate for differing levels of movement and zoom in to remove edges.

It removes or smooths rotation and zoom changes as well as X and Y movement. Lock & Load analyses only the portion of the clip you select, so there’s no need to export and re-import long clips. It works with all kinds of footage, no “too much movement” errors.

The multithreaded motion analysis uses all processors on your system. Lock & Load offers a realtime preview of the smoothed clip without rendering.

Lock & Load normally retails for US$149. However, through Sept. 8 you can get it for $129. And if you already own CoreMelt Complete V2, you can buy Lock & Load for $99.


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