Category: DK’s ramblings

Sony ‘HowTo’ videos – a different level

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Paul Genge of Sony UK noted my criticism of the Sony corporate videos. Well, what Sony were not publicizing so well was that Paul has been making some rather homespun but far more valuable and interesting videos – in fact, going beyond the usual remit of Sony staff to do stuff almost off the cuff.

I remember Paul telling me a few years ago that Sony was most cautious about any publicity material, especially its wording. Even short press releases had to be approved by a management meeting and looked over by the lawyers. That is not unusual with large corporations.

It’s also, back in the 1970s to 90s, what made Dick Bryant’s job with Minolta so remarkable – he had a roving brief and an expense account and he could travel pretty much anywhere in the world and publish any set of images he wanted (such as his exceptional treatment of Eugene Smith’s Minimata essay). He may have reported back to Osaka but he certainly had a degree of freedom, creative and fiscal, which very few representatives of corporations seem to have today.

Could Paul convince Sony that uncontrived, honest, genuine enthusiastic reporting and involvement with photographers merited a similar job today? Doing a Dick Bryant?

Here’s one example, Paul with our friend Gustav Kiburg on Inner Farne in July.

What you need to do, though, is visit Paul’s complete SonyHowTo YouTube collection (as I write this I think there are 27 short vids up, varying from wobbly and unpolished to pretty good – all well edited, with excellent use of inset illustrations and still photo examples).

Here’s the link:

http://www.youtube.com/user/SonyHowTo

So far Paul’s channel only has 44 subscribers (Sept 1st, I’ll bet that changes) and if you subscribe you can also ask to be notified by email of new vids. Also, you can chat with Paul on the comments sections, and you can probably request subjects to be covered. I think we should ask for – using the Alpha 99 and 500mm G lens…

– DK

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Cameras (DSLR), DK's ramblings, HD Video, Lenses - Alpha Mount, Photo Techniques

Sony – please add gain control to A77 sound

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When I had the Canon 60D and 600D cameras for the usual brief period of magazine review loan, one of the things I could have tested more thoroughly was the excellent implementation of sound input gain control. Since it worked, and worked really well, I had no need to. Any system with auto gain, in contrast, needs to be hauled out to big rock music gigs, into busy urban environments, stuck close to the speaker at public events and so on.

This is the screen from the Canon 600D, which is not an expensive camera. Being realistic, it and the 60D with their usefully articulated rear screens and 18 megapixel filesize are more than decent competition from some months ago for the forthcoming Alpha 77. At the moment it seems as if Sony has leapfrogged Canon, but when you actually look at the capabilities of the 60/600 for practical everyday work they remain competitive.

This audio control screen is one of the main reasons why. I read people, Sony users, on forums saying that lack of audio control is quite simply a deal-breaker. And I know why. I am an occasional musician and occasionally my wife will press the MOVIE button on an Alpha or NEX aimed at me. It’s a complete lottery as to whether than button is pressed during a quiet microsecond between notes, in dead silence, with a full PA sound level or whatever. When making a recording using one of these cameras, I will often ask the subject to speak or play a loud chord so that I can press MOVIE and get a low auto mic gain preset. The worst scenario is to press MOVIE in total silence because the auto gain will then try to boost the sound to pick up the birds outside the window and the floorboards creaking. And it will stay on that gain level for the entire take.

What this means in practice is that different takes have different gain levels. It would be even worse if the gain was dynamic during the take, varying with the level so that quiet moments suddenly get rewarded by an increase in hiss and irrelevant noises. There are plenty of camcorder devices which do that and they are unusable.

Auto gain – which applies to both the internal and external mic feeds for the Alpha 77, and also to the NEX models and earlier Alphas – is simply not acceptable as the only option in an age where users like to film concerts and gigs, live music, bands, parades, festivals and noisy events. Small condensor mics are very prone to clipping (distorting loud sounds) in what are known as ‘high sound pressure’ environments. That is, stuff which hurts your ears if you are a dog or under 30.

You can avoid high sound pressure clipping by using a top quality external plug-in mic, as you are never going to eliminate it with the internal mics. But you can only do so reliably if the camera offers manual control of audio level. Nikon’s cameras – even the expensive D3S – only offer three levels of sound gain and no ability to monitor or test the effect. Canon’s latest models have an exemplary interface with 22 visible dB (deciBel) levels and an even finer graded adjustment with a continuous Rec. Level scale. This applies to either the internal (mono, less satisfactory) mic or external stereo.

