Wednesday, November 30, 2011

Android leads Apple - confirms Chinese dominate production


Nielsen's Q3 numbers are out: Android's still atop the OS chain, Apple remains number one manufacturer

Another quarter has come and gone, and you know what that means: Nielsen ratings are out again. The latest batch of numbers don't reveal anything wildly new, but they're still just as telling nonetheless: 44 percent of mobile subscribers in the US use a smartphone in the US. Of those, 71 percent are in possession of an Android device or an iPhone. Additionally, 56 percent of all phone purchases during the third quarter were smartphones. And -- this probably won't come as a surprise to anyone -- at a decisive 42 percent, Android remains the number one smartphone OS while Apple is still perched firmly on top as the leading manufacturer (28 percent). Check out the source link below and graph above for more of the tiny details.

Android Phones and iPhones Dominating App Downloads
November 29, 2011
In the U.S., 71 percent of those with smartphones own either an Android device or an iPhone. But when it comes to smartphone apps, iPhones and Android smartphones are even more dominant: 83 percent of app downloaders, that is, those who downloaded an app in the past 30 days, use iPhone or Android smartphones.

According to Nielsen's latest data, 44 percent of all US mobile subscribers now have smartphones. Among those who purchased a new mobile phone in the last three months, 56 percent chose smartphones. Android remains the leading smartphone operating system while Apple is the leading smartphone manufacturer.

The Sky is Falling! The sky is falling?


What Does Windows 8 Mean for Silverlight's Future?

The software industry lives within an interesting paradox. IT in the enterprise moves slowly and cautiously, upgrading only when safe and necessary. IT interests intentionally live in the past. On the other hand, developers and Independent Software Vendors (ISVs) not only want to use the latest and greatest technologies, but this constituency prides itself on gauging tech's future, and basing its present-day strategy upon it. Normally, we as an industry manage this paradox with a shrug of the shoulder and musings along the lines of "it takes all kinds." Different subcultures have different tendencies. So be it.

Microsoft, with its Windows operating system (OS), can't take such a laissez-faire view of the world. Redmond relies on IT to deploy Windows and (at the very least) influence its procurement, but it also relies on developers to build software for Windows, especially software that has a dependency on features in new versions of the OS. It must indulge and nourish developers' fetish for an early birthing of the next generation of software, even as it acknowledges the IT reality that the next wave will arrive on-schedule in Redmond and will travel very slowly to end users.

With the move to Windows 8, and the corresponding shift in application development models, this paradox is certainly in place. On the one hand, the next version of Windows is widely expected sometime in 2012, and its full-scale deployment will likely push into 2014 or even later. Meanwhile, there's a technology that runs on today's Windows 7, will continue to run in the desktop mode of Windows 8 (the next version's codename), and provides absolutely the best architectural bridge to the Windows 8 Metro-style application development stack. That technology is Silverlight. And given what we now know about Windows 8, one might think, as I do, that Microsoft ecosystem developers should be flocking to it.

But because developers are trying to get a jump on the future, and since many of them believe the impending v5.0 release of Silverlight will be the technology's last, not everyone is flocking to it; in fact, some are fleeing from it. Is this sensible? Is it not unprecedented? What options does it lead to? What's the right way to think about the situation?

Is v5.0 really the last major version of the technology called Silverlight? We don't know. But Scott Guthrie, the "father" and champion of the technology, left the Developer Division of Microsoft months ago to work on the Windows Azure team, and he took his people with him. John Papa, who was a very influential Redmond-based evangelist for Silverlight (and is a Visual Studio Magazine author), left Microsoft completely. About a year ago, when initial suspicion of Silverlight's demise reached significant magnitude, Papa interviewed Guthrie on video and their discussion served to dispel developers' fears; but now they've moved on.

So read into that what you will and let's suppose, for the sake of argument, speculation that Silverlight's days of major revision and iteration are over now is correct. Let's assume the shine and glimmer has dimmed. Let's assume that any Silverlight application written today, and that therefore any investment of financial and human resources made in Silverlight development today, is destined for rework and extra investment in a few years, if the application's platform needs to stay current.

Is this really so different from any technology investment we make? Every framework, language, runtime and operating system is subject to change, to improvement, to flux and, yes, to obsolescence. What differs from project to project is how near-term that obsolescence is and how disruptive the change will be. The shift from .NET 1.1. to 2.0 was incremental. Some of the further changes were, too. But the switch from Windows Forms to WPF was major, and the change from ASP.NET Web Services (asmx) to Windows Communication Foundation (WCF) was downright fundamental.

