By David Hague   Thu, Feb 04, 2010

There is a bit of a battle between the iGeneration set at the moment. Whereas a few years ago, they were comparing digital still cameras, then iPods and finally iPhones, I am told the latest gossip of conversation is the latest mini camcorders and which one, like, would you buy?

It appears the choices are a bit limited. You have the current front runner, the Cisco Flip, the Creative Vado and now the JVC GC-FM1 - thankfully apparently known as the Picsio, not that that moniker shows anywhere on  the box or the unit itself.

All feature the same slimmer-than-a-cigarette-packet design and are light as a feather. A big advantage of the Picsio though is that as well as taking hi-def video, it also takes 8 megapixel stills and in iGeneration land, like that is seriously cool.

It also has an anti-shake feature, which considering this style of shape makes it quite hard to zoom without some visible stutter is a useful feature. The controls are very tactile and easy to use too.

The manual is a fizzer. 12 pages of fold out. Even a decent PDF would be better than, and coming from me, that it saying something.

In sunlight, as the monitor screen has a reflective coating, there is a severe problem of reflection; this is common to many cameras and camcorders these days, and while some are better than others, this problem will only ever go away when the sun goes out or better, viewfinders become in vogue again.

But out of the three brands available, I would buy the Picsio at its bargain price of $299. Not for any specific features, cool factor or even to a degree, the image quality. Simply that unlike the others, the Picsio is made by a company that has a history in camera manufacture and marketing, and that to me, is worth something. The fact you have to buy an SD card (minimum 4GB) and an HDMI cable as these are not supplied does subtract some Brownie points however.

Contact: JVC Australia 1300 728 225

Online: www.jvc.com.au

Price: $299

We liked: HDMI port, 8Mp still camera, tactile buttons

We didn't like:  LCD screen, no SD card or HDMU cable supplied

By David Hague   Thu, Feb 25, 2010

If you have a question about buying a camcorder, how to do something in a particular editing package, need advice on lighting, sound, special effects or anything whatsoever, our forum experts are here to help. SImply go to http://www.forum.auscamonline.com to register, and post away! It's all free, and the advice you'll get is from experts and users of similar software and equipment alike.

By David Hague   Sun, Feb 14, 2010

• Shooting better HD video http://bit.ly/9jfp5f
• Red Studios Hollywood Website http://bit.ly/9pur62
• ED EVF Bomb & ARRI Alexa Finder: Prototypes side by side http://bit.ly/bFlxJD
• Why ISO Is the New Megapixel Via Gizmodo  http://bit.ly/abtJ6n
• Toy Story 3 Trailer Easter Eggs Revealed http://bit.ly/9PpzJH
• VIDEO: NASA uses giant swing set to crash helicopter. http://bit.ly/9CWjgw
• Ready for doc Challenge? Filmmakers have 5 days to make a documentary, registration is open http://bit.ly/dt002m
• Kevin Smith on the iPad, Avatar, Conan/Leno and filmmaking http://bit.ly/cL4S2V
• Fusion, convergence, HDSLR's - what does this mean for magazines newspapers and devices like the #iPad? http://bit.ly/9bEiE3
• Hands-on demonstration of the ARRI ALEXA camera before Paris gets to see her: http://bit.ly/dC8oDl
•  Prelude to a trailer - Part 2. Look closely. Do you see it? http://ow.ly/16I9g
• Vision is GR8 on Bienve Valdivia_WONAD's 7D Black blacks crisp & clean looking Needs a rig though http://bit.ly/aEbjkG
• If you're lowballing the competition with your prices for video production -find out why you're wrong: http://cli.gs/nDGVmh
• The man credited with inventing the Frisbee has died at the age of 90 http://bit.ly/9yhYbc
• Sony Make.Believe website is up on Sunday http://bit.ly/bILvde
• RED MX shows more resolution than old RED One http://bit.ly/bZSIL2
• QLD Film Festival to benefit from New Head and New Dates! http://bit.ly/b3XJ1E
• Sony = the DOT a united global brand advertising blitz coming to OZ http://bit.ly/87z84M http://bit.ly/bILvde

By   Thu, Feb 11, 2010

Sydney - 9 February, 2010 - Sony Australia has unveiled its latest Linear PCM Recorder PCM-M10P, offering recording professionals and enthusiasts a lightweight, palm-sized recorder. Capturing the rich and dynamic sound quality of music, live performances or sound effects, the PCM-M10P offers high-fidelity, 96kHz/24-bit recording with built-in speaker and omni-directional stereo microphones for natural, high quality recordings.

