Techradar

Exclusive: BlackBerry Messenger won't be suspended in London
New Amazon tablet to have a cheap, loss-making price?
BlackBerry Colt set to be first QNX phone?
Sony announces PlayStation Network Play promotion
Apple sued over OS X Fast Boot feature
Sony, Samsung and Panasonic offer new 3D glasses standard
Updated: Apple to launch updated low-spec iMac for students?
In Depth: How better content can beat 3D eye strain
Review: Classé CP-800 preamplifier
iPad to dominate the tablet market 'for the next 10 years'
Samsung Wave 3 outed on Russian website?
Review: Audio Pro WF100
Opinion: Let's start worrying about BBC iPlayer on Xbox 720
Review: Brother DCP-J925DW
Apple to launch updated low-spec iMac for students soon?
Buying Guide: Best DSLRs for video: over £1,000
Buying Guide: Best cameras for video capture over £1,000
Designer working on Holga digital camera
Designer working on Holga digital camera concept
Updated: PS4 rumours: what you need to know about the PlayStation 4
Updated: Xbox 720: every rumour about the new Xbox
Next-gen chips to make phones more powerful than PS3
In Depth: TabCo tablet: what you need to know
Review: Pentax Optio RS1500
Buying Guide: Best rugged compact camera: 5 reviewed

Exclusive: BlackBerry Messenger won't be suspended in London

Posted: 08 Aug 2011 11:34 AM PDT

Update: TechRadar has been informed by a reputable source close to the matter that BBM will not be turned off in the capital.

It seems the problem may have started with a hoax message being sent out to BBM users, and will not be shut down in London tonight.

Earlier RIM sent a statement to TechRadar, the firm says it wants to help in any way it can:

"We feel for those impacted by this weekend's riots in London. We have engaged with the authorities to assist in any way we can," says Patrick Spence, managing director, global sales and regional marketing.

Full co-operation

"As in all markets around the world where BlackBerry is available, we cooperate with local telecommunications operators, law enforcement and regulatory officials.

"Similar to other technology providers in the UK we comply with The Regulation of Investigatory Powers Act and co-operate fully with the Home Office and UK police forces."

It was suggested BBM would be shut off to help stop the spread of organised violence across the capital, but now it seems the service will stay operational despite the violence.

New Amazon tablet to have a cheap, loss-making price?

Posted: 08 Aug 2011 10:21 AM PDT

A new report by PC Mag is suggesting that Amazon may be ready to take a revenue hit on its new tablet range and could well offer it at a cut price.

In what would be a Trojan-Horse-style strategy, PC Mag is suggesting that Amazon could offer the device as a loss maker but make its money back on the apps, music and ebooks you would buy for the product.

Amazon has created a pretty strong eco-system over the last year, with the launch of the Amazon Cloud Drive, the Amazon Appstore and in the UK the acquisition of LoveFilm.

Amazon tablet

The Kindle, for all its success – it is still Amazon's best-ever-selling product – has only really tapped into Amazon's extensive ebook library, so there is room for the company to launch a fully fledged tablet that makes use of all the goodies Amazon has on offer.

As PC Mag says in its report: "If Amazon provides a product that is sold under cost with the goal of making up the rest of the cost and profit from apps, services, and even advertising, it could give all of the other Android vendors a serious run for their money."

And if this happens, then we may well have a real battle on our hands in the burgeoning tablet market.

BlackBerry Colt set to be first QNX phone?

Posted: 08 Aug 2011 10:20 AM PDT

RIM looks set to unveil its first QNX-based smartphone, codenamed BlackBerry Colt, in early 2012, but to meet the tight deadline it may have to make some concessions according to new information.

The new specs, which come by way of an anonymous source talking to BGR, cite a test device with a single-core processor instead of the multi-core behemoth that was anticipated.

There's also a question mark over native email; the BlackBerry PlayBook tablet, RIM's first QNX device, launched without email on board, requiring users to access messages only via an existing BlackBerry handset.

Snail mail

Although RIM is said to be working on a QNX-specific BlackBerry Enterprise Server that would deliver email to the very stringent security levels that RIM insists on, a Q1 2012 launch for the Colt means it will possibly land sans enterprise server email.

So to add email to the Colt, companies will have to use Microsoft ActiveSync, which was built for Windows Mobile and doesn't support any Microsoft PC operating systems later than Windows XP.

Despite an analyst claiming that it would be delayed to the latter half of the year, the current target for the BlackBerry Colt UK release date is the first quarter of 2012, depending on how well internal testing goes.

We've pontificated ourselves that RIM needs to get a wriggle on with its QNX phones in order to stay current and claw back a bit of smartphone self-respect; and we've seen RIM rush out products that aren't as brilliant as they could have been to meet release dates (BlackBerry PlayBook? BlackBerry Torch?) so this rumour is sounding depressingly familiar and therefore quite likely to be true.

rumourometer

Sony announces PlayStation Network Play promotion

Posted: 08 Aug 2011 08:34 AM PDT

Sony has unveiled a new promotion on the PlayStation Network, where gamers will be rewarded if they buy four featured games from the service.

In a bid to win back customer loyalty after the debacle that was the hacking scandal, the PlayStation Network Play promotion offers up four games for purchase – and if all of them are bought, then users will automatically receive a free game.

The promotion is on until 20 September and the first title up on the Play promo is Street Fighter III. Three more titles (The Baconing, BloodRayne: The Betrayal and Renegade Ops) will be released over the four weeks and if you collect them all, then you will get PayDay: The Heist for free.

Downloadable offers

Sony is also hoping to entice with some free downloadable content and if you are a PlayStation Plus subscriber you get a further 20 per cent knocked off the download prices.

Sony has revealed that this will be an annual programme so expect similar promotions to be revealed after this one ends.

The promotion begins 23 August, with a new game being released each week.

Apple sued over OS X Fast Boot feature

Posted: 08 Aug 2011 08:29 AM PDT

No rest for Apple's lawyers, with yet another patent infringement case filed against the company, this time relating to Mac OS X's fast boot feature.

The patent, which relates to the quick start-up of the OS, is owned by a company called Operating Systems Solutions (OSS), but the original owner that the patent was granted to was LG Electronics.

The patent involves "a method for fast booting a computer system" comprising of several specific steps.

It's very likely that the OSS suit is simply a case of patent trolling – companies bringing a case against a competitor despite having no real intention to make use of the technology themselves, just hoping to cash in.

