This morning, Pure Digital announced the latest addition to its Flip line of pocket camcorders. The UltraHD is an update to the original Flip Ultra, the camera that helped launched the YouTube camcorder revolution. The UltraHD shoots in 720p (1280 by 720) resolution–and interestingly, it’s actually one of the few HD camcorders that doesn’t also have a standard definition mode.
With the introduction of the UltraHD, the old Flip Ultra has been renamed the UltraSD. Both new cameras have been given a larger and much sharper screen (2 inches, compared with past versions’ 1.5 inches). The SD has 4GB of storage (the same as the Flip MinoHD) and the HD has 8GB of storage, which should give you roughly 2 hours of shooting time.
I was a bit skeptical when Pure Digital first told us that it was keeping the Ultra line alive after last year’s introduction of more portable Flip Mino and Flip MinoHD, but these cameras are being positioned as cheaper alternatives to their smaller counterparts at $149 and $199 for the UltraSD and UltraHD, respectively. And let’s face it, price was always a big part of the appeal of the Flip line.
I’ve got a full hands-on review of the new Flip UltraHD over at PCMag.com. After the jump, check out some closeup shots of the camcorder in action.
Both Panasonic and Canon announced their first water- and shock-proof compact toughcams earlier this year, and we’ve taken them underwater for a test. Which is better for capturing your summertime antics both wet AND wild?
Let me say first that I did not use either of these cameras in their ideal conditions—namely, outside, underwater while swimming. For some reason, Canon and Panasonic did not tailor the release dates of these cameras to coincide with my trip to Egypt a few months ago, which is where I wanted to test them out (why not guys??). Back here in New York, any outdoor body of water is way too frigid right now, and there’s something pretty creepy and ultimately unacceptable about taking an underwater camera to the YMCA for test shots. So, instead of the verdant coral reefs of the Red Sea off the Sinai coast, which were straight out of Planet Earth, our test shots are of me playing with a Kraken Attackin’ Lego Pirates playset in my kitchen sink. Which is a cool playset, but, you know, not the same.
But still, we’ve gathered enough data I think to inform your decision, if you’re thinking of picking up a waterproof toughcam for this summer. Here are the main points of differentiation I see:
Form Factor/Interface Both cameras are waterproof, but the Canon D10 is protected up to 10 meters (around 32 feet), where the Panasonic TS1 is only protected up to three meters (around 10 feet). And that’s immediately apparent in their shapes:
The D10 looks like it was designed by Ringo on the set of Yellow Submarine—its bulbous shell and porthole-like screws drive home the fact that this baby is going underwater. But on land, it’ll be tough to fit it into a pants pocket without some serious bulging.
It does have some nice, easy-to-press buttons for changing into video mode, for instance, and the icons on the LCD screen are nice and big, easily spotted through a snorkeling mask. There are some superfluous button presses to lock in settings which could be tedious underwater, but the UI is not horrible, and you’ll easily get used to it. The D10 also has come big screw-mounts on each corner for mounting various underwater grips and other accessories that you can buy from Canon.
The TS1 takes a totally different approach, with a sleek rectangular slab shape that at first glance is hard to distinguish from regular non-tough weeniecams. The buttons are a bit smaller, but not prohibitively so, and shootings modes are selected with a thumb dial instead of dedicated buttons—I didn’t see anything I couldn’t operate with a bit of practice while snorkeling. A basic locking wrist-strap comes in the box.
The important thing is that the TS1 is not at all out of place in non-toughcam situations, where the D10 may be. But if you’re a deep snorkeler, three meters may not be enough for you compared to the D10’s 10 meters (I imagine if you’re a serious SCUBA diver, you’ll need something beefier than either of these), but where you lose usability under water with the TS1 you will gain it on land. Consider that.