Although Canon’s official line is that the external mic socket is for mic only, not for line mixers, it is in fact compatible with any good quality line source you can control for volume level. The setup above is just an imaginary studio shot, not real recording, but shows two Behringer condensor mics routed through a Mackie Onyx Satellite twin mic preamp. I used the headphone output, with its controllable volume, to feed the Canon 600D. There did not appear to be any impedance issues but of course I started with the sound output at zero and used the Canon’s manual sound monitor to adjust it.

This is not advanced audio. This is basic home recording stuff. It’s well within the target owner bracket of the Alpha 77. Sony, if Canon can do this, so can you. Even just implementing three manually set High, Normal, Low fixed volume (gain) settings like Nikon would be a partial cure. Nikon’s solution is not total, and I sold my Nikon D5000 because of the terrible clipping which happened on any setting when trying to record amplified solo gigs. Even little 40W solo amps and a simple vocal and guitar would send the Nikon into a crackle of distorted mess. The Sony mics seems to be much better and do not clip so readily. They are stereo and I’d rate the sound quality from the internal mics on NEX and Alpha so far to be much better than Canon’s internal mono (the AVCHD recording standard helps too). But without proper control of sound, the Alpha 77 is hamstrung. It is indeed a deal-breaker for some buyers.

It can be fixed if the firmware allows access to that function.

The video area issue

While you are at it, fix the HD video framing screen marks on some earlier and current models – we hope it has been sorted in the new ones.

It’s simple enough. The Sony CMOS 14 megapixel sensor crops to 16:9 for panoramic shots (you can select yo shoot in this format if you want) and also crop to 16:9 for HD1080 video. But these two crops are not the same. The still 16:9 just trims a bit off the top and bottom of the image. The HD video format trims even more and also takes some off both ends, zooming in (in effect) on an overall sensor crop.

When you shoot normal 3:2 ratio 35mm shape shots, and press the MOVIE button, the resulting crop is so dramatic that you can cut someone’s head off in the movie having thought it was well within the frame for stills.

As you can see in the shot above, the NEX does display some faint corner crop marks to indicate the video frame. But no-one I have shown the camera to actually notices these crops at all, especially if other grids or marking are displayed. Setting the camera to 16:9 stills improves the position, the faint crop marks are now equally distant from all four corners but still unlikely to be clearly visible. It’s clear from forum comments and messages elsewhere that many owners have never spotted these marks at all. The frame corner markings are not easily seen against some subjects (example above, lower marks), and you need to know where they are in order to recognise them.

This issue is not present in the Alpha 55, where the movie is only cropped top and bottom, and slightly bolder frame crop marks are shown in the finder. Even so, two very clear lines which can be turned on or off would be a better indicator and help users frame video correctly before pressing the record button. If you set 16:9 still shooting on the A55, you can go into movie capture without any change to the image framing.

Note that the ends of the composition are cropped, as well as the top and bottom, when pressing MOVIE Record from the startpoint of a 3:2 format still shot on the NEX-3 and NEX-5 with their 14 megapixel sensors. When shooting HD video, note that frame corners for the 4:3 TV format (non-HD crop) are displayed.

In an ideal world, the HD movie would be the full 16:9 still size as on the A55, giving you the best use of wide-angle lenses. But that is probably not possible because of the way HD1080 is extracted from the overall sensor area of the NEX-3/5.

So, what we need is simple enough – a firmware option to display the HD Movie crop area far more distinctly on the EVF or rear LCD screen, whatever still shooting mode is being used. Ideally it should be a complete rectangle to show the actual area which will be active when you press MOVIE and record.

Like the audio control issue, this is a firmware fix and could also be applied to earlier models like the NEX-5. It’s probably a simpler fix than audio.

Of more concern is whether or not the 24 megapixel sensor behaves like the 14 megapixel (HD movies cropped all round) or like the 16 megapixel sensor (HD movies cropped top and bottom only). So far this has not been made clear by early testers or Sony sources. If it is a cropped HD, let’s hope that a very clear and obvious movie-frame preview can be added, or the MOVIE  button function changed so that one press activates the movie frame view, the next press starts record, the next press ends record. I would actually like to see a menu option where ending a recording does not exit movie mode, but leaves you able to press the movie button again to resume filming, and to end movie capture you need instead to press the shutter button (with or without a still capture).

– David Kilpatrick

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Cameras (DSLR), DK's ramblings, HD Video, NEX System

Smoke and Mirrors – an idea for Sony

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With the latest Alpha 77, Sony has introduced SLT version II, the new upgraded ‘Translucent’ mirror. This is in an attempt to reduce the ghosting effects created by having an angled mirror between the lens and sensor, the image forming rays passing through a semi-silvered (pellicle) surface, through a thickness of polymer film, and then to the sensor. Having tried it out (update, September 8th) we can confirm that it works. You honestly would never know there was anything between the lens and the sensor.