Trolled

But the existence of LG somewhere along the line is what makes it interesting; LG is one of the few manufacturers that aren't currently directly embroiled in a patent dispute with Apple.

The company is a staunch Android supporter, having enjoyed reasonable success with its LG Optimus line of Android-running smartphones and tablets; in this free and easy patent suing time, it's not beyond the realms of possibilities that this lawsuit could be a stealth attack on LG's part.

But at this point, there's no evidence to suggest that LG is involved in the lawsuit in any way, other than having once owned the patent.

Apple is currently fighting off and launching patent lawsuits against Samsung, HTC and Google.

Sony, Samsung and Panasonic offer new 3D glasses standard

Posted: 08 Aug 2011 08:20 AM PDT

Sony, Samsung and Panasonic have shown that they are not backing down on making active shutter the 3D glasses format of choice, by announcing a new standard initiative with Xpand.

The three home entertainment heavyweights have backed active shutter glasses technology for the home, but this year saw a trickle of new TVs by LG and the like that offer polarised 3D.

While LG purports that this technology offers as good a picture quality as active shutter glasses, Sony, Samsung and Panasonic have remained firm that Full HD 3D is the future, despite the glasses being more expensive.

The companies teaming up may well remedy the price problem, as it is going to standardise the glasses system between them. And even if it doesn't drive prices down, it will mean that you can bring your own glasses to a mate's house without the fear of them not being compatible.

"Universal glasses with the new IR/RF protocols will be made available in 2012, and are targeted to be backward compatible with 2011 3D active TVs," said the release.

"Today's announcement marks a unique collaboration of the world's leading 3D TV manufacturers and 3D technology providers for the benefit of consumers. Glasses utilising 3D active technology benefits consumers in that they enable Full HD 3D picture quality to be displayed to each eye, as well as a greater freedom of movement thanks to Bluetooth technology."

Although these glasses won't get an airing until 2012, TechRadar is hoping that there will be some on show at IFA 2011, which takes place this September – around the same time that the license should be greenlit.

Updated: Apple to launch updated low-spec iMac for students?

Posted: 08 Aug 2011 07:42 AM PDT

The latest word on Apple Street is that a new cut-down iMac is in the offing as part of the company's education scheme.

Updated: Apple has unveiled the official tech specifications for the 21.5-inch iMac, with the mooted 3.1GHz dual-core processor, 2GB of RAM and AMD Radeon 6750M processor intact. Looks like these puppies will be getting a UK release date of 'Late 2011'; no word yet on pricing.

The rumoured iMac is said to rock a 3.1GHz dual-core processor, 2GB of DDR3 RAM, a 250GB hard drive and an AMD Radeon HD 6750M graphics processor.

That's not much processing power or storage space compared to the current lowest-end consumer iMac, but debt-laden students and struggling university lecturers may be willing to sacrifice on spec for a cheap deal.

Bargain basement

Apple's last education iMac deals started at £880, so we'd be anticipating a similar kind of deal for these updated version - but with the quad-core iMac coming in at around £990, you'll only be saving around £100 for a severely reduced machine.

9to5Mac's anonymous source tips the new desktops as arriving later this month, citing 16 August as the scheduled 'soft launch' date.

Given that the new academic year will start in September in the UK, that timing makes sense to us.

rumourometer

In Depth: How better content can beat 3D eye strain

Posted: 08 Aug 2011 06:44 AM PDT

Well-produced 3D entertainment is clearly a welcome addition to blockbuster Hollywood fare and TV sports and event coverage for most of us.

But a small number of people find 3D uncomfortable watch. So does the fact a small number of viewers simply cannot enjoy the experience concern 3D advocates at Sony, Sky, Virgin Media and other such companies investing heavily in 3D gaming, movies and TV services?

Gran turismo

A recent academic study into the effects of stereoscopic 3D at the University of California, Berkeley goes some way to explaining the cause of headaches and eye fatigue caused by three dimensional viewing, with professor of optometry and vision science, Martin S. Banks, explaining:

"When watching stereo 3D displays, the eyes must focus - that is, accommodate - to the distance of the screen because that's where the light comes from. At the same time, the eyes must converge to the distance of the stereo content, which may be in front of or behind the screen."

Or, as renowned film editor Walter Murch explains the issue: "3D films require us to focus at one distance and converge at another. And 600 million years of evolution has never presented this problem before."

Elsewhere, stereoscopic 3D gaming is coming under fire from some in the games industry, even though around five million 3D TVs are estimated to be sold in the US this year (and 15 million next year, according to Futuresource Consulting), with that figure inevitably going to rise considerably as the prices of 3D-ready sets fall over time.

So can the imminent slew of quality Tinseltown 3D fare and new Sky 3D content, alongside games such as Sony's forthcoming Uncharted 3 for PS3 help to resurrect some interest and excitement around 3D amongst cinephiles, gamers, games developers and TV viewers?

Sony: tech advancements the key

We put these questions to Sony UK, with a spokesperson telling us in response that: "in recent years, there has been significant technological advancement in the field of 3D content creation.

"More content creators are making 3D images that do not force the viewer's eyes and brain to work too hard to compensate for differences between their normal way of seeing in 3D and the created images; thus offering a more natural and comfortable 3D experience to viewers."

In terms of discomfort, eye strain and nausea, companies such as Sony are always careful to cover their backs, with the Sony spokesperson quick to add that: "Safety guidelines are expressed in the instruction manual that comes with every Sony BRAVIA 3D TV and Sony recommends that all viewers take regular breaks while watching 3D video images or playing 3D stereoscopic games.

"The length and frequency of necessary breaks will vary from person to person. You must decide what works best. If you experience any discomfort, you should stop watching the 3D video images or playing 3D video games until the discomfort ends; consult a doctor if you believe necessary.

"The vision of young children (especially those under six years old) is still under development. Sony recommends that you consult your doctor (such as a paediatrician or eye doctor) before allowing young children to watch 3D video images or play 3D video games. Adults should supervise young children to ensure they follow the recommendations listed above."

New way of viewing

When we asked Sky about these recent 3D discomfort studies and the apparent slow take-up of 3D TV, a spokesperson told TechRadar:

"Sky's focused on offering our customers the best 3D experience available. That's why we ask our content partners, as well as our own in-house production teams, to target the very highest standards of production. To help sustain this, we're investing in our own production teams, we're working with Skillset to train behind-the-camera British talent, and we're investing directly in 3D production, including most recently the BAFTA award-winning Atlantic Productions.

