The proliferation of hybrid photo/video systems is gaining ground in almost all video markets. From weddings, to independent and broadcast production, the technology is ubiquitous. If you're shooting HD with any of today's video-enabled DSLRs, it's easy to see why. Large sensors, high ISO sensitivity, and lens selection are just a few of the draws to this new wave of content creation. However, these camera systems are just beginning to develop a series of standards, and are not without their challenges. From the Canon EOS-1D Mark IV to the Pentax K-7, the proper capture of usable audio is one such challenge.
The first thing that strikes you when you see Casio's new Exilim EX-G1 is its wedge-like shape. With few exceptions, most point-and-shoot cameras are as boxy as a '64 Chevy Impala. Not so Casio's Exilim EX-G1, which has lines reminiscent of the far sexier-looking '65 Chevy Impala, a car that to this day remains a true head-turner. (What a difference a year makes!)
The HDR-AX2000, expected to sell for around $3500, is a solid state AVCHD camera that crams a whole lot of professional features into a prosumer camera. Able to record at up to 24 Mbps in the AVCHD format, the HDR-AX2000 can capture 1920x1080/60i HD video as well as progressive scan video at 1080/30p and 1080/24p directly to Memory Stick PRO Duo or SDHC cards (the 24p/30p footage is converted to 60i when recorded to the memory stick/SDHC, and 2-3 pull-down is used when converting the 24p to 60i).
The biggest and craziest trade show of the year in pro audio just took place in Anaheim California. NAMM is the place where new products get announced, buzz gets generated, and audio nerds like myself get to map out how we're going to squander our hard earned dollars over the course of the next 12 months. Even though the announcements of the 2010 NAMM haven't been the most drool-inducing of all time, there were still plenty of things to be excited about this year. Here are the highlights:
I'd barely cleared off my desktop after a short (but sweet) holiday break when Jim Wagner, our dashing Leica rep, called to find out if I'd be interested in spending the afternoon with a Leica S2. In 2 words? "Oooooh baby!"
For the better part of a decade, Canon PowerShot A-Series cameras have offered a respectable set of features at an affordable price. Excellent resolution, sharp Canon optics, and quality handling have made the cameras extremely popular with budget conscious shutterbugs. Though never quite as compact or sleek as the Digital ELPH line, the PowerShot A-Series has always been renowned for capturing high-quality images with ease.
Ever since the introduction of the 3.3Mp PowerShot G1 in 2000, most every succeeding G-series digicam has boasted an ever-increasing pixel count. The G10 capped them all at 14.7Mp. But with the new Canon PowerShot G11, Canon's engineers have reverted to a 10Mp imaging sensor, which contains about a third fewer – albeit larger - pixels than the G10. So, the $64,000 question: How does this pixel-shrinkage impact image quality?'
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