But Sony, like all makers, has continued to think in terms of SLR design and the old world of film negatives and slides, where the image always had to be a certain way up on the film, or it would end up being printed and projected reversed left to right.

In the past a simple reflex mirror for a TLR viewing screen – like the Rolleiflex – did a useful job of turning an inverted image the right way up for viewing. On film at the back of the camera, the image was both inverted and left-to-right. But that did not matter, as the film was viewed through its reverse (back) side to see or print the image.

Somehow, this old design has been continued to new cameras – but today we use digital sensors. The upside-down or left-to-rightness of the image does not matter as we view the image on a screen or using an EVF. No matter how the image ends up on the sensor, it can always be the right way up and the right way round for us to view.

So, Sony, when you make you that full-frame Alpha 99 camera change the entire approach. Position the SLT mirror so it reflects the image sideways, upways or downways! And put the SENSOR where it receives the image from the REFLECTED lightpath. Make the mirror reflect 70% of the light and transmit 30%, instead of the other way round.

There will be no double imaging, no flare patches, no ghosting and not even an extra substrate or layer for the image forming rays to pass through, if the sensor receives the reflected image not the transmitted one. The AF sensor, in the meantime, can be positioned in direct line to the lens where the imaging sensor has been in the past, measuring the image through the SLT mirror.

This arrangement (©David Kilpatrick, Friday morning, August 26th 2011, scrambled eggs with smoked salmon for breakfast) will in a single stroke remove all the complaints about image degradation as the mirror will provide a perfect image.

But – would it? Slight lack of plane perfection in the SLT mirror used to transmit the image-forming light, and reflect the AF-measuring light, does not have much effect on the image. Anything less than an optically perfect mirror would fail to create a quality image. It would be like sticking a cheap filter on your lens, or worse. And of course it would never fit into a normally shaped camera body with a full frame sensor and shutter.

Solid solution

Ah – the AF sensor, unlike the imaging sensor, does not need cleaning to remove dust spots. So the mirror would not have to be movable. Actually, it would not have to be a pellicle mirror. It could be a lovely big lump of pure glass prism moulded straight on to the AF module itself, even including the condensor-collimator lenses of the AF system. It could be solid glass all the way from mirror surface to AF receptor, and the 45° front face could be to the same optical perfection as the best Sony G lens. Or even the best Carl Zeiss lens. Hell, it could be a Carl Zeiss prism and then the camera could have the CZ logo!

Diagram above: light blue = solid glass optical prism with 45 degree semisilvered front face; the two white indents at the right hand side indicate AF modules set into the prism rear face. Pink = shutter (optional, ideal system would have electronic shutter only). Dark blue = sensor. Green = top mounted waist level viewing screen, also articulated. A secondary eye-level EVF would or could be used. Design ©DK with a bit of nicked Sony lens cross-section.

Design? Rollei 6000 all the way! A professional, Hasselbox-shaped thingy to cradle in your hand. With a rotating 24 x 36mm sensor too, so that you change the format aspect by pressing a button not maneouvring the camera body. A 3 inch square OLED on the top like a giant waist-level finder, showing the image vertically or horizontally as you turn the sensor. A waist-level viewing hood for a giant magnified view. Maybe even a monster top prism for the biggest EVF you could imagine!

Mor realistically, an eye-level EVF in addition to a top plate OLED or LCD panel designed to be hinged up/rotated/twisted – rather like the LCD of the Sony Cyber-Shot DCS R-1, one of the best ever ‘waist level finder’ options fitted to a digital camera to date. In fact something like s giant updated R-1 full framer might do well.

As for the image sensor, that could be in the well of the camera (mirror aiming down) but maybe having it in the top of the camera, below the viewing screen (mirror facing up) would help gravity reduce the dust issue.

The point is – it does not matter where the image sensor is placed, it does not have be where the film once was. It does not matter whether the image reaching it is inverted or reflected, as unlike film it does not have an emulsion side or a film-base side, the electronic viewfinder is independent of the orientation of the optical image.

Future ‘SLT’ EVF cameras – especially a future Alpha 900 replacement – do not need even to resemble today’s DSLRs and can be made better by abandoning ideas fixed in designers’ minds since the era of film cameras.