Meanwhile, the transition to the .NET development model for Windows 8 Metro-style applications is actually quite gentle. The finer points of this subject are covered nicely in Magenic's excellent white paper, "Assessing the Windows 8 Development Platform." As the authors of that paper (including Rocky Lhotka) point out, Silverlight code won't just "port" to Windows 8. And, no, Silverlight user interfaces won't either; Metro always supports XAML, but that relationship is not commutative. But the concepts, the syntax, the architecture and developers' skills map from Silverlight to Windows 8 Metro and the Windows Runtime (WinRT) very nicely. That's not a coincidence. It's not an accident. This is a protected transition. It's not a slap in the face.

There are few things that are unnerving about this transition, which make it seem markedly different from others:
  • The assumed end of the road for Silverlight is something many think they can see. Instead of being ignorant of the technology's expiration date, we believe we know it. If ignorance is bliss, it would seem our situation lacks it. 
  • The new technology involving WinRT and Metro involves a name change from Silverlight. 
  • .NET, which underlies both Silverlight and the XAML approach to WinRT development, has just about reached 10 years of age. That's equivalent to 80 in human years, or so many fear. 
My take is that the combination of these three factors has contributed to what for many is a psychologically compelling case that Silverlight should be abandoned today and HTML 5 (the agnostic kind, not the Windows RT variety) should be embraced in its stead. I understand the logic behind that. I appreciate the preemptive, proactive, vigilant conscientiousness involved in its calculus. But for a great many scenarios, I don't agree with it.

HTML 5 clients, no matter how impressive their interactivity and the emulation of native application interfaces they present may be, are still second-class clients. They are getting better, especially when hardware acceleration and fast processors are involved. But they still lag. They still feel like they're emulating something, like they're prototypes, like they're not comfortable in their own skins. They're based on compromise, and they feel compromised too.

HTML 5/JavaScript development tools are getting better, and will get better still, but aren't as productive as tools for other environments, like Flash, like Silverlight or even more primitive tooling for iOS or Android. HTML's roots as a document markup language, rather than an application interface, create a disconnect that impedes productivity. I don't necessarily think that problem is insurmountable, but it's here today.

If you're building line-of-business applications, you need a first-class client and you need productivity. Lack of productivity increases your costs and worsens your backlog. A second-class client will erode user satisfaction, which is never good. Worse yet, this erosion will be inconspicuous, rather than easily identified and diagnosed, because the inferiority of an HTML 5 client over a native one is hard to identify and, notably, doing so at this juncture in the industry is unpopular. Why would you fault a technology that everyone believes is revolutionary? Instead, user disenchantment will remain latent and yet will add to the malaise caused by slower development.

If you're an ISV and you're coveting the reach of running multi-platform, it's a different story. You've likely wanted to move to HTML 5 already, and the uncertainty around Silverlight may be the only remaining momentum or pretext you need to make the shift. You're deploying many more copies of your application than a line-of-business developer is anyway; this makes the economic hit from lower productivity less impactful, and the wider potential installed base might even make it profitable.

But no matter who you are, it's important to take stock of the situation and do it accurately. Continued, but merely incremental changes in a development model lead to conservatism and general lack of innovation in the underlying platform. Periods of stability and equilibrium are necessary, but permanence in that equilibrium leads to loss of platform relevance, market share and utility. Arguably, that's already happened to Windows. The change Windows 8 brings is necessary and overdue. The marked changes in using .NET if we're to build applications for the new OS are inevitable. We will ultimately benefit from the change, and what we can reasonably hope for in the interim is a migration path for our code and skills that is navigable, logical and conceptually comfortable.

That path takes us to a place called WinRT, rather than a place called Silverlight. But considering everything that is changing for the good, the number of disruptive changes is impressively minimal. The name may be changing, and there may even be some significance to that in terms of Microsoft's internal management of products and technologies. But as the consumer, you should care about the ingredients, not the name. Turkish coffee and Greek coffee are much the same. Although you'll find plenty of interested parties who will find the names significant, drinkers of the beverage should enjoy either one. It's all coffee, it's all sweet, and you can tell your fortune from the grounds that are left at the end. Back on the software side, it's all XAML, and C# or VB .NET, and you can make your fortune from the product that comes out at the end. Coffee drinkers wouldn't switch to tea. Why should XAML developers switch to HTML?

Monday, November 28, 2011

Panasonic Android ToughPad FZ-A1MIL-STD-810G

By 

12:09 November 14, 2011


Pricing, availability and technical details have now emerged for Panasonic's new rugged tablet that we briefly covered in June. The Toughpad FZ-A1 has been designed to meet the needs of a modern mobile workforce, and features a multi-touch screen bright enough to use in daylight, has been drop-tested at Panasonic's own labs to MIL-STD-810G standards, and is both waterproof and dust resistant to IP65 standards.