Studio recording performance in your palm

Capable of recording 24-bit audio at sample rates of 96 kHz from any direction, the highly sensitive omni-directional electret condenser stereo microphones on the recorder achieve stereo audio with natural tonal reproduction, regardless of microphone setting. The microphones also effectively minimise wind noise and capture flat characteristics, even for lower frequency audio. Additionally, the built-in speaker allows clear and easy playback, a useful feature for musicians and journalists.

With the PCM-M10P, users can also create track marks to conveniently return to key points in a recording file. Track marks can be added during recording or playback, allowing users to effectively record their personal music performances and add track marks between songs.

Adding greater functionality, the PCM-M10P also offers signal processing features such as a digital limiter and digital pitch control functions for location recording. Users can further adjust their recording settings conveniently with the user-friendly large LCD display and peak level meter.

Fuss-free recording on the go

Featuring 4GB built-in flash memory, the PCM-M10P is capable of recording six hours of CD-quality recordings[1]. Cross-memory recording is also available with the MicroSD / Memory Stick Micro M2^TM slot, allowing extended continuous recording of up to 31 hours[2]. Other than live recordings, users can choose to record from external line-level devices or microphones where necessary. An optional input adapter is available, for use with external balanced microphones that may also require 48V phantom power.

Portable and lightweight, the battery-operated recorder can last up to 46 hours on two AA alkaline batteries, providing greater flexibility on the go[3]. Constructed with durable metal and bundled with a convenient hand strap and pouch, the PCM-M10P is resistant to hard knocks even by users with active lifestyles. Supplied with a remote commander, users can control key functions on the recorder from a distance without hearing handling noise.

Ease of sharing and editing

Since most multimedia editing software requires audio clips to be in MP3 format, the PCM-M10P offers users the versatility to record in MP3 format at three different bit-rates. As uploading and downloading of wav or MP3 formats are available through the high speed USB port, users can simply drag and drop their recorded files and share them without the hassle of converting audio formats.

Compatible with Windows® and Mac®, the PCM-M10P simplifies editing and sharing of recordings, while the supplied Sound Forge Audio Studio Recorder Edition software allows users to edit their audio tracks easily.

The PCM-M10P is available in matte black with a supplied high performance windscreen

[1] Approximate recording time with built-in 4GB memory in LPCM 44.10kHz/16 bit recording mode.

[2] Extended recording time is approximate and based on LPCM 44.10kHz/16 bit recording mode.

[3] Recording time is approximate and based on LPCM 44.10kHz/16 bit recording mode without HP monitor.

By Frank McLeod   Thu, Jan 28, 2010

Any time I open a software package and find a substantial paper manual that software leaps up a good ten Brownie points and Video Pro X has just that. The wire bound flat-opening manual, with English translated with only occasional minor glitches from the original German, is detailed, informative, well indexed and easy to use. Along with the single program DVD that is pretty much all that is in the largish box. Given what this package has to offer, it draws immediate comparison with other programs that fill their box with a heavy collection of useless detritus to counterbalance the light weight of the program.

Installation is straight forward but depending on what you wish to do, best check out the system requirements before you commit. Not surprisingly, the needs rise as you move from standard definition through HDV and then to AVCHD where a quad core CPU and max'd out RAM of 3 GB under 32 bit Windows is suggested.

A serial number is needed to get up and running and later on, to activate the licences for some of the codecs that come with the package. It is also needed for registration which opens up the way for updates, patches and suchlike.

Double click here.

If you are upgrading to Video Pro X from its little sibling, Magix Movie Edit, you have the option of staying with the Movie Edit interface or going with the suggested new Video Pro X front end. Having settled that, you then go on to open the program proper.

It is at this stage you are asked, via an options box, to choose from an existing or new project, as well as nominating the settings and a location for the various assets for your project. After that, the source and program monitors - a nice touch which alone takes it above most entry level applications - along with a multi-track 'arranger' (aka timeline) take up most of the screen real estate.  In the area that is left live the Media Pool (the asset container) along with the Fades (transitions), Title area and Effects (filters) all hiding being their own entry tab. The various windows are dockable, using either preset or customisable arrangements, so that if you have the luxury of two monitors, you can move things around to take advantage of the extra viewing area.