Video Another big difference, if not the biggest, is that the Panasonic TS1 shoots 720p in the AVCHD format, where the Canon only does 640×480 VGA vids. The TS1 video recording mode isn’t the most polished—there’s a good two to three second delay from when you hit the dedicated video button to when recording actually starts and stops, and it’s unclear exactly when everything does start, but if you’re OK with that, the HD video mode is awesome. I mean, underwater HD in such a tiny package—that’s a no-brainer right? I would kill to have some HD clips of my friends and I swimming around in crazy schools of neon fish in Egypt.
Here are some sample clips from the sink:
TS1 720P Clip:
Note: There is a current bug with the TS1 that makes video imported into iMovie ’08 and ’09 play at double speed. I had to do some conversion to avoid this, which is a pain. Panasonic says they’re working with Apple on this to include a fix in future versions of iMovie.
Canon D10 VGA Clip:
Keep in mind that the AVCHD format is kind of annoying, in that you might have to install special codecs and import video straight into your video editing software of choice and then export it in friendlier formats, rather than just grabbing an AVI or MOV clip from the memory card and uploading it to YouTube.
And yeah, the quality of these videos is pretty bad, but the difference in the actual output is clear: 720p underwater rules.
Shooting Both cameras are 12-megapixels, for full-res shots at 4000×3000. Both have the same size CCD sensor, but the TS1’s ISO goes up to 6400 where the Canon D10’s only to 1600. I didn’t do a thorough sensitivity test with either camera, but I would imagine you don’t want to go much higher than 800 on either one, so the difference is probably fairly moot.
A difference that does matter is the TS1’s wider-angle lens: it’s a 28mm-128mm f/3.3-f/5.9 effective focal length zoom, compared to the D10’s 35mm-105mm f/2.8-f/4.9.
As you can see, color reproduction via the TS1’s Leica lens is far better than the D10s, which has to fight through a bit more protective plastic. Also, the TS1 tends to autofocus underwater with much greater ease—important, because you won’t always be able to look at the LCD when composing shots while snorkeling.
Conclusion Like I said, I only played with these cameras in the sink, so I didn’t push their waterproof capabilities to their max. But having a waterproof and shockproof camera around the house is kind of cool in its own right—imagine taking bath time photos of your kid without having to worry about getting the camera wet, or taking shots with dirty hands while you’re barbecuing, or anything like that. You can always dunk these cameras underwater to clean them off. It’s nice. You don’t have to be a snorkeler to use them and have fun with them.
Which is why for me, the balance shifts heavily toward the Panasonic TS1. Its form factor makes using it on land a lot more convenient, and the added HD video option is a huge plus. And my ears hurt if I go down much further than three meters underwater anyway. At a premium of only $70 ($400 list vs. $330 for the D10), I’d say it’s well worth spending up for.
Panasonic Lumix DSC-TS1 HD video capture
Unobtrusive form factor good for both land and sea
Nikon’s D5000 and Canon’s Rebel T1i are the two hottest sub-$1000 cameras ever created. But which one is hotter? The specs and shots below say plenty—but tomorrow we give you the final verdict.
Let’s go over the basics. The cameras, with 18-55mm image stabilizer lenses, have MSRPs within $50 of each other, the Nikon at $850 and the Canon at $900. Spec-wise, that extra $50 goes a long way:
• Nikon has a 12.3-megapixel CMOS, while the Canon has a 15.1 megapixel CMOS.
• The Canon’s 3″ LCD screen has 920,000 dots; Nikon’s 2.7″ LCD only has 230,000 dots, but it gets bonus points for the “vari-angle” adjustable mount.
• HD video shooting is the selling point for both, but while the Nikon can handle 720p, the Canon can shoot up to 12 minutes per burst of full 1080p high-def video (though at a minimal 20 frames per second). Both have HDMI outputs, to prove how dedicated they are to high-def video.
• ISO wise, they’re pretty evenly matched, from 100 to 3200, with a Hi ISO bump at 6400. (The Canon has an additional ISO 12800 high setting.) The key here is which one is noisier at the higher levels; I have my guesses, but we’ll just have to see.