Although consumer tablets like the iPad are now being used for much more than watching videos, checking emails, or playing games - such as assisting disabled voters, or breaking into new musical ground - they're not nearly tough enough to meet the needs of the mobile worker. You could, of course, simply enclose your tablet in a rugged outer shell or waterproof it in some WaterWear, but there are better options available.


Panasonic has a fair pedigree when it comes to mobile computing toughness - enjoying a 65.3 percent share of last year's European rugged and durable notebook computer market - and says its new Toughpad FZ-A1 is built to perform where other tablets fail. The Android 3.2 tablet has a wide operating temperature range of -10 °C to 50 °C (14 °F to 122 °F), should be able to withstand a drop from four feet (120 cm) in a powered-off state, and benefits from the same ingress resistance rating as Panasonic's somewhat chunky Toughbook H1 Field Windows tablet.

At its heart beats a Marvell 1.2GHz dual-core processor incorporating an SoC-compliant dedicated security processor core with FIPS 140-2 Level 2. This handles software and data encryption, enhanced VPN, authentication, trusted boot and device management, and protects against tampering. The processor is supported by 1GB of SDRAM and 16GB solid state storage - with SDHC media card expansion.

The 10.1-inch, 1024 x 768 pixel resolution capacitive touchscreen display couples anti-glare/reflection film with up to 500 nit brightness for daylight-friendly use, and includes an active digitizer that records pressure, direction and speed along with the signature for greater legal authority when signing documents. It comes supplied with a battery-free digitizer pen, and the tablet's Lithium-ion battery is said to power it for about ten hours of usage between charges and can be replaced/upgraded by the customer's IT support team.

There's 802.11b/g/n Wi-Fi, Bluetooth 2.1 with EDR, optional 3G, built-in satellite GPS and a digital compass. Physical connectivity takes the shape of a single micro-HDMI port and one micro-USB 2.0 port, video and photographic needs are met by a 2 megapixel front-facing webcam and a 5 megapixel camera with LED flash at the rear, and security measures include Marvell hardware-assisted storage encryption, Marvell Trusted Boot, and Authentec Mobile Security.



All of this looks impressive enough until it's compared with other equally tough cookies like the Motion CL900 from Motion Computing - which features a Corning Gorilla Glass screen, slightly better resolution, more onboard storage and a faster main processor.

Panasonic Computer Products Europe says that its 10.5 x 0.67 x 8.35-inch (226.3 x 17 x 212 mm), 2.13 pound (970g) Toughpad FZ-A1 is set for second quarter availability at an estimated price of EUR850 (US$1,158) for the standard tablet and EUR999 (US$1,361) for the 3G-enabled model, prices include a 3-year warranty. The release is supported by a host of accessories, such as vehicle mounts, desktop cradles and hands-free holsters.

Panasonic has also revealed that a 7-inch model will follow in the second half of 2012.

Friday, November 11, 2011

HTML5 vs Silverlight


The Future of Flash a Hot Topic at HTML5 Video Summit, SMW
Without doubt, topic number one at this week's HTML5 Video Summitand Streaming Media West conferences in Los Angeles was Adobe's decision to discontinue Flash Player support on mobile devices.
Adobe's announcement came in the middle of both events. With little in the way of explanation from Adobe, conference speakers and attendees were left to speculate on the reasons.

Shortly before his second day HTML5 Video Summit panel entitled "Comparing Video Delivered with HTML5, Flash Player, and Silverlight," Robert Reinhardt, founder of VideoRx.comtweeted that "My session today at #SMWest will be presented in light of" the previous evening's news.

The audience was so eager for Flash information that Reinhardt took the microphone 10 minutes before his session started to offer his thoughts. Adobe, he noted, was a platinum sponsor for both the HTML5 Video Summit and Streaming Media West. (That didn't help the organizers get info from the tight-lipped Adobe representatives.)

The Adobe public relations team, Reinhardt suggested, had "contextualized" the news poorly.
Flash may be fleeing the mobile market, but Reinhardt doesn't see it fading from the desktop any time soon.
"Flash is going to be around for the foreseeable future," he said.