All assets from external sources can be assembled or captured from the 'File/Record audio/image/video' or through 'File/Import media files into project folder' commands. MVP can accommodate video files from most sources, including DV, HDV and AVCHD cameras, as well as MPEG 1, 2 and 4 files, QuickTime, WMV and XDCam formats. It will also directly import VOB streams from unencoded DVDs so pretty much all bases are covered. It should be noted - but not be a surprise - that MVP can only import but not export AVCHD files.

Let's go edit!

All tracks in the arranger are equivalent in appearance and function until you load the first video or audio item onto it at which time it becomes an audio or video track. Initially I found this a bit confusing but soon got comfortable with it but I never liked what seems to be becoming the norm - the drab rather depressing dark green-grey 'skin'. It might be petty, but I would have liked to be able to change this to suit my well-known delicate personality. However, I didn't find that option.

There is a selection of different commands, cursors and tools on the tool bar above the arranger for manipulating tracks. Most of these have an associated keyboard shortcut displayed along with their name in a tool-tip bubble when you hover over the icon. Unusually, these icons change depending on which option is selected from the drop-down menu associated with each respective icon. As an example, there are six choices under what could be called cursor selection but Magix labels this 'Mouse. One choice that is a bit different is the so-called 'Intelligent Mouse' which in reality is the ripple edit tool. It moves all contiguous (I like at least one pompous word per article!) items as one, thus preserving crossfades and the spatial relativity of all assets to the right of the cursor in the arranger. To move one item in isolation, select the Object mouse cursor.

The arranger can display 99 tracks. Because all the tracks are the same and not paired, effectively this means there is half the number of tracks as on other programs such as Adobe's Premier Pro and Grass Valley's Edius. (Golly gosh! ! I surely don't know how I would cope with 'only' 49 pairs of tracks!)

Working with the tracks on the arranger is pretty standard, with 'drag and drop' being the easiest way to add single clips and by holding down the Shift key, selected multiple clips. This last, of course, adds all the clips to the same track. The track box at the extreme left of the track has some track controls - solo, mute and lock - as well as a variety of function switches relating to multicam editing and audio track selection for DVD output.

Most fancy transitions between clips (aka 'fades' in MVP) are simply dragged onto the junction of two clips. For example, the crossfade is simply achieved by overlapping the end and beginning of two adjacent clips. The extent of that overlap - shown by crossed white lines in the arranger - indicates the length in time of the action and dragging the 'handle' at one corner of the overlapped area changes this timing. Fading to a chosen colour is done using the Fades/Standard/Color Fade effect, double clicking on that effect and choosing your preferred colour with the colour picking chart.

Video and audio effects, including some free plugins from the Magix website give the user all the controls normally required. There is quite a range, in particular for templates for collages and an assortment of picture-in-picture arrangements that can be simply applied. Of course, chroma keying offers blue, green and a variety of other transparency controls that should meet most needs.

As to the audio, the mixing 'desk' is visually informative and right clicking on an audio asset in the arranger brings up a whole lot of control options that would do some audio editing programs proud.

Titles are applied by default to Track 3, and the Title editor will object if there is an asset under the playhead on Track 3 when you try to call it up. While you can put titles elsewhere, this can result in some later loss of flexibility. The title editor is easy to use and largely icon driven. It comes with a rather flash 3D plug-in that does add some nice eye-catching features and no doubt would get a good deal of use.

In the far right hand corner of the screen, there are two icons which allow you to switch between the editing and burning screens. In the burning screen, you get to chose the type of disk output you want, the menu template, structure and controls you wish to assign for navigation through your (usually) DVD. While you would need to read the instructions carefully for this, this really is a DVD authoring program thrown in for free and with a lot more achievable flexibility in design than some.

Summary

Magix Video Pro X is a bit of a sleeper. It seems not to have the following in Australia that it deserves. It is a bit like an onion with many layers that aren't at first obvious and in terms of bang for the buck, I can't see past it for the keen amateur or event videographer looking for an all-in-one package.