Sky's major competitor in the UK, Virgin Media, is also keen to promote its own 3D-on-demand offering to its consumers, with a spokesperson telling TechRadar: "3D is an exciting new format which adds a great new depth to shows and an incredible amount of realism.

Sky 3d

"However, as some consumers may find, the new way of viewing can take some getting used to, so our 3D on demand service makes this simple by putting the viewer in control and is perfectly suited to anyone looking to enjoy 3D without being tied to a TV schedule.

"This way customers can get into the mood and make a real event of viewing 3D with family or friends, taking breaks as needed without missing a moment of the action."

The bottom line is this. If you happen to be one of the unfortunate minority of people who is more prone than most to experiencing discomfort from extended viewing of 3D movies, TV or gaming, then it's best that you learn to understand how often you need to take regular breaks in extended TV or gaming sessions to avoid getting these annoying headaches.

Review: Classé CP-800 preamplifier

Posted: 08 Aug 2011 06:00 AM PDT

Classé's new CP-800 preamp is less expensive, yet significantly more well featured than its predecessor the CP-700. In fact, it has more features than any dedicated two-channel preamp we have ever encountered!

For starters, it has digital, as well as analogue inputs and, of these, two are USB connections; one in the front panel for your Apple device and another on the back for a computer. Then it has five output channels with which to incorporate a second system or extra power amps and subwoofer(s) and that's only the connections.

Inside the sleek aluminium casework it's stacked with technological firepower, including bass management, so that you can optimise low-frequency performance almost regardless of where speakers are placed and parametric EQ.

If that weren't enough it also has something we've not seen on a high end preamp since the seventies; tone controls. All this with barely a button in sight thanks to a 16:9 touch screen.

Better than any CD?

The most controversial thing about the CP-800 however, is that Classé head of sales, Dave Nauber, claims that his iPhone sounds better through it than any CD transport. The front USB extracts a digital stream from your iDevice but that is fighting talk in our books.

When HFC met Alan Clark, the Scotsman who designed it (and the rest of the Classé range), he wasn't quite so bullish but did claim that the USB input could outperform the S/PDIF – which is pretty controversial itself. Alan has come up with a variation on the USB receiver, which he claims is superior to all the alternatives on the market.

He accepts that the asynchronous route chosen by increasing numbers of serious USB DAC-makers is better than the synchronous approach found in more affordable convertors, but has added a twist which is said to make the CP-800 a world-beater with this computer audio link.

Clark calls regular asynchronous USB interfaces 'non-optimal' because the ground noise that is inevitable with computer sources pollutes the clock and the DAC in the receiver. His solution to this has been to add an FPGA (field programmable gate array) between the USB microcontroller/receiver and the DAC, as a means of isolating both it and the audio clocks within the preamp.

rear

The USB receiver has its own clock but it's impossible to fully isolate this because the noise levels are very high within the chip, The FPGA recovers only the data from the incoming signal and uses the precision clock within the CP-800 in order to minimise jitter.

The preamp also has an unusual power supply (PSU). One reason why it costs less than its predecessor is that the PSU is onboard rather than being in a separate box, but that's not the only difference. The CP-800 has a switched-mode PSU that operates at very high frequencies, which its claimed makes it less noisy than traditional linear supplies. It also makes it more efficient (as is usually the case) and this product hits the EU target of sub single-watt power consumption in standby.

internal

Classé also uses power factor correction, which maintains a constant load on the mains. As a result it should benefit other components in the system, because they are not having to deal with a fluctuating mains supply. We would expect a power amp to modulate the mains, but were surprised that this is also considered an issue with preamps where power requirements cannot be that great.

Unusually for such a complex product, PCB layout is done by a lady called Cheng, who Clark describes as the world's most patient electronics designer, because she does it all by hand. This is because auto-routing cannot achieve the results that are possible when the effects of each component in a multi-layer board are taken into account.

As a result the motherboard on the CP-800 does not look as neat as you might expect, rather it has an organic appearance because signal paths need to be kept away from the noisier elements in the circuit.

Flexible friend

The CP-800 is superbly built; Classé knows how to put a product together and how to finish it better than most. Many build heavier, shinier and more bolt-laden products, but few highend companies are able to execute their products to this standard.

It is also replete with inputs, 15 in total including balanced and unbalanced analogue in and outputs, all the usual variations of digital input and the 12-volt trigger outputs beloved of North American manufacturers. There's even an RJ45 Ethernet socket which will allow the preamp to stream content directly when a future software update is made available.

Those extra three outputs are unusual on a two-channel preamp, but allow the use of two power amps per channel, plus a single subwoofer, or even up to three subwoofers. There is the option to configure all the in- and outputs, so that one input could be unity gain and use a connected sub, while the others just use the main two channels.

Inputs are nameable and can be assigned a specific amount of gain and/or balance setting. We seriously doubt whether there is another two-channel preamp that is this configurable and flexible, it is clearly a variation on a multichannel processor in this respect.

The iPod user will be pleased to read that it's happy to work with most versions of the popular device including Nano, Classic and Touch, not to mention iPhones and iPads.

Laptop, not phone

A carefully ripped CD sounds better played back from a computer than the original disc played via S/PDIF from a decent CD player. The difference isn't even subtle to be honest, the file produces music that is more revealing and considerably more interesting. A live performance of solo piano is extremely convincing, transporting us to the original venue, thanks to the stature of the instrument and the scale and nature of the acoustic being so palpably real.

Perhaps the S/PDIF input has one hand tied behind its back for the purpose of making the USB input sound better, but that seems unlikely. Especially when you compare it with the USB input of our reference DAC/ preamp (the Resolution Audio Cantata) which sounds almost flat by comparison. Clark has clearly done a fine job with this input and raised the bar for the genre as a whole.

As a preamp with analogue signals, the CP-800 has a hidden secret that must be unlocked for its full potential to become apparent; this is the 'analogue bypass' tick box. Sounds simple, but you need to track it down and tick it for each analogue input, otherwise the DSP gets in the way and undermines performance.

Once this had been sorted analogue signals are reproduced in a coherent and well-integrated form, with excellent image depth and width. It also has fine bass extension and articulation, not as fast as the best perhaps, but easily as deep and solid. It has a smooth, clean presentation, rather than one that emphasises the midband, in order to give the impression of greater transparency, such as you can find with valve preamps, but neither is it dry nor fine grained in the style of many solidstate devices.