While developers will eventually gravitate to HTML5, Reinhardt believes the transition will be a slow one.
Too many of his clients, Reinhardt said, see reaching HTML5 audiences as a cure-all or a Band-Aid. Yet, HTML5 is missing key features, such as alpha channel masking for transparencies, embedded cue points, and support for subtitles and captions. HTML5 video also doesn't offer an immersive full-screen experience.
Web developers are currently in a transition mode, Reinhardt noted, and will have to support more than one technology to reach their entire audience. HTML5 developers are only now starting to learn from their mistakes, he offered.

The HTML5 video tag is a good thing for smartphones and other mobile devices, Reinhardt said, bringing basic video capabilities. It lacks the ability to create an immersive experience, which is less of an issue on a phone. It also lacks adaptive streaming out-of-the-box. Reinhardt said that supporting video on a BlackBerry is a chore.

"BlackBerry continues to be the bane of my existence," he said, adding that he's waiting for the devices to go away.

As for comparing streaming formats, Reinhardt said that both Flash and Silverlight create immersive experiences, work with fluctuating bandwidth, and offer content protection. Their only minus is that they aren't supported on all mobile platforms.

For more on Adobe's decision, read Jan Ozer's Adobe to Discontinue Flash on Mobile Devices.

Nikon NEF version 1.12.0


Nikon NEF Codec version 1.12.0 released

The just released Nikon NEF codec version 1.12.0 has added support for Nikon 1 and 64-bit Windows computers:
  • Supports NEF (RAW) images taken with the Nikon 1 J1, Nikon 1 V1.
  • Supports 64-bit versions of Windows Vista and Windows 7.
    If thumbnails for NEF files fail to display correctly in the Photo Gallery or Photo Viewer for 64-bit editions of Windows Vista and Windows 7, perform a disk clean-up as described below.

Yikes - Google Maps Mash-Ups might Cost you?


Google's new usage charges for the Maps API


Google have recently announced that they will be introducing usage charges for websites which exceed 25,000 Map API calls per day, see http://googlegeodevelopers.blogspot.com/2011/10/introduction-of-usage-limits-to-maps.html. These changes may affect Map Channels as the usage will be applied to the combined maps total for the domain which is currently in excess of this limit. I am working on ways to avoid these charges and am still hopeful that Google will revise the plan to offer a better deal for map developer sites such as Map Channels. Google intend to charge $4 per 1,000 map API 'hits' which would be far in excess of all site income from adsense and donations. 

The usage charges are not being applied until 'early 2012' so there will be no immediate effect on Map Channels. As an initial step Dual Maps and Mobile Place Maps have been moved to separate domains at 

www.dualmaps.com and www.mobileplacemaps.com. 

Additional map hosting domains may be added later to spread the load of maps usage and avoid the usage charges. Announcements will be made through the site should any major changes need to be made to Map Channels. Please subscribe to our Twitter and RSS News feeds for the latest information.

TalonView and CIT






The U.S. Army Commercial Imagery Team is a specialized team providing high resolution unclassified commercial satellite imagery to U.S. forces, coalition forces, and non-government organizations that can be openly shared with coalition partners and Afghan and Iraqi counterparts.

The CIT is an operational element of the 1st Space Brigade, a subordinate command of the U.S. Army Space and Missile Defense Command/U.S. Army Forces Strategic Command. The team is operational control to U.S. Central Command and works in conjunction with the National Geospatial-Intelligence Agency, the topographic community, the intelligence community and CENTCOM’s Commercial Imagery Collection managers.

The CIT has a unique, direct relationship with the NGA and the commercial imagery providers, Digital Globe and GeoEye. The CIT has an agreement with the NGA that allows the receipt of raw imagery directly from DigitalGlobe and GeoEye over a 45 megabytes per second connection into a Virtual Ground Terminal (VGT) that automatically processes the raw imagery into an ortho-rectified NITF format.

This minimally processed imagery can be provided to units with organic geospatial support (S2/J2, topographical teams, geospatial support teams, etc.) so they can manipulate the images as needed. Or the CIT can package imagery into a finished format, such as GeoPDF, GeoTiff, JPEG, Mr.Sid and hard copy maps to units lacking organic geospatial assets.

The CIT has 72 terra bytes of archived commercial imagery covering a large portion of the CENTCOM Area of Responsibility. This allows the CIT to rapidly process and deliver imagery requests, many times within hours of the request. This archive grows each month with updated collections of pan-chromatic (black and white) and multi-spectral (color) images. All of the archived imagery is less than one year old ensuring the relevancy of the products provided. The CIT also has a direct access relationship with NGA Source for the submission of commercial imagery new collects.

A second key task of the CIT is to provide Mobile Training Teams to Iraq and Afghanistan to teach TalonView to requesting units. This training focuses on training the users on how to request commercial imagery and how to use TalonView to manipulate the imagery to create their own products.