Vendor

Magix AG (German company)

www.magix.com/us

Australian Distributor

QV Software
www.qvsoftware.com.au

Price:    AUD$350 approximately

AusCam Ratings

• Performance:                   8
• Documentation:                8
• Features:                        8
• Installation:                     9
• Value:                             9
• Help:                               7

We liked: Simple four camera editing facility, multi-track ability, audio controls, DVD authoring, 3D title plugin and the audio mixing and cleaning tools 

We didn't like: (Petty and miserable, I know) the interface colour, the Help index (due to language translation issues and naming conventions only) and (Guess who is resistant to change?) the 'all the same' tracks.

By   Sun, Feb 07, 2010

By Wolfie Rankin   Tue, Feb 02, 2010

In the early 90's, there was a revival in 3D with the release of the popular Magic Eye books, and as it turned out, I had very little difficulty seeing the 3D images as I'd been merging patterns on wallpapers and other things since I was a kid.

And this led, strangely enough, to my interest in 3D photography.

A friend had invited me to stay with her and another friend in Tathra, NSW. She had a beautiful property nestled in the forest, and I really wanted to take a panorama of the area, so decided to snap and turn, snap and turn. My camera was not sophisticated, a simple pocket camera which used 110 film.

But once I got the photos back, I realised that the edges matched up, when I put one photo on top of the other, so I did the trick with my eyes and was amazed when I saw that I'd accidentally taken (bits of) a 3D photo, and the bits looked great.

I was online back then and so I decided to search for 3D cameras, who knows, maybe there's a way to take proper 3D photos.

Well the first place I found was Dr. Theos Website, This fella specialises in 3D and has all kinds of cameras, right up to Twin-SLRs which had been cleverly melded together so that you could take two shots with the press of a single button.

Dr Theo was kind enough to introduce me to the Realist, a 50s camera which he'd lovingly restore and then sell to people via his website. He decided to send me a set of slides and a small plastic viewer, which looked something like a pair of opera binoculars.

When I received the parcel, I couldn't wait to see what the pictures looked like. They were standard 35mm slides, although cut slightly narrower, and mounted in a special card frame - one slide for each eye.

When I looked at them in the viewer, they were amazing. There was one of a tasteful nude in the garden, an art piece, it looked so real that you could have been looking at a real woman through binoculars, hrmmm, perhaps not so tasteful after all. And everyone I showed the pictures to was blown away and loved looking at these amazing slides.

Yes I got a camera, pretty quickl;, I had one about two weeks later and began snapping pictures of my family.

The camera is a twin lens job, it has to be, to take a photo for each eye at the same time, was not automatic, had no light meter (and neither did I so I guessed a lot, no I never bought one, a lot of pictures were under-exposed) It did have a rangefinder, an unusual thing to use. I'd look at a tree and the trunk would seem as though it was split horizontally, but adjusting the dial would make it look normal.

This needed to be done with all your subjects before shooting, It reminded me of the movie "The dam busters"  where the planes used spotlights to work out how high they were over the water.

Once I got the slides back, they were uncut, and in a roll - I usually had to tell the photo shop twice the film should not be cut, and even then I'd get a phone call questioning me about my strange film which wasn't quite the same format as everybody else's.

Then I had to cut and mount the slides myself.

Now, if there was a mistake, that I set the slides in the wrong side of the frame, I'd get a very strange error. Everything that should be in the foreground would be in the background and vice-versa. So a picture of a person standing in front of a wall, would become a human shaped hole in a wall, it's a very weird and wonderful effect.

Eventually, after a lot of fiddly work, I'd end up with my own slides, and some of them were absolutely beautiful; in one of my favourites, taken in Gisbourne in Victoria, my parents and dog (Benny, an Alaskan Malamute) stand together on a footpath which slopes downwards into the distance, and you really do get a sense of depth that you just can't get with what the 3D fans sneeringly call "flatties".

And now I'm mostly digital, because that's the way the world has gone. and although taking photos has become much, much easier, I do miss the beauty of 3D. 

I had thought that 3D was a gimmick, but compare a flat picture of a pond with fish in it to a 3D one.and you see the surface of the water, the fish swimming further down, the plants and then the bottom of the pond. You can see it all and it's absolutely stunning.

My family has all since passed on, but I am sincerely glad that I have this wonderful photographic record of them, and I'd definitely urge others to try this format for themselves, but quickly, as film is getting harder and harder to obtain