The Classé doesn't have a phono stage, but can reveal the finesse of a good external one such as the Trilogy 907. Stevie Wonder's Superstition can be a little uncomfortable because there's so much low-frequency energy, but the CP-800 keeps everything under control and lets the all-important power of funk ooze into the room.

It's also a highly detailed presentation with layering that is often masked in lesser components. We were using the remarkable D'Agostino Momentum power amps, but the sound was nonetheless rich and deep in tone and scale.

Playing an iPod Touch via the front USB input elicited a pared-down result by the standards of more traditional sources, but a vibrant, clean and crisp one that's devoid of grain which can't be bad. It's in the same league as the better digital docks if not the best in class. We didn't have an iPhone, but if one could outperform a CD transport then this reviewer would eat his hat.

We didn't have any subwoofers around with which to assess the various ways in which their potential can be harnessed but had a go with the tone control, which is factory set to operate as a tilt device ala Quad and works in a subtle but distinct fashion. This, by the way, is another first in signal processing.

We also looked at the EQ options and soon realised that you need some decent measurement equipment to make sure you are going in the right direction. There are five filter options per channel and each of these are adjustable for centre point, level and Q. Useful if you want to iron out a bass hump, but best left alone if you're happy with the balance au naturel.

Ready and willing

This is an immensely well-featured preamp with the power of a multichannel processor under the lid. As a fair amount of the budget must go into this side of the build cost, it's not the most nimble example on the market when it comes to pace, but it does a stunning job with signals that emanate from a computer, better than we've previously encountered, in truth.

If you are looking for a totally future-proof preamp that can be used to not only make subtle alterations to tonal balance for those great, but poorly recorded albums, but can also assist with room balance on a per channel basis, then the Classe CP-800 is in a field of its own.

iPad to dominate the tablet market 'for the next 10 years'

Posted: 08 Aug 2011 05:49 AM PDT

Apple's iPad will dominate the tablet market for the next decade, according to one analyst's calculations.

Charlie Wolf, analyst at Needham, has calculated that, even with other tablets including the Android and BlackBerry offerings gaining traction in the growing market, the iPad will only lose around 20 per cent of its share in the years up to 2020.

That means the iPad is set to hold over half of the tablet market for the foreseeable future, leaving the rest of it to be split between Android tablets, BlackBerry PlayBooks, HP TouchPads and Windows 8 slates when they finally begin to surface next year.

Top of the tablet pops

According to Wolf, despite the myriad new tablets making their way to shop shelves, only the iPad has managed to capture the public's interest:

"Future tablets are more likely to steal share from one another than from the iPad," he adds. "The tablet market has been inundated with new models… All of them have been greeted with a yawn and lacklustre sales."

He also cites Apple's well-stocked app store as a key factor in the iPad's current and future mega sales: "In the case of tablets, the only thing that matters - that turns what's otherwise a slab into a versatile device - are the apps.

"And the applications available on the tablets introduced this year number at best in the hundreds. In comparison, more than 100,000 applications are available on the iPad."

Samsung Wave 3 outed on Russian website?

Posted: 08 Aug 2011 05:31 AM PDT

Samsung has taken to its Russian website to mention a new phone, the GT-S8600, which is likely to be the Wave 3.

How have we arrived at this seemingly random assumption? Well, the first Wave was the S8500, the Wave 2 the S8530... you see where we went with this?

Of course, just because this phone was outed on the Russian website doesn't mean it will be coming to the UK after the first two iterations didn't really set the British phone market alight.

We can only hope that if it does make it to British shores then it will at least mean a return of the OLED screen that graced the first iteration - without it, the Wave 2 didn't really have too much to offer in the way of unique selling points.

Beepy beep beep

We'd assume that NFC would be packed under the hood, with the new Bada SDK supporting the functionality, as well as improved graphical processing to cope with the influx of improved games for the Bada platform.

Also mentioned in the Russian leak (which may or may not also be the name of a cocktail... possibly involving a leek) were the GT-S5360 and GT-S7250D, one of which will be the Wave 725 according to the rumours - there's even a picture and everything.

Samsung wave 725 Credit: GSM Arena

As a side note - apparently Bada is big in France. We found this out the other day from Samsung's UK MD Simon Stanford. Who knew?

Review: Audio Pro WF100

Posted: 08 Aug 2011 05:30 AM PDT

Back in September Apple released AirPlay, its streaming protocol capable of wirelessly transmitting your iTunes media to compatible hardware. Since then we've seen a handful of hi-fi stereos and speakers come with support for AirPlay's lossless audio component.

Still, that's fat use if you already own an otherwise perfectly decent home stereo setup. Apple's answer? Buy an AirPort Express.

Not so fast: Scandinavian company Audio Pro thinks it has a better solution. The WF100 wireless audio system works by way of two USB dongles – one transmitter, one receiver – whose setup couldn't be simpler.

Attach the transmitter to your Mac; then using the supplied USB AC power adapter and RCA Y-cable (or mini jack), connect the receiver to your stereo amp. There's no fiddling with drivers here: simply choose USB sound output in your OS X preferences then watch the dongle LEDs rapidly turn blue to signal they've paired – leaving you to enjoy crystal-clear, delay-free audio from up to 50m away.

Audio Pro's proprietary protocol is universal and offers system-wide audio streaming, which trumps AirPlay's iTunes-only limitation. You can even expand your wireless setup by adding extra receivers, but coming in at £85 a pop, this rears the ugly head of expense.

At £150, the WF100 set feels pricey for what it is. But if you're eager to mate your Mac with legacy audio equipment that still shines, the benefit might just outweigh the cost.

Opinion: Let's start worrying about BBC iPlayer on Xbox 720

Posted: 08 Aug 2011 05:14 AM PDT

Microsoft is keen to show that the Xbox can be the main box under our televisions – transcending its traditional placing as a games console in an attempt to be a powerful media centre as well.

And yet, with the BBC triumphantly showing off its latest iPlayer on the Xbox 360's clearest rival - the PlayStation 3 – it is starkly apparent that it is still missing from Microsoft's console.

It was well over a year ago that TechRadar launched a campaign to get the iPlayer onto the Xbox, and yet the two companies are still at loggerheads despite, staggeringly, starting talks back in 2009.

Money, money, money

The reasons, suggested by people familiar with the companies, are myriad, although the major sticking point seems to revolve around payment.