– DK

Technical note: angled partial mirrors, whether prism surface or semi silvered, create polarisation effects, colour shifts and a varying efficiency of reflection depending on the angle of incidence of the ray. This is one barrier to the use of pellicle mirror design for a full-frame model, as the back focus or telecentricity of lenses relative to the format would mean a greater range of incident angles across the mirror surface. Sony appears to have overcome any such problems in the existing APS-C SLT design, and the slightly forward tilt of the mirror (not a true 45°) helps in this respect. I propose the above design in full awareness of related optical and technical issues. I’m not assuming they do not exist – they would need solving.

27
Cameras (DSLR), DK's ramblings

Sony DEV-5 and DEV-3 digital HD filming binoculars

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An invitation to a Sony event on August 15th seemed perfectly timed for the announcement of the Alpha 77 and 65, NEX-7 and NEX-5n. In fact, those cameras were launched in Greece on August 24th – and Photoclubalpha, as a very minor player in this business, was not on the guest list. Nor could we have attended if invited as the diary was already full that week (four days of the Master Photography Awards judging and their Fellowship and Associate annual admissions to be covered).

Wild geese – red-breasted geese, Branta ruficollis, fleeing the camera (©Shirley Kilpatrick, A580, Sigma 18-250mm OS)

However, when the invitation to an event at the London Wetland Centre was issued, with strict limits on the numbers able to register and some air of importance, we decided to do the 700 mile round trip, stay a couple of days for some stock photo shooting, and hope for the best. My mistake, one of our photo mag friends said he didn’t attend because he was tipped off it was not really for photo mags. Even so, most of those present seemed to be photo press not wildlife press…

The Wetland Centre, while a fairly poor location for photography due to the extreme distance the hides are from the wildlife, would have been a good place to launch an Alpha 77 and Alpha 65 (both equipped with improved GPS) and teamed up with the long-awaited 500mm f/4.5 Sony Apo G SSM.

Sadly, it all turned out to be a wild goose chase for Photclubalpha. The object being launched was the new Sony invention of 3D digital binoculars, the DEV-3 and DEV-5 models aimed at high end binocular users wanting to spend their £1300-£2000 on something novel. While impressive enough if you want an electronic viewfinder version of binoculars, they are almost useless to photographers as the still capture resolution is a mere 7.1 megapixels from a small EXMOR-R back illuminated sensor. JPEG only, no raw, no control of still capture settings beyond very basic adjustments.

Digital scoping

Sony took their lead on development, it seems, from digiscoping. Their research showed that serious bird watchers have been fixing compact digital cameras (and occasional DSLRs) to the end of high power spotting scopes to secure unfeasibly long focal length equivalents and capture acceptable frame-fillers of bird life from the distances bird life prefers to remain.

Their research also showed that bird watchers will spend £2000 without hesitation on a high end pair of binoculars.

Now I’m going to stick my neck out and suggest that much of the appeal of digiscoping is exactly the same as the appeal of adaptors and alien lenses used on the NEX. One of Sony’s own Japanese executives at the event was wearing a NEX-5 with a Voigtländer adaptor and a 21mm f/4 Voigtländer lens in Leica M mount.

Digiscopers like their rigs of camera and scope because part of the challenge is to create a perfect digiscoping set up and discover the best cameras, scopes, eyepieces and adaptors for the job. Creating the equipment is part of the hobby. Also, the scope continues to have a purpose of its own as an optical device. It does not matter that the combo weighs 4.5kg and needs a tripod (even that is part of the Meccano-Lego factor, building your personal solution).

Paul Genge of Sony explained how much lighter the system will be than digiscoping – but omitted the fun of making your own digiscoping rig, which is half the point of it

The Sony Electronic HD video capable binoculars do one thing well, and only one thing. They capture HD1080p video at 50fps (60fps in the USA) with the option to use both sensors for 3D video, which is interlaced instead. With lens-based stabilisation counteracting complex rotational movements which may affect each of the two lenses reciprocally, they are a technical masterpiece.

Unfortunately, they don’t have the new high resolution EVF of the Alpha 77/65/NEX-7, but use one closer to the Alpha 55 in detail. Actually, they use two, fed by separate sensors, as a true binocular system with the eyepieces adjustable for interpupillary distance and dioptre settings. They can simulate using electronic screens a binocular view, with a 16:9 or 4:3 format (the sensor is actually 4:3 ratio, and cropped for HD).