• Getting deeper into camera-nerd territory, the Nikon has an 11-point autofocus, compared to Canon’s 9-point AF. They both boast the usual proprietary engines, for Canon the DIGIC 4 imaging processor, and for Nikon, the “exclusive” EXPEED image processing system. And obviously, both can be fitted with a huge number of lenses from their specific manufacturer, lens compatibility usually being the deciding factor for people who already have huge glass investment.
What does it all mean? I have no doubt that both cameras are worthy sons of bitches, and like their predecessors, many of their idiosyncratic ticks—visual menus vs lists, etc.—are well known and documents. Some conclusions are already in sight, given the fact that the D5000 is a direct descendant of the D90, whereas the T1i comes straight from the 5D Mk II‘s loins, both heavily reviewed already.
Still, over the next day, I’ll be shooting hundreds of photos in different lighting conditions, in order to make sense of this two-headed temptation. Here’s some further reading While U Wait:
If you’ve got a DSLR you’ll notice your lens will only focus so close. Maybe not close enough for you. That’s especially true if you want to show detail in a flower or insect or some other small object. When your photo shows an object larger than real life it’s called macro photography.
What’s a shooter to do? Moving your lens farther from your camera’s sensor with an extension tubes or bellows is an idea I’ve talked about before. That’s a common method of reducing your minimum focus distance and getting macro shots.
There is another method–not always preferred. You can put corrective optics on your lens in the form of a close-up or macro lens. If you wear reading glasses the concept is exactly the same. Close-ups attach to your lens by the screw threads made for a filter. There are expensive close-up lenses and cheap close-up lenses. eBay is littered with the cheap kind, which is what I decided to try.
Most 3D recording systems require dual cameras mounted in close proximity, but Panasonic’s newest 3D camcorder combines these two systems into one.
The unnamed Panasonic “3D Full HD” camcorder features two lenses that record two separate video tracks onto Panasonic’s proprietary P2 flash memory system (it’s not explained how the internal imaging chips work, but we assume that there are at least two of those as well). The result is an easy-to-use 3D camcorder that will compliment Panasonic’s recent push into 3D plasmas.
There’s no word on price or availability, and the word “concept” is tossed around casually in the press release. (UPDATE: Panasonic clarified that it’s definitely just a concept as the company “starts development of a 3D Full HD Production System,” with no word on price or availability) But still, I didn’t expect to see this when I woke up this morning.
PANASONIC TO START DEVELOPMENT OF NEW PROFESSIONAL 3D PRODUCTION SYSTEM
Industry’s First System to Support Efficient Production of 3D Full HD Content
LAS VEGAS, NV (April 19, 2009) — Panasonic Corporation, a world leader in High Definition technology, today announced it will start developing a professional 3D Full HD production system. The system, which is expected to be the first of its kind in the industry, consists of a twin-lens P2 professional camera recorder and a 3D-compatible High Definition Plasma display. Panasonic will exhibit concept models of the 3D system at its booth (Central Hall #3712) at NAB 2009 to be held in Las Vegas, Nevada from April 20, 2009.
Panasonic is exhibiting a conceptual model of a 3D Full HD Camera Recorder at the 2009 NAB Show where it announced it would start development of a 3D Full HD Production System.
With Hollywood studios moving towards creation of more 3D entertainment content, Panasonic successfully debuted the world’s first 3D Full HD Plasma Home Theater System based on Plasma display and Blu-ray Disc technologies at the CEATEC trade show in Japan in September 2008. More recently, the company also established the Advanced Authoring Center within Panasonic Hollywood Laboratory in February 2009 to support Hollywood studios in developing 3D Full HD Blu-ray Disc titles.
Production of 3D movies requires a great deal of time and effort. With the new 3D production system, which can enable an easier and more efficient 3D production process and environment, Panasonic will contribute to accelerating the realization of easier high-quality 3D content production.