The CIT sends mobile training teams to Iraq and Afghanistan on a monthly basis to teach Iraqi and Afghani governmental organizations to use TalonView, a Microsoft Windows-based mapping application published by the NGA that displays various types of maps and geographically referenced overlays. In some cases, the Iraqi and Afghani personnel have become adept enough with the system to teach it to their compatriots. In those cases, the CIT members simply assist the Iraqi and Afghani trainers.


A U.S. Army soldier (l) from 3rd Squadron, 3rd Armored Cavalry Regiment and a U.S. Army interpreter (c) look over a map with an Iraqi army soldier from 8th Brigade, 2nd Division, before starting a search of the Ninewa Forest in Mosul, Iraq. In some cases, soldiers need unclassified satellite imagery to coordinate with citizens in Iraq and Afghanistan.

The images come in large, multiple-gigabit-size files that can take a couple of hours for the team to download from the suppliers, so e-mailing them to warfighters in remote locations without state-of-the-art communications systems usually is not an option. Instead, the team often must arrange for hand delivery via courier or mail, which of course slows the total dissemination time.

However, the team expects to complete an upgrade to its communications systems this spring. The effort includes an upgrade from a single one-megabit-per-second line to two direct service lines, each one capable of 45 megabits per second for a total capability of 90 megabits per second. Furthermore, one of those lines will go directly to the team deployed in Bahrain so that data will reach the warfighters much more quickly. The upgrade also will provide a capability to transmit images to any user with a Global Broadcast System receiver, including some remote forward operating bases. “It’s a data burst capability, and it will greatly enhance the way we’re getting imagery out there,” Col. Curry emphasizes.

The CIT has been deployed to CENTCOM since 2004 answering thousands of requests for imagery, providing education to hundreds of coalition partners and supporting hundreds of military units, coalition partners and non-government organizations. Even though deployed to U.S. Central Command, the CIT has provided products to U.S. African Command in an effort to thwart would-be pirates, and products in support of humanitarian relief efforts for the Haiti and Japan earthquakes for Southern Command and Pacific Command.

The team also has provided imagery of the Horn of Africa for U.S. forces involved in anti-piracy efforts. The images are clear enough to locate boats operating illegally in the area or hiding along the coastline, where it would be time-consuming and dangerous for anti-piracy forces to search for them. Furthermore, they have provided situational awareness images in South Korea since tensions with North Korea flared last year, and they supported relief efforts during flooding in Pakistan this past summer. During Pakistani flood relief efforts, U.S. forces were able to share the unclassified, pre- and post-flooding images with the Pakistanis, helping to send food and medical supplies into devastated areas. “Having the CIT do their job by providing up-to-date images enabled forces to save lives, time and money helping out our neighbors—providing life support and building bonds between the two nations,” Col. Curry says.

The CIT also is trying to establish a program of record, which would allow it to support a wider range of missions simultaneously, possibly including homeland security missions or relief efforts in nearby countries such as Haiti. “What we have is exactly what is needed for first responders—those who don’t have up-to-date maps or imagery products. The CIT enables planners, commanders and individuals on the ground to do their jobs—to expedite relief, support or life-saving missions,” Col. McArdle says.

For more information about, or support from, the U.S. Army’s Commercial Imagery Team, contact:

Maj. Jeffrey Lakey, USA, space operations officer, 1st Space Brigade, Jeffrey.Lakey@smdc-cs.army.mil, (719) 554-8742; or Brandon Martinez, technical adviser, 1st Space Brigade, Brandon.Martinez@smdc-cs.army.mil, (719) 554-1139

For support in U.S. Central Command, contact: Cit.rfi.centcom@me.navy.smil or cit.rfi.centcom@me.navy.mil. The 24-hour assistance line: 011-973-3838-2178.Primary Defense Switched Network number: (318) 439-6215.

Canon Camera can decide if it is a SLR or Video?

Canon C300 makes an appearance in Vincent Laforet's Mobius, find the short and behind the scenes right here (video)
 
 



A New York Times photojournalist turned Hollywood director, Vincent Laforet has become synonymous with DSLR video, after his short film Reverie helped catapult Canon's 5D Mark II into the world of digital filmmaking. And after playing such a significant role in launching that camera, we certainly weren't surprised to see Laforet make an appearance at today's Canon Cinema event, with his short film Mobius getting some time on the big screen. The film follows a photojournalist who stumbles upon a Cartel execution, but it also tells the story of Canon's tightly-veiled C300 cinema camera, which the company launched just moments ago. Laforet used a pre-production C300 (note the green tape button labels) to shoot Mobius in the Mojave Desert under a variety of harsh conditions, including powerful sunlight and near-darkness, in both extremely hot and chilly temperatures -- the camera appears to have performed extremely well, given both the remote shooting environment and tight production schedule.