This was not at the Wetland Centre (mother coot feeding chick) but at Kew Gardens, which actually put photographers much closer to wildlife more accustomed to humans at close quarters (©Shirley Kilpatrick, A580, Sigma 18-250mm)

But in my pocket was a Minox 6x16X monocular, and in Shirley’s bag a similar Minox 8x16X – lovely little Zeiss-optic metal devices intended for concerts and travel. So I was able to compare the view through the 10X DEV-3 with a simple, monocular, low-cost Minox optical image. There is simply no way ever that any serious nature-watcher would wish to observe the world through the electronic version. It is a world without the individual colours within the feathers of a bird; indeed, it doesn’t even have the individual feathers. Compared to looking through the electronic finder, the optical view was breathtaking in crystal clarity and brightness with exquisite detail enabling the identification and study of subjects.

Real birders use 20×30, 20×50, even up to 30X (Olympus zoom binoculars, for example). Some may choose stabilised binoculars, offered by Canon in specifications including an 18 x 50 with all-weather body. The stabilised view of the DEV-3 and DEV-5 is still a good feature and goes some way to make up for the lack of true image detail.

The zoom of these devices is not the same as the limited range of binocular zooming – and the same goes for focusing. They can focus down to 80cm and retain 3D video, due to the close spacing of the objective lenses; in 2D, macro shots close to the lens are possible, and indoors you can even shoot normal people and group shots though there’s no flash of course. In this sense the Sony invention goes beyond being a binocular, just as much as it falls short of being a true one.

If this looks familiar, the embedded front bit is basically a Sony Handycam TD10E lens and sensor assembly

That’s because all the DEV-3 and DEV-5 actually consist of is the front part of the Sony Handycam TD10E with some optical and design modifications, and a stereo viewing system bolted on the back. This £1300 camcorder offers a 17X zoom range but it’s hard to express that in the same terms as binocular magnification. Its recording is technically identical, the same bitrate and quality of 1080p or 3D 1080i, and its stills are the same 7.1 megapixel maximum. This was admitted by Paul Genge, Sony’s technical sales executive, when showing us the DEV-5.

Most oddly for the target markets of birding, wildlife, safaris, peeping toms, police, military, racegoers and suchlike the DEV models are not ruggedized or water and dust proof. They do accept an external microphone but it’s most unlikely any camera-mounted mic, even a special shotgun unidirectional type, will satisfy wildlife film makers.

Of course, the DEV-5 does include GPS and will record the location of filming but there’s no built-in magnetic compass so it does not tell the full story. The DEV-3, with its lower maximum zoom power, omits the GPS and that is reflected in the price (update – we are told by Paul that the interest shown since the launch is almost entirely in the higher end model with GPS – it provides valuable evidence to bird-spotters, and evidence appears to be what they value most).

Despite the two lenses, the DEV models do not capture 3D stills – only 3D video. Binocular experts will point out that the closely spaced objectives reduce the 3D impression given by long-range binos which have a wider front lens separation. This is vital for close focusing. You either must have adjustable front lens spacing for close-ups (difficult to achieve) or a very limited true stereoscopic effect.

No test

We were not allowed to take any footage with the DEV-5 or DEV-3 though Paul showed some tests of his own, taken during a week trying out the new product all round Britain (between visits to key dealers such as Park Cameras, who are selling them at the Bird Fair which opened on August 19th at Rutland Water, with a free extra chunky high power battery thrown in).

Report from this event, added September 8th – Paul Genge says it was a great success, with over one thousand visitors to the Sony stand trying the DEV models. Many of these visitors had tried digiscoping but had consistently poor results despite much investment in bits and pieces to get it working, and saw the DEV concept as a simple, elegant, nearly perfect solution to their problems.

Birdfair at Rutland Water on August 19th – the blueprint above turned into a real Sony DEV-3/5 booth. Park Cameras offered special deals as the first main distributor and took several orders, all for the DEV-5 model, on the day.

The results looked very impressive as HD movies.

However, there are a few functions which the DEV models could have included had they been designed from the ground up and not based on an existing camcorder. One is pre-shot capture, where the buffer is constantly recording a rolling second or two of video, to be included with the take when you press the button to film. This avoids missing the critical first part of movement of the subject which triggers your own reactions.

The second is slow-motion capture at reduced resolution; 50/60p is already capable of half-speed playback and the shutter speed control use in the DEV models favours better motion freezing than some camcorders which aim for purely cinematic shutter speeds (1/30-1/50th and so on). Had controls been added to force fast shutter speed capture that is very useful for analysing wildlife film frame by frame, or extracting a valuable still image. Had 720p at 100/120 frames per second been enabled, that enables quarter-speed playback of action.

Single-handed operation by Paul Genge – but he’s had a week of weight training before the event! They are actually pretty light, just rather large.