At present, 3D content producers have to hand-build their own 3D production systems by physically connecting multiple 2D production devices. Panasonic is now starting to work on developing a twin-lens, 3D camera system. Also, Panasonic’s Plasma displays have been used in many post-production facilities in Hollywood, thanks to their high-quality imaging performance, which has been endorsed by leading Hollywood professionals. Technologies and expertise obtained from their use in post-production has enabled Panasonic to further develop high-quality 3D viewing performance in its Plasma technologies. As a result of this process, Panasonic’s 3D Plasma display system will help 3D content producers to quickly and easily evaluate the image quality of 3D content.
Each component of Panasonic’s innovative 3D Full HD production system has unique features. The twin-lens P2 camera recorder enables the capturing of natural and high-quality live 3D images. Thanks to the non-mechanical solid-state construction of the P2 system, the camera recorder will be compact enough to allow more flexible 3D shooting, thereby maximizing the creativity of the filmmakers by eliminating the stress factor from the use of the equipment.
3D Full HD recording using Panasonic’s proprietary P2 system also enables recording of two channels of Full HD images on the P2 card. P2’s non-mechanical construction and compactness will also be incorporated into the company’s 3D image recording and editing equipment to make production in the field highly flexible and efficient.
Panasonic’s 3D Drive System enables the display of Full HD moving pictures for the left and the right eyes, so large screen 3D viewing will become possible. The excellent moving picture performance and accurate color reproduction characteristics achieved by Plasma’s self-illuminating technology enables the realization of high-quality 3D image evaluation capabilities required in the professional content production field
“Panasonic is continuing its efforts to enable consumers to enjoy 3D movies in the comfort of their own living rooms with its 3D Full HD Plasma Home Theater System, which incorporates a Plasma HDTV and a Blu-ray Disc player,” said Dr. Paul Liao, Chief Technology Officer of Panasonic Corporation of North America. “The professional 3D Full HD image production system we are going to develop will improve the 3D production environment and accelerate creation of 3D titles.”
The CanonPower Shot SX1 is a 10-megapixel shooter; its power features are the 20X optical zoom and HD video capture at 1080p30 (1920-by-1080 at 30 progressive frames per second). Our video contains a walkthrough of the interface as well actual indoor and outdoor HD Video recorded by the camera (1080p30 downscaled to YouTube HD 720p30). Check PCMag.com this week for the full review.)
Nikon today announced the release of its latest D-SLR, the D5000. The 12.3-megapixel camera features a 2.7-inch Vari-angle LCD that can be rotated and titled for better viewing of the D-SLR’s four Live View modes.
The D5000 can record HD movie clips (1280 x 720) at 24-fps in D-Movie Mode. The recorded riles are saved as Motion JPEG AVI files onto the device’s SD card. The camera is also compatible with a number of AF-S NIKKOR for enhanced video capture.
The camera features a number of built-in Retouch features, including a soft filter effect, perspective control, and color outline. Picture Control settings include Standard, Neutral, Vivid, Monochrome, Portrait, and Landscape.
The D5000 will ship later this month for $849.95 $849.95 with an AF-S NIKKOR 18-55mm f/3.5-5.6G VR lens or $729.95 sans-lens.
It’s got the same sensor that’s in Nikon’s previous HD-video-shooting D90, so you can expect the same image and video performance. Actually, it sounds like most of what we ran into with the D90’s video recording stays true, so be sure to read our review for a taste of the pleasures (and pains) that apply.
Describing it as the D90 Lite isn’t so far off: It’s smaller, not quite as fast and is missing the Speedlight commander, but has beginner stuff like teaching menus and 19—yes, nineteen—scene modes, from the usual suspects like Sports to more random, like Candlelight. It does have the same 11-point autofocus, 100 to 6400 expanded ISO range, and 720p video at 24fps as the D90 though.