Canon has yet to reveal the C300's price tag, which we expect to far undercut the $120,000 Arri Alexa kit, but its sheer portability makes it a more appealing option for filmmakers -- especially those with limited time and other resources. Laforet was able to shoot his film with a very small crew, since the C300 can be operated by just one photographer. The director used the camera mounted on a tripod, tethered to a variety of helicopters, sitting on the road and even hand-held, like a camcorder or DSLR. Laforet shot with Canon's new FK30-300 telephoto cine zoom PL-mount lens, along with a variety of EOS mount lenses, and notes that the camera's form factor makes it even easier to shoot with than a DSLR like the 5D Mark II. Its cost -- somewhere in the range of $20,000 -- should also put it within reach of not only Hollywood cinematographers, but also television directors and even documentary filmmakers and news photojournalists. We won't see the C300 hit the market until late January 2012, so jump past the break for a sneak peak at Mobius to see Canon's new cinema flagship, along with a rather comprehensive behind-the-scenes video.

Continue reading Canon C300 makes an appearance in Vincent Laforet's Mobius, find the short and behind the scenes right here (video)



Man, is this thing ugly. But when it comes to cinema cameras, looks are the last thing on a cinematographer's mind -- performance is where it counts, and with the Canon C300, its compact size is an asset as well. We haven't had a chance to shoot with Canon's new flagship cinema cam, but we've heard from plenty of folks who have, including director Vincent Laforet. The C300's incredibly compact size allows cinematographers to work in environments that aren't typically accessible to big rigs -- you can shoot with this camera just as easily as you can with a DSLR, hand-holding it for quick shots, with a waist-mounted Steadicam system for walk-around shoots or even mounting it on a small remote-controlled helicopter, as Laforet did during his three-day Mobius shoot.

The C300 will be more familiar to cinematographers -- photojournalists may have access to the cam, thanks to its $20,000 price tag (that's a relative bargain, believe it or not), but you can't pick this up and fire away without taking some time to learn the interface. It has quite the solid feel, as you'd expect from a camera in this price range, though it's not as heavy as it looks -- you won't want to hold it in your hand for a full day of filming, but quick shots probably won't be an issue. The system is modular, so you can add and remove components as you wish -- industry standard connectors let you hook up cinema gear, which is something you could never do with the 5D Mark II. The small form factor and price tag to match should help Canon gain some ground in Hollywood, but we'll wait for a chance to shoot some footage before drawing any firm conclusions. In the meantime, we'll have to take Laforet at his word -- which you'll find just past the break.

Canon Goes All In On EOS With C300 Digital Cinema System, New DSLR
 
  

from TechCrunch by Devin Coldewey
In this evening of dueling announcements (RED announced their compact high-res camera system tonight as well), Canon has shown that it’s serious in the area of digital cinema with its new Cinema EOS system. The first camera in the line is the C300, a compact camera that, contrary to expectations, doesn’t produce a 4K image. They’ve instead focused on maximizing the performance of a Super 35-sized sensor producing 1080p footage.

To many this resolution will be a disappointment, but Canon has something for that crowd as well (though now quite in complete form): a DSLR “concept” which they stopped short of calling the 5D Mk III, but which seems to fill that role, complete with 4K recording:

It’s a new focus on pro but not super-pro cinema (i.e. not $100k cameras) using the EOS branding and EF mount, and it builds on Canon’s existing reputation in that area. I noted the issues with DSLR sensors years ago, and it looks like Canon is aiming at keeping the strengths while mitigating the weaknesses.

While the DSLR is less than real at this point (though it likely just lacks final design and manufacturing), the C300 is as real as it gets.

It records 1920×1080 images of the red and blue channels, and 1920×2160 for the greens, in semi-traditional RGBG style, for a 1080p stream at up to 24fps and 50mbps. As far as the numbers go, it’s a far cry from RED’s scarlet, which at half the price offers four times the resolution and eight times the datarate. But specs aren’t everything and what matters is how well these perform in real life situations.

The C300, in PL and EF mount versions, will be available in January and March of 2012 respectively for around $20,000.