Finally, make no mistake these babies are big. They are not overly heavy, as they are mainly empty plastic shaped to look like a military device. But they are not especially travel friendly, or all that easy to pop under your jacket in a cloudburst.

The ultimate use

Shirley’s verdict was – these are just made for festivals and stadium gigs! The one use not mentioned in Sony’s presentation, and a very popular use for binoculars and camcorders alike, is to see stage performances better and record music. Those little Minox monoculars we carry everywhere with us now were bought some years ago, en-route to an R.E.M concert. And sure enough, from our vantage point in Stirling Castle, they were a good investment.

Now if the tiny Minox monocular happened to include a 1080p HD movie recorder – which it very easily could in terms of size, think of mobile phones, Sony Bloggie and the like – it would be an even better concert companion.

The Sony DEV digital binoculars might get in past some security staff but we reckon they will soon be recognised and banned from events.

Nothing new

The first time we discovered binoculars combined with a camera, we actually got to be the first UK journalists to write them up. This was the Nicnon binocular camera, in its final version around 1975 (it had existed in a cruder design from the late 1960s) – it worked fairly well, but didn’t give any more real magnification than a regular 35mm camera with a 165mm lens and had a useless fastest shutter speed of 1/250th, only barely short enough to avoid camera shake in every shot and never able to stop action.

Later on we tried the Tasco 110 binocular camera but the results were almost useless. Today, of course, we have pocket digicams with zoom lenses going to an equivalent of over 500mm and a resolution which matches 35mm not 110. These can even challenge the concept of the DEV-3 and DEV-5, though I doubt that anything made comes close to the HD video quality. In the end, something is new about the DEV-3 and DEV-5, and that is the HD video in a binocular form.

We can only wish Sony the best of luck with this product. Any serious wildlife watcher or bird spotter will need their regular optical binoculars and their regular tele-equipped DSLR in addition to the DEV-3 or DEV-5. Regardless of six hour battery life and other commendable features, they simply do not and can not replace the other key equipment used in the field, with the exception of digiscope rigs or tele-capable camcorders.

They will sell to wealthy gadget enthusiasts and garden birdwatchers with poor eyesight and big flat screen teles. Over 50s, get in an orderly queue now…

For us, our four-day venture to the former wastelands of Barnes was a wild goose chase (we did see a few). Life was enlivened by road closures due to Olympic ‘test run’ cyclists. This product is not really of any interest to our dedicated photographer readership, for £2000 an Alpha 65 and 70-400mm SSM G would be a better investment for everything except the 3D video. And the market murmur is that 3D has failed, yet again. It’s simply not selling.

Get the full PRESS RELEASE here.

– David & Shirley Kilpatrick

 

0
DK's ramblings, HD Video, News

Sony UK’s ‘Howto’ videos released

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The press release below has just come out from Sony UK. I fear you will be disappointed if you are expecting to watch informative, instructional videos because they are not – they are devoid of high value content, and are just rather superficial plugs for features on Sony cameras. Not all these are even correctly explained or demonstrated, the Low Light video for example has the commentator referring to a camera making two exposures while the LCD display clearly says three (HDR) and talking about DRO-Auto after showing the mode dial carefully being turned to Manual (which disables DRO entirely).

It costs real money to make videos which are meaningful and valuable to the viewer. Real money may have gone on making these, but it’s not reflected in the quality or value of their content. Even the simplest of the subjects covered remains largely untouched by the video, and key information is omitted. Some information is quite misleading, such as the discussion of when to use S, M or L JPEG settings without ever mentioning that large image sizes can be downsized but small ones can not be enlarged without loss of detail.

‘Make sure you use the right image size for the job in hand’ must rank as some of the worst advice ever issued, encouraging digital camera owners to move off Large image size capture and lose vital detail which allows cropping, correction, resizing and higher overall quality. Telling them, in short, to throw away what they have paid for.

Watch the videos, they are free. But they really do not help the digital camera owner or Sony. – DK

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Sony Introduces ‘Howto’ video guides

Discover how to get the most out of your Sony Digital Imaging Products

Sony has launched a series of Howto guides across multiple platforms, to give customers handy visual guides to getting the most out of their Sony Digital Imaging products.

The guides, available via YouTube and a number of major retailers’ websites include easy to understand tips and tricks to enhance the Sony product experience and provide answers to the most commonly asked product related questions. The videos are also available via Sony’s BRAVIA Internet Video service, delivered direct to the TV, Blu-ray player or Netbox.

The guides cover all of Sony’s key product ranges, including Digital Imaging, Network Communication, Home Entertainment and Essentials. They also help explain some of the underlying technologies such as HDMI and DLNA, allowing customers to easily understand the features and benefits of their products.

