Hasta La Gadget!

When I hooked Digeo’s Moxi HD DVR up, I told my wife it’s like TiVo, and she said, “Then why don’t we just use TiVo?” After several weeks testing it, I have no good answer.

If you’ve never heard of Moxi or Digeo, you are forgiven. Although the company has been making set-top boxes for almost a decade in one form or another, this is the first time Digeo is selling a Moxi box to consumers directly. There are rollouts of similar-looking Moxi cable boxes in smaller markets across the US—the chance is slim that you have one, but if you do, you’re damn lucky, because they are a hell of a lot nicer than any of the crap Motorola or Scientific Atlanta DVRs that cable companies usually foist on their highest-paying customers.

But the question here is unfortunately not, “Is Moxi better than a cable box?” even though the answer to that question is, “You know it.” The question is, why should I buy one of these instead of a TiVo? And the answer is, at the moment, you probably shouldn’t.

Price Breakdown
When the news came out, some people bitched about the price, but the truth is, Moxi HD does sit somewhere between the two comparable CableCard-compatible high-def TiVo models. It’s got a 500GB hard drive, bigger than the 160GB on the $300 baseline TiVo and smaller than the 1TB found in the $600 TiVo HD XL. Once you factor in service, it’s pretty much exactly on par:

• Moxi HD is $800 up front, or four $200 payments, or 20 monthly payments of $40.
• TiVo HD is $300 plus $300 for three years of service up front (more if you pay a la carte)
• TiVo HD XL costs $600 plus the same service pricing, so if you pay for three years of service up front, it costs $100 more than Moxi

In the rear, they are very much the same. Both Moxi and TiVo deliver HD video over HDMI, take a CableCard tuner from any cable company, and can have expanded storage by way of a drive attached to the eSATA port. The difference lies in the interface, and in the internet-based services that each box offers at the moment, always subject to change.

Note: I realize that I have left out CableCard-compatible Windows Media Center PCs. As a fan of the Media Center platform, I didn’t do this by accident. It’s just that we have yet to see a cool-running quiet set-top PC marketed widely to average users for a reasonable price that can compete with TiVo or Moxi. When that product comes along, you better believe it will be in the running.

Interface
The company that builds the Moxi has been talking about their interface since the beginning of time, and even brags about an Emmy it won for it. I can see why. It’s a fun interface, a refreshing change from candy-colored ca-plop ca-plop ca-plop TiVo menu that you might well be sick of by now.

The interface operates a bit like Sony’s Xross Media Bar PlayStation interface, with icons running along a horizontal bar. Whenever you pause on an icon, Recorded TV, for example, you instantly see a vertically aligned list of choices, in this case, all the programs you’ve recorded, grouped by show and listed in alphabetical order. Point to a particular show grouping, and suddenly each episode appears to your right, and you can move over to them and select the one you want. In most cases, it’s a fluid experience.

My beef on the interface is that there are things you must learn that aren’t readily obvious, and are not helped by the design of the remote. The Zoom button turns out to be the most important button on the whole thing, but you wouldn’t know it from being so tiny. Zoom brings you in and out of the overlaid Moxi interface, unlike the centrally positioned Moxi button, which does, well, something.

Button confusion is combined with redundant motions or inconsistent behaviors. For instance, sometimes the back button will get you out of things, but sometimes it will not, and you are required to hit OK. You can move forward (right) or back (left) along the main icon menu, but if you pause, you can no longer move right, because that takes you into a new menu, so you have to left-arrow your way out if you want to keep looking at the icons. Hitting OK when you land on an icon is a no-no as well, since that takes you to secondary options: The thing to do when you get to the icon you want is to freeze. Usually. If you’re confused by all this, welcome to my first week with Moxi.

You can get over a lot of the confusion by learning the behavior, but I don’t remember ever having to learn TiVo behavior, or even having to look at the TiVo remote, which I have to do a lot with Moxi. My final frustration with the interface is one that may be remedied soon. There isn’t great customization. I don’t know how to sort recorded shows by date, and there are too many icons in the main menu for things I couldn’t give a fig about, and there’s no way, at the moment, to hide them.

Note: I shot that one-handed while a cat was pounding into my arm, begging for lunch, so pardon the helter-skelter framing.

Services
The big deal with set-top boxes these days—not just cable boxes but Blu-ray players too—is connected services. Everybody wants Netflix, Amazon On Demand, Rhapsody, Hulu, YouTube, your mom’s private video stream (just making sure you’re paying attention). Officially, Moxi only has Rhapsody and Flickr at the moment, but unofficially, by way of a special Windows background-server app, it has all of the above and more.

PlayOn (normally $40 but Moxi gives you a “free” product key when you buy one) lives on your Windows PC, using it to access Netflix and Amazon as well as Hulu, CBS, YouTube, ESPN and CNN, to grab video from the services and pop it up on the Moxi screen. Now, as you might imagine, some of it looks like ass, and because of the double bottleneck—internet-to-PC then PC-to-Moxi—quality suffers and there are lots of hiccups. But in theory, with the ideal all-ethernet setup, you can immediately make your Moxi do more than a TiVo can now.