The vari-angle display is 2.7 inches, a little smaller than 3 inches I’ve gotten used to on Nikons, but I suppose that’s the price for freedom. The D5000 has four Live View autofocus modes, including a new Subject Tracking AF that locks onto a moving targets like cats and sugar-powered rugrats.
It’s interesting that Nikon and Canon have both made the same play at the exact same time: Pulling a sensor from a pricier mid-range camera and stuffing it into an entry-level DSLR with HD video recording. Clearly, they both have a similar sense about the direction of DSLRs, and it looks like the first real battleground is going to be in the lower levels. (Which is good for us, since it means the pricing should get nice and bloody.) For the record though, we’re still waiting on that D400 with 1080p video capabilities.
NIKON’S D5000 DIGITAL SLR CAMERA EXPANDS POSSIBILITIES FOR PHOTO AND HD VIDEO CREATIVITY WITH D-MOVIE MODE, VARI-ANGLE LCD MONITOR AND 19 AUTOMATIC SCENE MODES MELVILLE, N.Y. (April 14, 2009) – Nikon Inc. today introduced the new D5000, a digital SLR camera with a host of features and capabilities that deliver superior performance and image quality along with amazing versatility for photo enthusiasts and those new to digital SLR photography. Leveraging Nikon’s expertise and innovative technologies found in its pro-level D-SLRs, the 12.3-megapixel D5000 enables users to capture exceptionally stunning images and High Definition video with remarkable ease.
Whether consumers are progressing from a point-and-shoot digital camera or looking to upgrade their current digital SLR and elevate their photographic expression, the D5000 serves as an ideal solution. First time D-SLR photographers will appreciate logical and easy-to-use controls, while creative enthusiasts will appreciate the D5000’s robust combination of features, technologies and performance. The D5000 boasts a versatile 2.7-inch Vari-angle LCD monitor that encourages shooting with a fresh perspective, Nikon’s revolutionary D-Movie Mode and expanded automatic Scene Modes, delivering superior Nikon innovation in a compact, user-friendly design.
“The Nikon D5000 represents a cornerstone in Nikon’s D-SLR line, marrying simplicity and instructive features with superior technology and HD video, allowing the user’s ability and creativity to grow-with the camera,” said Edward Fasano, General Manager for marketing, SLR System Products at Nikon Inc. “While its easy-to-use design will attract first-time D-SLR photographers, the D5000’s rich feature set and high performance will also appeal immediately to more experienced enthusiasts. The D5000 is sure to inspire creativity and originality.”
Broadened Creativity and Adaptability Photographers can easily compose stunning images on the Vari-angle LCD monitor that they can view in a normal position fitting securely within the camera back, or swung out to be rotated or tilted. The monitor can also be stowed with the LCD panel tucked against the camera back to protect the screen when not in use. This tremendous freedom of movement, along with four Live View autofocus shooting modes, affords users the opportunity to shoot from a multitude of imaginative angles. Easy one-button Live View activation now features Subject Tracking autofocus (AF), which automatically locks onto a moving subject. Even if the subject leaves the frame and returns, Subject Tracking AF maintains focus, making the D5000 ideal for capturing fast moving children and pets. In addition to Subject Tracking AF in Live View, the D5000 features Face Priority AF, which automatically detects up to five faces in a scene and focuses on the closest subject; Wide Area AF, which offers a large AF area for optimal hand-held shooting; and Normal Area AF, which provides pinpoint accuracy when shooting with a tripod.
The D5000’s D-Movie Mode allows users the exciting ability to record HD movie clips (1280 x 720) at a cinematic 24 frames per second with sound. Photographers will appreciate the quality produced whether creating vacation clips or intertwining still photographs and movies in a post-production creative montage. Additionally, the D5000 is compatible with a comprehensive assortment of AF-S NIKKOR interchangeable lenses to provide users with the ability to capture perspectives not possible with typical consumer video recording devices. When using any NIKKOR VR lens, D-Movie clips benefit from Nikon VR image stabilization, which automatically activates during recording to deliver added sharpness and image stability. VR image stabilization also extends the D5000’s performance in low-light situations. D-Movie clips are recorded onto an inserted SD or SDHC memory card and saved as Motion JPEG AVI files for easy editing with widely available video editing software.