A snapshot of the featured Howto guides including handy tips for your Sony Digital Imaging products include the below among many more:

Capture 3D photographs and video with your new Sony Cybershot or Handycam
Get the benefits of interchangeable lens cameras
Use Bloggie, Picture Motion Browser and Personal Space
Get better results from your digital camera
Learn to shoot photos in low light

All of the Sony Howto videos are professionally recorded and, where possible, made available in HD. If consumers want to find out even more, each video includes a link to a website where further details are available. This can be accessed via a shortened URL or QR code for smartphones, allowing users to receive product information whenever and wherever they may be.

‘Howto’ content development is based on input from customers, Sony user forums and the Sony support centre.

More HowTo guides are planned and outside of the YouTube channel, the guides will also be used as additional training material for Sony retail staff. Keep an eye on the Sony YouTube Channel for the latest content and product information.

2
DK's ramblings, News

Sony’s London warehouse burned to the ground in riots

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The Sony Enfield warehouse and distribution centre was torched by rioting ratboys last night. There are several vidoes on YouTube. Comments include that 750 people have lost their jobs (not sure what this means).

Sony is due to hold a press launch event in south London, just one mile away from the Ealing and Clapham riot zones, early next week. We are booked into a hotel in Kingston on Thames (our expense, not Sony – thought that if we had to travel 350 miles to see whatever new stuff was around, we might as well spend a couple of days visiting our former capital city to remind us why we decided to move to rural Scotland 23 years ago…)

We may decide to call that one off. Will be contacting Sony today.

http://gizmodo.com/5829003/sony-distribution-center-goes-up-in-flames-during-london-riots

Our thoughts are with all those unlucky enough to be trying live alongside alongside these morons.

– David & Shirley Kilpatrick

6
DK's ramblings, News

Watch the birdie – will Sony’s GPS surprise?

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Before reading this article, which has attracted a lot of traffic and attention, please remember this is my personal speculation and could be entirely wrong (I’ll be very disappointed if it is miles off target and they omit GPS… or my reading-between-the-lines turns out to relate to a different product like a superzoom pocket camera with improved GPS).

There are plenty of detailed rumours about the specifications of the forthcoming Alpha 77, Alpha 65, NEX-7 and NEX-5n to be found on the Sonyalpharumours website:

http://www.sonyalpharumors.com/sr5-the-full-a77-a65-nex-7-and-nex-5n-specs/

I’m not here to confirm or deny any of this (like most mainstream journalists, even those with some connection to Sony, I don’t get advance information and I am not running a camera-test website which demands a pre-production preview under strict non-disclosure terms).

The image currently circulating most, purporting to show a new Alpha – 77 or 65. Real or not, it looks good enough.

The 12fps stated maximum shooting speed of the semi-pro specification A77 fits in with information given to me as long as three years ago. A vaguely Alpha 700 like prototype was being tested in the Australasia region with 15fps. Most of the other specifications, such as the magnesium or magalloy body, were apparent right from the first mockups being shown if you know your Alpha construction. The strap lugs were the giveaway. You can tell an A900/850/700 type camera (solid metal carcase under a plastic skin) from an A1/2/3/4/5xx Alpha by the strap lugs connected through the skin to the casting.

But what Sonyalpharumours doesn’t elaborate on its something I believe Sony has put into the new Alpha 77 which will make it the ultimate cameras for bird watchers, aircraft spotters, wilderness ramblers, explorers, police forces and the military. It has GPS. I think that when it is seen by the press later this month the GPS will be a big point.

It will be the fastest locking-on GPS built in to any camera, and it will be the first to record ALL the data you need. That will include not only the latitude and longitude and height above sea level, but also the compass direction the camera is aiming in and the inclination of the camera. Combined with very accurate focal length, focus distance and AF locus data, this will make it possible to use the Alpha 77 for photogrammetry (measurement, mapping, object size identification).

I parked illegally and jumped out of the car for this shot of Bamburgh Castle from the village’s main road. For once, the Alpha 55 GPS locked on instantly and gave me the exact location of the camera on the Google Earth terrain view below.

But two days later I spent ten minutes, using a tripod, carefully photographing an uncommon slightly edible mushroom in our garden over 30 miles from this shot. Needless to say, all the frames of the mushroom display the GPS data from Bamburgh as it had failed to update its position.

This is Leucoagaricus nympharum – white field mushroom with ‘dancing maidens’ on its distinctive cap. Some sources state it is edible. For me, it was. For Shirley – noted as one to avoid for the future… but a great photographic subject. Natural light, CZ 16-80mm, 1/3rd of a second at f/14, 80mm, ISO 100, manual focus and settings.