More Info And First Impressions: Canon’s New C300 Pro Cinema Camera
 
 

IMG_3150

Cinema tech isn’t a big focus on TechCrunch, but with Canon it makes sense, especially when that cinema tech represents a major overlap with consumer gear. The Cinema EOS line introduced last night is just that, and I’ve just had the chance to get my hands on the new C300digital cinema camera (and a little quality time with the new 1D-X as well). I also got to put a few questions to Chuck Westfall, from Canon’s R&D department.

The most obvious thing about the new camera is how compact and handling-friendly it is. I sought out the most minimal setup, which is pictured above and (except for the lens) the default package for purchasing the C300. It was quite light and well-balanced, and the controls felt convenient for thumb or off-hand operation.

While I doubt any AAA features are going to be filmed on this micro setup, it does demonstrate how minimal the minimum viable camera unit is. I’m actually surprised that it comes with a built-in EVF, which isn’t particularly high-resolution (1.5 million dots, somewhere around 840×600 pixels or so) and is redundant for many filmmakers. And it does increase the options available.

I talked with Chuck Westfall about the camera, and he said that they had interviewed a lot of crews and cinematographers, who liked the small size and easy operation of DSLRs, but disliked the lack of ports and image quality issues. The C300 is a direct response to these concerns.

The lenses, too, are designed with motion photography in mind. The 360-degree focus ring and stepless iris (which feels smooth as butter and would be really nice to have in certain situations) are cinema-oriented, and they even gave the elements a different coating to reduce contrast and leave more up to the filmmaker. How the iris, which doesn’t use traditional stop numbers, will record or communicate that data to the camera is unclear, and Canon reps couldn’t answer my questions, citing the fact that most of the gear was pre-production. But they did confirm that aperture control is totally manual.
I asked about the choice to go with 1080p; RED’s announcement last night puts 4K recording at a very reasonable price and I was wondering whether Canon felt threatened. Westfall explained that “for an initial product” in the C series, they wanted it to fit into as many existing workflows as possible. Although 4K is clearly in Canon’s future (as demonstrated by the announcement of the 4K DSLR concept, they wanted to put something out that would plug right into the many productions that are shooting in 1080p. Which is a lot — you’d probably be surprised to hear how many are still shooting to tape or film.

As for RED’s product and how it related or competed with the C series, Westfall said diplomatically “the market is going to tell us which approach they prefer.” And while it’s true that RED’s Scarlet represents a serious value, the totally new workflow is only just beginning to make inroads on the industry at large, and the familiar Canon systems will still be preferred by many. Westfall convinced me of the company’s dedication to getting as much accuracy and quality from the sensor as possible, but comparisons will have to wait until the C300 hits studios.

Big RED - a steal at $10k if you can get one?



RED STUDIOS HOLLYWOOD, Hollywood, Calif., November 3, 2011 – RED Digital Cinema has officially released its third industry-changing camera, the Scarlet-X . With burst modes up to 12 fps at full 5K resolution alongside 4K motion capture from 1-30 fps, the camera allows professional photographers and cinematographers to simultaneously capture motion footage and still content. Never miss a shot. Ever. Scarlet-X’s compact design, endless modularity and advanced feature set provide a future-proof solution catering to every shooter’s needs, leaving one-dimensional DSLRs and 1080p camcorders in its wake. Priced at under $10,000, Scarlet-X advances RED’s vision to democratize superlative cinema and professional photography.






Scarlet-X comes standard with a Canon EF or PL mount, which can be swapped easily using Scarlet-X’s interchangeable lens mount system. Panavision, Anamorphic, and Nikon lenses are also compatible with the camera, providing ultimate freedom when it comes to creative decision-making. The addition of HDRx reaches up to 18 stops of dynamic range, bringing digital images closer than ever to the natural perception of the human eye.

With the innate ability to capture 5K REDCODE RAW stills and true 4K motion footage, Scarlet-X produces visually lossless files that can easily be graded and finished. Combining all of the finest qualities of cinema and photography into one camera, Scarlet-X allows the customer to have the best of both worlds. Compromise nothing. Shoot everything.

“The future is dependent on those who push… not those who react,” said Jim Jannard, founder of RED Digital Cinema.

RED is now taking orders on RED.com for Scarlet-X.

Since delivering their first camera – the RED ONE – in 2007, RED Digital Cinema has jumped ahead of the pack over camera companies that had dominated the market for decades. Feature films shot with RED cameras such as the Academy Award-winning movie “The Social Network” and the more recent “Contagion” have contributed to a lineage of cinematic success. Since the 2011 introduction of DSMC (Digital Still & Motion Camera) technology, photography icons like Bruce Weber, Greg Williams and Inez + Vinoodh have used RED cameras to shoot covers and spreads for the some of the most influential fashion magazines in the world.