Further bridging the gap between point-and-shoot cameras and more advanced D-SLRs are the D5000’s 19 automatic Scene Modes, which free users to capture beautiful images without having to manually adjust camera settings. With the broad range of automatic Scene Modes, including Sports, Portrait, Candlelight, Silhouette, Autumn Colors and more, D5000 is the perfect camera for anyone looking to make inspiring images in challenging photographic conditions.
The D5000 also incorporates a comprehensive set of in-camera editing features to make the most of captured images without the need of a computer. The D5000 also introduces several new Retouch features, including a Soft Filter effect, which applies a smooth appearance to faces or the entire image; Perspective Control, which helps correct distortions in perspective often encountered in photographs of architecture; and Color Outline, which creates monochrome outlines of objects in images by eliminating color and tonal gradations. The D5000 saves each of these edited images as a separate JPEG file, ensuring the original image is left unmodified. With Nikon’s exclusive Picture Control Settings, photographers can quickly select various image appearance profiles that include Standard, Neutral, Vivid, Monochrome, Portrait and Landscape settings. In addition, Picture Control provides the ability to create and store up to nine user-defined custom profiles to reflect each user’s personal preferences for hue, color saturation and image sharpening.
Extensive playback options allow users to review their photos in groups of four, nine, or 72 thumbnail images. Alternatively, users can select the Calendar View to easily group and select images by date. These playback features can be viewed either on the Vari-angle LCD or an HDTV with HDMI connectivity available via a dedicated HDMI port on the camera.
Proven Image Excellence Consumers will immediately appreciate the benefits of the D5000’s 12.3-megapixel CMOS sensor coupled with Nikon’s exclusive EXPEED™ image processing system, which delivers highly detailed images with vibrant color reproduction and low noise across a broad ISO range. The D5000’s normal ISO range extends from ISO 200 to 3200, allowing for superior shooting in low-light conditions. Additionally, the D5000’s ISO range can be expanded to a Lo 1 setting of ISO 100 or a Hi 1 setting of ISO 6400, furthering the opportunities for previously impossible shots.
Nikon’s exclusive 3D Color Matrix Metering II, in conjunction with the EXPEED image processing system, contributes to the D5000’s ability to capture breathtaking images by instantly evaluating the exposure elements of each scene and comparing it to an onboard database of information from more than 30,000 images. These split-second calculations allow the D5000 to ensure the right exposure-even when conditions are extreme. To push creative boundaries even further, the D5000 allows picture-takers to also use Center-Weighted and Spot metering for added personal control. Smooth, Swift and Quiet Operation
The D5000’s 11-point auto focus system utilizes Nikon’s exclusive Scene Recognition System with Face Detection to help create the best possible images in a variety of shooting environments. Nikon’s 11-point AF offers best-in-class speed and accuracy, helping to ensure sharp focus, shot-after-shot. Single-point AF is suggested for static subjects, Dynamic-area AF for moving subjects, Auto-area AF for spontaneous shooting and 3D-tracking with 11 AF points for maintaining accurate focus on a subject moving throughout the frame.
Paired with Nikon’s AF-S NIKKOR 18-55mm f/3.5-5.6G VR image stabilization lens and the ability to shoot at four frames per second, the D5000 easily captures moments other cameras miss. Nikon’s VR image stabilization lenses reduce the blurring in images due to camera shake, allowing photographers to shoot hand-held at as many as three full stops slower than would otherwise be possible.* The new D5000 also features the innovative Integrated Dust Reduction System, which offers both an electronic sensor cleaning when the camera is powered on and/or off and the Airflow Control System, which directs dust away from the sensor with every snap of the shutter. These functions work to clear image-degrading dust from the sensor’s optical low-pass filter, helping to ensure spot-free images. In addition, the D5000 features a Quiet Release Mode that reduces the mirror cycling noise for discreet shooting in sensitive situations, such as weddings and other ceremonies.