PlayOn The Moxi also yanks vids and stuff from your PC or other servers on your network. Like anything else, though, there’s limited file compatibility, and I’m not a fan of the interface. I could get it to see H.264 video on a network drive, but it couldn’t play them. And although the manual says you can stream H.264 video from a computer that can decode them first, I couldn’t find any of the media files I had on the PlayOn test PC for some reason, probably because it didn’t have Windows Media Connect or other server software running. (Side Note: Don’t be like me—don’t rip your DVDs in H.264.)

I think even if the PlayOn service worked half as well as it had inside my head, I’d be happy, but the Moxi service in general still felt buggy, like it was still in beta, even though I am assured that it is not. In addition to the expected occasional trouble with CableCard (some as a result of my moving houses), I have experienced more mysterious problems. Even now, the system occasionally restarts spontaneously, and I can’t go two days without noticing chunks of time missing from my favorite shows, like they’d been hand recorded by Richard Nixon.

Other connected perks do work nicely. Like TiVo, you can program it over the web, and that worked instantly, so much so that it was my preferred way to add shows, because I could just type in their names, and pick recording preferences afterward. I will give a special shoutout to the Ticker, which, once you figure it out, lets you browse news reports and other text feeds while watching shows. It’s great, but I’m still not comfortable turning it on and off. (Apparently, more practice is needed.)

So I end as I began, with a strong interest in Moxi and the need for new TiVo competitors, but with the gnawing feeling that however much Moxi can advance, TiVo has a head start it will be able to exploit for years to come. I love that there are more entrants to this field—Moxi’s “enemy” as it were is not TiVo but the total crap cableco DVRs that both are striving to replace. That said, though, you can only have one, and I think I’m going back to TiVo, old-school menus, silly sound effects and all. [Product Page]

In Summary

Interface look is refreshing change from TiVo, with lots to do while watching TV PIP

PlayOn capability technically means it has the most web video options available; Ticker great for news, sports and weather

Price up front is daunting, even though it’s on par with TiVo pricing when you factor in service

PlayOn server software not the easiest to work with, only runs on Windows, and internet connection can be very sluggy.

Remote button layout is confusing; important buttons are not clearly identified

Roku hooked us up with an early preview of Amazon Video on Demand in HD for its Video Player, and while we didn’t have much time to poke around, but what we saw was mostly impressive. Video took a little longer to buffer in than Amazon SD or Netflix’s HD streams on our 10Mbps cable connection, picture quality was noticeably better, although still not at Blu-ray levels. Apart from the HD content, the experience on the Roku box is essentially same as always: there’s still no search in the interface, so be prepared to hunt around for what you want — anything other than popular or blockbuster titles requires a little digging. Selection and pricing seem to be about on par with Apple TV / iTunes, but you’re getting a little less for your money, since audio is stereo-only compared to Apple’s 5.1 encoding. That’s a potential dealbreaker for us, but it might not matter to you, and Roku’s $99 Video Player is now an undeniably appealing way to beef up your HD content options. Short hands-on video after the break.

Continue reading Amazon Video on Demand HD on Roku Video Player hands-on

Filed under: Home Entertainment

Amazon Video on Demand HD on Roku Video Player hands-on originally appeared on Engadget on Tue, 21 Apr 2009 16:54:00 EST. Please see our terms for use of feeds.

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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.”

Sometimes, what you read on the internet is true. Like now! Nikon’s D5000 is a 12.3MP DSLR that shoots 720p HD video using the D90’s sensor for $850. Yep, the display is all swivel-y.

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.

[Nikon USA]

Panasonic’s HD Micro Four Thirds shooter honestly can’t arrive soon enough, with its continual autofocus while shooting, on-the-fly aperture switching and all around loveliness. Thus, it’s with a heavy heart that we present to you the following tidbit: according to Doug Borbath, a senior project manager at Panasonic Canada, the DMC-GH1 won’t ship to North America until “late May,” though the pricing remains pretty much in line with what we’ve been hearing. It’ll sticker at $1,899CDN, which equates to just over $1,500 here in the United States. That price does include the pretty astounding 14-140mm (28-280mm in Four Thirds terminology) stock lens, though it doesn’t include the optional external microphone ($200; available “around the same time”) nor the super wide angle Lumix G Vario 7-14mm/f4.0 ASPH (price unknown; available at GH1 launch). Check the read link for some seriously enviable footage.

[Thanks, Jive]

Filed under: Digital Cameras

Panasonic DMC-GH1 handled on video, coming to North America in May originally appeared on Engadget on Tue, 31 Mar 2009 16:19:00 EST. Please see our terms for use of feeds.

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