RED’s Scarlet Gets Official: 4K For Under $10K
 
 

scarlet_logoFor more than three years, upstart camera maker RED has been teasing the Scarlet, a compact camera in the same class as their more powerful, but bulkier, RED One and Epic cameras. We actually saw one at CES this year, but they’ve completely redone the design and capabilities. They were going to publish all this information on their website, but they’re apparently under attack so we’re doing this live.
It used to do 3K and have a fixed 8x zoom. Now it’s essentially the same type of camera as the Epic (that is to say, a sort of chunky “brain” onto which you can fix lenses and so on), just for a much lower price.

The brain:


Fully accoutred:


The Scarlet X, as it’s now called, will sell for $9750 and will be shipping as early as November 17th – the date they said they’d ship earlier, at least after they revised the shipping estimate a dozen times or so. So what can it do?

Well, it does 4K, for one thing. That’s 4096×2160, at up to 25FPS, or quad HD at 30. This is at compression rates that are superior to what they’ve been shooting movies on for years, yet at a data rate that’s still eight times what Canon’s new C300 system shoots at. That’s 50 megabytes per second, or 400mbit/s for those keeping track. The full sensor size is 5120×2700 for stills.

It’ll also do 3K at 48fps, 2K at 60fps, and 1K at 120fps, which is fairly low-resolution but retains the color depth and so on. It’s a Super 35-sized sensor and they’re using leftover chips from Epic brains, which cost almost three times as much. In fact, if you shoot the same type of footage with the same lenses using the Scarlet and the Epic, the images should be “identical.” Here are some datarate specs for those who like that sort of thing:


Aesthetically, it’s similar to the rest, since it’s compatible with all the accessories, but it’s “battleship grey,” as RED founder Jim Jannard described it, and it doesn’t have “ribs,” because “she’s a girl, she’s smooth.”
It’s shipping November 17th, but only if you’re willing to shell out an extra $1500 for the titanium PL mount. The new aluminum Canon mount they’re putting on it will be available starting on December 1st. That $9750 price gets you the brain and an SSD; Jannard said that a fully-functional camera, with LCD, lens, rails, and handles will set you back around $13k.

Thursday, November 10, 2011

Crowd Security - DHS


Dry Corp, LLC Introduces Waterproof Case for Smartphones and Tablet Computers

November 8, 2011


Dry Corp, LLC introduced the DryCASE, a vacuum-sealed case that allows for full touch screen functionality on smartphones or tablet computers, including pictures and video, when it's snowing, sleeting or raining as well as underwater.

According to the announcement, the DryCASE is a flexible, crystal clear waterproof case that provides complete use of your phone, PDA or tablet while keeping it dry and clean. Simply pump out all the air with the easy to use hand pump and the case will vacuum seal around the contents and become completely waterproof. The air tight seal guarantees that the contents of the bag will stay dry even when dropped in the snow or submerged underwater. Every DryCASE comes with an extreme activity arm band for winter sports, and is crystal clear so pictures can be taken through it.
"Without a vacuum seal, there's no way to guarantee complete air and water impermeability," says Dr. Roy Archambault, CEO of Dry Corp. "Plus, since the DryCASE is sealed against your portable electronic device, you can still use your touch screen and keyboard."
Dry Corp reported that the DryCASE also features a 3-way headphone/microphone jack. Matchup the DryCase with another DryCorp accessory, DryBUDS waterproof headphones and listen to music while sitting on the chair lift. You can also hear and talk through the DryCASE as long as a tiny bit of air remains inside. The DryCASE also features a buoyant neoprene armband that can be used to attach the product to your arm or anything else.  
The DryCASE is 4.25 inches wide (10.8 cm) and 6.5 inches long (16.5 cm) and will fit almost any phone, camera or MP3 player.  An iPad, Kindle and PC tablet version is also available. 

Time to get cracking you Pointographers!!


Today’s the Day to Help Document the Earth

by MATT BALL on NOVEMBER 10, 2011
Today is 11-11-11, and the day set aside by the Creative Visions foundation as the One Day on Earth collaborative film to help benefit humanity. This effort that was founded in 2008 held its first simultaneous filming event last year on 10-10-10, with a unique geo-tagged video archive that will also soon be a feature film. The project focuses on showcasing the diversity, conflict, tragedy, and triumph that occurs in one day.Thousands of filmmakers, hundreds of schools, and dozens of non-profits are all participating and contributing. The trailer below gives a brief snapshot of films from around the world that were captured last year. Sign in to create your own contribution.