BBC's Daniel Danker alluded to this when I met him last week at a briefing for the new iPlayer; namely that the broadcasting giant requires the service to be available to every Xbox owner and not just those with a gold subscription.

Obviously, the BBC's licence fee includes payment for the iPlayer, but Microsoft is apparently keen to ensure that additional media services on the Xbox stay at the Gold subscriber level.

Loggerheads

That two major corporations cannot come to a quick agreement is not surprising; but that those talks began back in 2009, and have still not come to any kind of fruition is certainly a source of frustration.

With the Xbox 360 in the latter part of its cycle, the likelihood of a deal is beginning to wane. Would the iPlayer on a silver subscription attract new people to buy the console? Probably not in any major amounts. Would it persuade current owners to buy Gold? Obviously not if it's not a requirement for access.

There remains a constant burble of speculation that each Xbox update will prepare the way for the on demand service, but you won't be blamed for failing to hold your breath.

iPlayer - not on ps3

UK issues

Obviously, the BBC and the UK market are a fairly unique proposition; the US does not have an equivalent broadcaster that is funded by licence fee so there is no problem with other on demand packages being part of the Gold subscription band.

But, the BBC is a vital part of any on demand proposition in Britain, offering a ream of high quality and popular content, and any service which does not offer an iPlayer option is going to suffer in comparison.

The Xbox is not alone in this; Sky's lack of BBC VOD content is a persistent bugbear for many, especially given the success of the service on cable rival Virgin Media.

You would hope, regardless of the chance of an Xbox 360 iPlayer, that Microsoft has at least taken note of the problem for its successor – whether it be the Xbox 720 or something else.

That way it can factor in the iPlayer on a subs-free service and use it as a reason to upgrade your hardware rather than do without and pale slightly in comparison with its competitors.

Review: Brother DCP-J925DW

Posted: 08 Aug 2011 05:00 AM PDT

Brother has a reputation for inexpensive printers with solid but unspectacular printouts. Its new range offers a better feature set than previous Brother multifunction products, but its print quality still lags behind its leading rivals. The DCP-J925DW is the priciest of three new DCP models, but is still only £150.

It has Wi-Fi 'n', Ethernet and USB connectivity, and its single paper tray has a space for postcard-sized photo paper. You still have to remove it and make a mechanical adjustment before printing photos, but it's easier than with previous Brother printers.

Duplex printing and copying are catered for, as is Pictbridge, printing from USB and most SD/MS formats, and even printing to optical discs.

Indeed, the DCP-J925DW is surprisingly fast for a budget home printer, taking just over two minutes to print a 20-page text document, and around four and a half minutes for a top-quality A4 photo.

Its text printing is robust but a little unspectacular, with characters a bit grey and blurred around the edges. Default-quality plain-paper colour printouts are bleached and banded.

After boosting the print resolution and using quality photo paper it gives reasonable results, but the colours are a little washed out and over-red, and there's a noticeable banding on the greyscale ramp.

These problems aren't hugely detrimental to the overall picture quality, but they're definitely noticeable when compared to any of Canon's PIXMA range or the HP Photosmart's output.

Apple to launch updated low-spec iMac for students soon?

Posted: 08 Aug 2011 04:38 AM PDT

The latest word on Apple Street is that a new cut-down iMac is in the offing as part of the company's education scheme.

The rumoured iMac is said to rock a 3.1GHz dual-core processor, 2GB of DDR3 RAM, a 250GB hard drive and an AMD Radeon HD 6750M graphics processor.

Bargain basement

9to5Mac's anonymous source tips the new desktops as arriving later this month, citing 16 August as the scheduled 'soft launch' date.

Given that the new academic year will start in September in the UK, that timing makes sense to us.

rumourometer

Buying Guide: Best DSLRs for video: over £1,000

Posted: 08 Aug 2011 04:36 AM PDT

At the over £1,000 and sub £2000 price point there are several DSLRs and compact system cameras (CSCs) that have taken movie capture to a high-spec level. Some offer top-notch settings that promise professional quality and intelligent controls.

When spending upwards of £1,000 there's a lot to consider: which model produces the best quality footage; which can autofocus with ease (if this is important to your movie making); or how much manual control do you get over exposure?

There's also a mixture of Four Thirds, APS-C and full-frame sensors available.

We've rounded up five current models over the £1,000 threshold and break down what they're capable of to help you choose the right model for shooting video.

Cameras for video: panasonic lumix gh2

The bigger brother of the Lumix G3, the Micro Four Thirds GH2 is Panasonic's ultimate movie-recording stills camera. Its 3in, vari-angle touchscreen can be positioned through any angle and is ideal for movie shooting, plus the hands-on 'touch for focus' approach makes for unique yet pinpoint autofocus control.

The GH2 provides the full array of manual controls as well as automated movie shooting. This means that both shutter and aperture can be controlled in real time when recording – though doing so will cause a small 'blip' of overexposure while the camera quickly adjusts. It doesn't look particularly smooth, so sticking to exposure compensation for a more fluid exposure transitions is one way to maintain smoother results.

The Programme Auto (P) mode leaves the GH2 in charge of most settings for more simplified point-and-shoot recording, as commenced by the one touch button just behind the main shutter button.

Cameras for video: panasonic lumix gh2

Sensor

As the GH2 has a different Four Thirds sensor than other Lumix cameras (this one has more processing power and is a slightly different size to accommodate all aspect ratios, including 16:9 movie, without unnecessary cropping) its readout is of a higher capacity too. This translates into a 24p (progressive) cinema mode, compared to all other Lumix cameras that capture interlaced files.

It also means a 24Mbps data rate, which is on par with that of a professional spec camcorder, and adds that extra depth of quality to final files.

The GH2 also provides a 50 or 60i capture should this be preferable, plus there's a Variable Movie mode that can capture at 80%, 160%, 200% or 300% of usual speed inside the camera (by adding or skipping frames) for a slower motion or sped-up capture. It's an extra wave of creativity, and similarly there's also an Ex Tele Converter mode that uses an exact 1920x1080 pixel section of the sensor for a 3x magnification without quality loss.

Autofocus

Autofocus is super fast when using single focus (AF-S), and the full time autofocus (AF-A) is very smooth and accurate when shifting between subjects. This is the same system as employed in the excellent Lumix G3, though the GH2 does have one distinct downer – the focus area is restricted to a far more central portion of the screen that causes distinct limitations.