The GPS in my Alpha 55 has been a real help in travel photography. I use Media Pro, the Phase One cataloguing and keywording software. Since this moved away from Microsoft ownership it no longer has its own own Microsoft Virtual Earth pane to open when GPS embedded data is found. Instead, it opens my web browser to the usual Google Map and Earth page. It’s not as neat as having the map tab within the Media Pro software but it works just as well.

However, the A55 GPS frequently doesn’t get a signal during many minutes of shooting at a new location. I have entire shoots of places, lasting several minutes in clear open conditions, wrongly tagged for the last spot visited. Fortunately, if I have left the camera switched on I sometimes find the correct location attached to the next place en route…

The Alpha 77 will, I believe, see an end to poor GPS and it will add the vital compass and inclination functions. Combined with the 24 megapixel resolution, near-silent mirrorfree high speed sequences, and the 1.4X and 2X teleconverter functions (cropping the sensor field but retaining full HD 1080p video, we hope) this will make the 77 the world’s best camera for wildlife safaris. And for those who like to log their natural history subjects, the accurate GPS tagging is the closest thing you can get to digital evidence of the authenticity of your shot.

All major camera companies have their eye on government and military budgets. It was the US forces’ decision to buy Topcon SLR cameras in the 1960s which gave that small but excellent camera brand a few years of glory. They achieved it by making a camera which was tougher and more versatile (in some ways) that the rival Nikon F – with accurate TTL metering that did not need a bulky prism head.

At different times Olympus, Nikon, Leica, Hasselblad and even Minolta have been favourites for government and military use. I think Sony, realising what the high resolution and very fast capture rate of their new technology mean to such users, will have sealed the deal by upgrading the GPS. The Alpha 77 will not only be the world’s best wildlife and wilnderness companion, it will also be the best evidence camera, surveillance camera and spy’s best friend.

Of course this is all pure speculation. It is based on a well-grounded hunch, and on what I would do myself, if I was in charge of the Sony development plan for the A77. There’s no way I would let another GPS module out in the world with less reliability than the average pocket digicam’s version. I would want my top SLR (SLT) GPS to be a world-beater.

Now you’ll just have to wait and see. But wouldn’t it be good if I’m right?

– David KIlpatrick

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The truth about 24 megapixels

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There is a rumour, which the ides of August may stab in the back or elevate to divine truth, that the coming Alpha 77 will have 24 megapixels.

Because of this rumour, there is a lot of very negative discussion going round to the effect that 24MP on APS-C is far too much and the results will be poor (etc).

Well, they may be, if you think Canon’s results are poor – you can judge that for yourself, try a Canon. But they do not have 24MP sensors!

They also do not have APS-C sensors, in the same way that Sony does. They have smaller APS-C sensors with lots of pixels cut off all round the edges. Sony has chunky big APS-C sensors with acres of extra pixels to spare. This is a slight exaggeration of the situation, but hey, I may as well join in the mood of unrestrained opinion!

Facts: Canon’s 18-megapixel sensor makes images 3456 x 5184 pixels in size (give or take a few, depending on your raw processor). Fact: their smaller 1.6X factor sensor measures 22.3 x 14.9mm. Fact: Canon states it is approximately a 19 megapixel sensor with 18 megapixel final output.

Facts: Sony’s 16.2 megapixel sensor measures 23.5 x 15.6mm and into this packs 3264 x 4912 pixels (active area).

If you made a current Canon pixel-pitch sensor the same 1.5X size as a Sony sensor, it would be around 19.7 megapixels active from a 21 megapixel total. If you put Canon pixels on an existing Sony 1.5X sensor, you would be up to 3618 x 5463 pixels and 24 megapixels needs to be 4000 x 6000.

Clearly it’s not the quantum leap some people think, just a quantum leapfrog over Canon’s back with the benefit of the larger sensor. And it’s worth considering that APS-C covers sensor sizes up to a true 24 x 16mm, for Super-35 video use, and that such sensors have already been made. A few wide-angle lenses and zooms might be a bit tight on the image circle, but that half millimetre one way, 0.4mm the other way, adds up to a surprising number of pixels, enough to take the 19.7 megapixels up to 20.7 megapixels without changing from Canon’s current pixel pitch.

So don’t panic. The chances are that 24 megapixels on proper, big Sony APS-C will perform very well. If you’ve got the glass and the technique to make it…

– David Kilpatrick

 

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Cameras (DSLR), DK's ramblings, News
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