System Expandability Photographers and enthusiasts alike can also appreciate the D5000’s system expandability, as the camera can work in conjunction with a variety of Nikon accessories including a broad assortment of NIKKOR AF-S interchangeable lenses. While the D5000 offers a versatile built-in flash, the camera is also compatible with Nikon’s Creative Lighting System and capable of Advanced Wireless Lighting when using the SB-900 Speedlight or the SU-800 Wireless Commander. For those looking to document their photo excursions with geo-tagging, the D5000 is compatible with the optional GP-1 GPS Unit, which automatically records latitude, longitude, altitude and time information when a picture is taken.
The D5000 also works seamlessly with Nikon’s powerful Capture NX 2 image editing software (available for purchase separately), for more advanced photographers seeking greater control over their post-capture images. Capture NX 2 simplifies the path to beautiful images with easy-to-learn editing tools and a highly versatile and elegantly simple interface, which streamline editing procedures.
Price and Availability The D5000 outfit, which includes the AF-S NIKKOR 18-55mm f/3.5-5.6G VR lens, will be available at Nikon Authorized dealers beginning in late April 2009 at an estimated selling price of $849.95**. For consumers who want to configure their D5000 system or for photographers who need an additional D-SLR body for an existing system, the D5000 will also be offered as a body only for an estimated selling price of $729.95. For more information, please visit www.nikonusa.com.
If you want to impress your friends and family, try shooting some panoramas. Panos are composites from multiple photos showing a wider field of view than a normal lens would provide. Because you’re using multiple shots panos often have astounding detail. A pano shot of 100 megapixels or more is not that hard to achieve and you (Yeah, you) can do it with virtually any camera and free software!
Panoramas will be much easier if you’re not shooting in “AUTO.” Admittedly the purpose of this series is to get you to explore the other modes in your camera, but it’s a really big deal here. You want your snaps to match shot-to-shot in depth of field and exposure. “AUTO” won’t let you do that. You need to be in “MANUAL” or an aperture priority mode where your f-stop setting won’t change between clicks.
Chinatown changed the game by inventing knock-off Burberry and Chanel bags. Now DXG, famous for inexpensive cameras, will bring Chinatown tactics to the tech world by introducing knock off Burberry and Chanel pocket high-def camcorders at Chinatown prices. These beauties will retail in August at $129, which is roughly the price of a Burberry or Chanel handkerchief. The camcorders capture HD video at 720p30.
DXG was extremely meticulous when ripping off these designs; the company nailed everything from embedding jewels on the Chanel model to adding a leather tag on the Burberry. The packaging will even match the design of the camcorders. The icing on the cake is that each HD camcorder will come will a matching case that looks like a mini purse!
DXG plans on selling the devices in its existing retail channels (Sears, RadioShack, and Wal-mart) but is also planning on breaking into upscale locations such as Bloomingdales. Call me crazy, but I expect these to A) sell like gangbusters, and B) get me out of any girl trouble. A $99 water-resistant model was also shown off. It was ruggedized and light, and offered 720p30 capture, MP3 player, voice recorder,offered in a few colors as well as a bad-ass “ice camouflage” design.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
Both 
HD video capture
28mm wide-angle lens
Buttons perhaps more difficult to use underwater
Only waterproof up to 3 meters
Most 3D recording systems require dual cameras mounted in close proximity, but Panasonic’s newest 3D camcorder combines these two systems into one.
Sometimes, what 
It’s got the same sensor that’s in Nikon’s previous 