Panasonic's AVCHD capture format means movies need to be processed in order to use them outside of the camera, but this keeps file sizes far smaller than they would be otherwise.

Audio

Sound-wise the GH2's built-in stereo microphone captures decent quality audio, though the 2.5mm (again, not the more standard 3.5mm fitting) will have those wishing to use many third party microphones at a loss. Panasonic makes a variety of microphones with the 2.5mm fitting or there are 2.5-3.5mm converters available for little money, though using the latter isn't the most elegant or reliable way of recording.

Video specs

Approx price: £1,049 with 14-140mm kit lens
Sensor: Micro Four Thirds (2x magnification)
Maximum resolution: 1080p capture (1920x1080px)
Frame rate: 24fps (1080p) / 50/60i fields per second also available (output as 25/30fps)
Compression: AVCHD capture (or Motion JPEG at QVGA resolution only)
Audio support: 2.5mm mini audio jack for external microphones
File format: AVCHD format MTS files require decoding; M-JPEG
Exposure mode: Programme mode with real time exposure compensation; Manual mode with real time shutter and aperture control; Aperture & Shutter Priority modes
Focus modes: Full time (AF-C), Subject Tracking, Single (AF-C) and Manual (MF) focus options
Connectivity: HDMI & A/V outs

Cameras for video: nikon d7000

At the top end of Nikon's APS-C format 'consumer' range, the D7000 doesn't claim to be a professional camera, though a browse through its features list quickly suggests otherwise. It's the most proficient Nikon DSLR for movie recording, even above and beyond the full-frame D3s (the latter's older sensor accommodates inferior Motion-JPEG recording only).

Autofocus

With the ability to use single (AF-S) or full time (AF-A) autofocus, the D7000 has among the most responsive live view focusing systems to be found in a DSLR camera. However, the continuous autofocus, as per that of the D5100, isn't quite quick enough to keep up with all subjects, plus the audible clicking sound of autofocus is picked up in shots.

Furthermore the AF seems lazy when zooming the lens, often resulting in an out of focus shot that needs a half shutter depression to coax the system back into play. However, compared to much of the competition it is an effective autofocus system overall – just not a patch on many Compact System Cameras or Sony's A55 (see Best DSLRs for video £500-1,000).

Cameras for video: nikon d700

Manual control

Where the D7000 outdoes its D5100 cousin is with the addition of manual control. Manual mode allows for adjustment of shutter and aperture as a means to set exposure, though the latter can only be adjusted outside of live view mode – an oddity as this means a lot of unnecessary flicking of switches and dials just to set the aperture as desired.

Although it appears that Aperture and Shutter Priority modes are also available, they're not, as the values displayed on screen are nothing more than relics from stills shooting that the camera ignores in practice. Using the camera in its auto mode is most proficient as real time exposure compensation and exposure lock are both available and make it easy to fix exposure/brightness as required.

The D7000's 1080p movies are captured at the cinematic 24 frames per second frame rate and output as MOV files. H.264 compression means quality is good, though the 175MB/minute rate is less than some other models out there and this shows in the final captures – although decent, they've not for the same cutting detail and smoothness as from, say, the Canon EOS 7D (which we'll look at later in this article).

Audio

Sound is dealt with using an on-board microphone or there's a 3.5mm mic jack for third party microphones. The latter is particularly useful as sound is a little muffled; it sounds 'squashed' and over-compressed when recorded from the camera body.

Video specs

Approx price: £1,059 with 18-105mm kit lens
Sensor: APS-C sized (1.5x magnification)
Maximum resolution:1080p capture (1920x1080px)
Frame rate: 24fps (1080p) / 25/30fps (720p)
Compression: H.264 compression for video and Linear PCM audio (mono)
Audio support: 3.5mm audio jack for external microphones (stereo)
File format: MOV
Exposure mode: Programme mode with exposure compensation & AEL; Manual mode with live shutter control and pre-determined aperture control
Focus modes: Single autofocus (AF-S), Full-time autofocus (AF-A), Manual focus
Connectivity: HDMI-C out, A/V out

Cameras for video: olympus e-5

As Olympus focuses its attention on its PEN range of Compact System Cameras there's been a lot of suggestion that the Four Thirds format E-5 will be the company's final DSLR camera. Even so it's also the first Olympus DSLR to feature a movie mode.

Able to capture 720p HD clips, the E-5 utilises the Motion JPEG format at a 1/12 compression ratio to capture its AVI movie files. The format means large files at around 285MB/min, but the final quality doesn't seem to correspond to this high number.

Compression is excessive, colours appear muted and shadow areas (even at lower ISO settings) show presence of mottled image noise that doesn't make for the most appealing shots. Framing up is also difficult as the movie mode uses a different portion of the sensor than for its stills shots (even in 16:9 mode) that results in a sudden 'crop in' where recording captures a slightly different frame.

Cameras for video: olympus e-5

Autofocus and manual control

However there are some plus points: the E-5's autofocus system is nippy (though only single autofocus or manual focus is available); full manual controls are available for shutter and aperture control; a 3.5mm mic jack means external microphones can be attached; and Art Filter modes can also be used in movie capture for added in-camera creativity such as Grainy Film, Soft Focus and several more.

On the downside the camera is expensive (£1420 covers just the body without a lens) and the Art Filter modes drop the movie frame rate so low that they're unlikely to be of use. Even when setting focus prior to shot the final captures are often a little out of focus unless focus is re-acquired during recording, manual controls can't be adjusted in real time during capture, plus the on-board microphone captures a hissing mid-high frequency that's distracting compared to competitor models.

Indeed the E-5's movie mode feels like it was 'tacked on' rather than added as an intrinsic part of this camera.

Video specs

Approx price: £1,419 body only
Sensor: Four Thirds (2x magnification)
Maximum resolution: 720p capture (1280x720px)
Frame rate: 30fps
Compression: Motion JPEG 1/12
Audio support: 3.5mm audio jack for external microphones
File format: AVI
Exposure mode: Programme mode with pre-shooting aperture, ISO and exposure compensation control; full Manual, Shutter and Aperture Priority control (pre-determined values prior to recording only)
Focus modes: Single autofocus (AF-S), Full-time autofocus (AF-A), Manual focus
Connectivity: HDMI-C out, A/V out, USB out

Cameras for video: canon eos 7d

One of the big guns when it comes to stills shooting, Canon's APS-C format semi-pro spec 7D also delivers quality on the movie front too.

On the rear of the camera there's a movie live view mode switch that surrounds a Start/Stop button to commence recording. As this individual control features here the position of the main mode dial on top of the camera – to select between Programme or Manual modes – is crucial depending on how much exposure control you want to have.

Shooting modes

The 7D doesn't do things by half measures: either you take full control of both aperture and shutter values (and ISO if you should choose) when in Manual mode; or the P (Programme Auto) mode automates exposure and controls all settings on your behalf.

Aperture and Shutter Priority modes are not available, instead these act as per the P mode, and it's only in Manual that full control of all settings is available.

Exposure compensation can be adjusted live during recording using the rear rotational wheel, and the exposure lock button can also fix the exposure value to the current subject in order to stop the camera adjusting for changes in light. The occasional flash of light can occur as the camera auto adjusts for exposure, though it's not a common occurrence.

Cameras for video: canon eos 7d

Autofocus and manual control

Focus-wise it's either single autofocus (AF-S), as controlled by the AF-ON button on the rear of the camera (that's quite awkward to use due to its placement) or manual focus. The focus is as per many other DSLR cameras – there will often be over- and under-focusing issues, plus the camera (even when in Manual mode) may briefly up the exposure value in order to obtain a higher area of contrast for focusing and this then relays in final capture playback. So it's not so slick unless you take full control of everything, including focus, by hand.

Although the 7D isn't a point-and-shoot model by any means, the main reason to consider buying one is the final quality of its movie clips. The 1080p files can be captured at 24, 25 or 30fps and are rendered as MOV files using H.264 compression. The end quality is quite staggering in terms of fine detail, motion fluidity and careful use of compression – indeed at around 375MB/minute there's a whole lot of data being squeezed into the clips, and it shows.

Audio is handled by an on-board microphone or a third party microphone can be plugged into the 3.5mm mic jack for more professional off-camera recording.

For full manual control and high quality movie clips the 7D does a fantastic job, though the autofocus system is best avoided if you're after truly professional quality final clips.

Video specs

Approx price: £1,445 with 18-135mm kit lens
Sensor: APS-C sized sensor (1.6x magnification)
Maximum resolution:1080p capture (1920x1080px)
Frame rate: 24, 25 and 30fps
Compression: H.264 compression for video and Linear PCM audio
Audio support: 3.5mm audio jack for external microphones
File format: MOV
Exposure mode: Programme mode with exposure compensation & AEL; Manual mode with live aperture and shutter control
Focus modes: Single autofocus or manual focus
Connectivity: HDMI-C out, A/V out

Cameras for video: canon eos 5d mkii

Canon's 5D MkII is deemed by many as the ultimate stills camera for shooting pro-spec videos – so much so it's even been used in Hollywood movies such as Iron Man 2.

It's clear to see why the industry in the know is keen on the Canon's technology too. The 5D mkII's 1080p capture can record at the cinematic 24fps frame rate or native PAL (25fps) and NTSC (30fps) settings. Although we're not talking about true Digital Cinema 4K capture (or indeed higher; but that's outside of any still camera's reach at the moment), the final quality of the Canon's clips is fantastic.

Full-frame sensor

There's a twofold reason for this: as per the 7D, the 5D MkII squeezes some 375MB/min into its MOV files; but it's the full-frame sensor's extra physical size that adds pronounced shallow depth of field (blurred background) that's out of reach of smaller-sensor cameras. Pair the 5D mkII up with some stunning wide aperture lenses and its clips will exude professional quality.

Of course such extra physical size can cause some constraints. For example, a 50mm lens on the 5D mkII equates to roughly peripheral vision, whereas the same lens on a Canon 7D would equate to 80mm. If you want long-reaching shots from telephoto lenses on the 5D mkII then be prepared to surrender not only your wallet due to the sheer expense, but also your spine thanks to the potential weight burden (depending on how much kit you intend to carry).

Cameras for video: canon eos 5d mkii

Shooting modes

Control-wise and the 5D mkII has exposure provisions as good as any other model we've seen. Manual, Shutter Priority and Aperture Priority modes each provide full control over settings that can be manipulated live during capture. Do note that stopping the aperture up or down while recording can result in a very brief 'flash' of overexposure however.

Programme mode can be used much like an 'Auto' option, though it's still possible to adjust exposure compensation or fix the exposure to a specific subject using AEL (exposure lock) while recording.

Autofocus is akin to the 7D's control, where the 'AF-ON' button on the rear of the camera is used to adjust the single autofocus. However it's less accurate than its sister model and can sometimes miss focus completely – certainly not the way the Hollywood movie buffs will be using the camera.

Lens advice

Lens focusing noises can also be picked up by the onboard microphone (depending upon what's mounted and whether it has silent focusing or not – always worth checking for Canon's USM, aka Ultrasonic Motor, for silent focusing), although a 3.5mm mic jack is available to connect third party microphones for more professional off-camera audio recording. Although autofocus is one noise of concern, image stabilisation may also produce a continual whirring/clicking sound – something else to keep an ear out for, but that's dependent on the lens in use.

The 5D MkII's white balance isn't a problem, as such, though leave the camera on AWB (Auto White Balance) and you may find changes in light being overcompensated for or stronger colours appearing more muted then they ought to. Setting the WB manually overcomes this issue easily.

This camera isn't one for casual point-and-shoot users, largely down to the so-so single autofocus mode and lack of any other camcorder-like features. But aspiring moviemakers will be pleased by the 5D mkII's immense final quality and provision for full manual control. The large sensor delivers quality not matched by any other (the Nikon D3s is the only other current full-frame, movie-capable stills camera), though adding extra kit to hone your steady hold and manual focusing abilities may be an essential in order to deliver true pro-looking shots.

Video specs

Approx price: £1,700 body only
Sensor: Full-frame 35mm (1x magnification)
Maximum resolution:1080p capture (1920x1080px)
Frame rate: 24, 25 and 30fps
Compression: H.264 compression for video and Linear PCM audio
Audio support: 3.5mm audio jack for external microphones
File format: MOV
Exposure mode: Programme mode with exposure compensation & AEL; Manual mode with live aperture and shutter control; Aperture Priority with live control; Shutter Priority with live control
Focus modes: Single autofocus or manual focus
Connectivity: HDMI-C out, A/V out

All five of these stills cameras provide some level of manual control, in itself signifying that these aren't low-level playthings. Often pro-spec, it's likely you'll need some existing camera, video and lens knowledge to make the most out of using these models for the best possible video capture.

Only the D7000 and GH2 provide continuous autofocus that's likely to appeal to the more casual point-and-shoot user, whereas the other models are big beasts designed for pro-aspiring users in the know.
Of the five models the Olympus E-5 is at the bottom of the pack (in fact lesser models will achieve far more). Its low resolution, low quality files and AVI format just won't cut it in today's market and this model feels out of date in a video capture world that's moving at a rapid pace.

A step above is the Nikon D7000. It's got plenty to sell it such as the continuous autofocus mode, but focus and fluidity of playback fall just below the mark at this price level.

Cameras for video: canon eos 5d mkii

The two Canon models are of a similar high-spec ilk, though the 5D mkII has unrivalled final quality thanks to its full-frame sensor. If quality is what you're after and full manual focus and controls are integral to you (an aspiring film maker, perhaps) then this is a great route to head down. Canon's lenses, while not to the same level (or cost) of, say, Panavision lenses, they are still staggeringly good and there are a whole host of wide aperture primes available that can take your shots to the next level.

Cameras for video: panasonic gh2

For the more point-and-shoot minded the GH2 is the most successful marriage of quality and ease of use. The smaller sensor means files don't outdo the 5D mkII, but the Lumix's 24Mbps 1080p quality is up there with top of the range camcorders. Add to this the touchscreen control and silky smooth continuous autofocus and there's a whole lot to like about the Panasonic – it's the one most likely to banish camcorder rivals off the shelves.

Buying Guide: Best cameras for video capture over £1,000

Posted: 08 Aug 2011 04:36 AM PDT

There's also a mixture of Four Thirds, APS-C and full-frame sensors available.

We've round up five current models over the £1,000 threshold and break down what they're capable of to help you choose the right model for shooting video.

Cameras for video: panasonic lumix gh2

The Programme Auto (P) mode leaves the GH2 in charge of most settings for more simplified point-and-shoot recording, as commenced by the one touch button just behind the main shutter button.

Cameras for video: panasonic lumix gh2

Sensor

It also means a 24Mbps data rate, which is on par with that of a professional spec camcorder, and adds that extra depth of quality to final files.

Autofocus

Panasonic's AVCHD capture format means movies need to be processed in order to use them outside of the camera, but this keeps file sizes far smaller than they would be otherwise.

Audio

Video specs

Cameras for video: nikon d7000

Autofocus

Cameras for video: nikon d700

Manual control

Audio

Video specs

Cameras for video: olympus e-5

Autofocus and manual control

Indeed the E-5's movie mode feels like it was 'tacked on' rather than added as an intrinsic part of this camera.

Video specs

Cameras for video: canon eos 7d

One of the big guns when it comes to stills shooting, Canon's APS-C format semi-pro spec 7D also delivers quality on the movie front too.

Shooting modes

Aperture and Shutter Priority modes are not available, instead these act as per the P mode, and it's only in Manual that full control of all settings is available.

Cameras for video: canon eos 7d

Autofocus and manual control

Audio is handled by an on-board microphone or a third party microphone can be plugged into the 3.5mm mic jack for more professional off-camera recording.

For full manual control and high quality movie clips the 7D does a fantastic job, though the autofocus system is best avoided if you're after truly professional quality final clips.

Video specs

Cameras for video: canon eos 5d mkii

Canon's 5D MkII is deemed by many as the ultimate stills camera for shooting pro-spec videos – so much so it's even been used in Hollywood movies such as Iron Man 2.

Full-frame sensor

Cameras for video: canon eos 5d mkii

Shooting modes

Programme mode can be used much like an 'Auto' option, though it's still possible to adjust exposure compensation or fix the exposure to a specific subject using AEL (exposure lock) while recording.

Lens advice

Video specs

A step above is the Nikon D7000. It's got plenty to sell it such as the continuous autofocus mode, but focus and fluidity of playback fall just below the mark at this price level.

Cameras for video: canon eos 5d mkii

Cameras for video: panasonic gh2

Designer working on Holga digital camera

Posted: 08 Aug 2011 04:31 AM PDT

An Indian designer has outlined plans for the development of a digital version of a Holga film camera.

Holga cameras are cheap medium format film toy cameras, characterised by their unusual images which include light leaks, blurs, vignetting and so on. They have become extremely popular with followers of retro styled film camera manufacturers such as Lomography.

Discussing the design for the camera on his website, Saikat Biswas says that he is attempting to recreate the delayed gratification you get from shooting film with the Holga 'D' camera. That means that there is no rear screen to check image quality.

In a bid to keep it simple, there are very few features on the camera. It would be fitted with a last generation full frame or 1.5x crop sensor.

Simple design

As the original Holga has very few controls, the same design aesthetic will be brought across to the digital version. On board you'll find two ring dials for ISO and shutter speed control. You'll also be able to switch between 3:2 and square aspect ratio.

Aperture can be changed manually via the lens, where you can place discs with different sized openings depending on the aperture size you require. Biswas states that not only would some aperture rings come with the camera, but it would also be easy to create your own customised discs.

Other features include the ability to select black and white or colour shooting and a removable top panel for converting it from left to right handed design.

Accessories for the Holga D would include a viewfinder, mini flash and a hot-shoe for attaching your own flash units.

Open source platform

Biswas is now hoping to see the Holga D realised as an open-source camera platform, co-developed by like minided enthusiasts and and professionals from related fields.

Speaking on his website, he says that he has received a "huge amount of positive feedback and inquiries about Holga D".

Given the popularity of Lomography and iPhone apps such as Hipstamatic and Instagram that recreate typical film effects, we can see the appeal of a digital Holga camera.

For information and to see more mocked-up pictures of the Holga D camera, take a look at the Saikat Biswas website.

Designer working on Holga digital camera concept

Posted: 08 Aug 2011 04:31 AM PDT

An Indian designer has outlined plans for the development of a digital version of a Holga film camera.

In a bid to keep it simple, there are very few features on the camera. It would be fitted with a last generation full frame or 1.5x crop sensor.

Simple design

Other features include the ability to select black and white or colour shooting and a removable top panel for converting it from left to right handed design.

Accessories for the Holga D would include a viewfinder, mini flash and a hot-shoe for attaching your own flash units.

Open source platform

Biswas is now hoping to see the Holga D realised as an open-source camera platform, co-developed by like minided enthusiasts and and professionals from related fields.

Speaking on his website, he says that he has received a "huge amount of positive feedback and inquiries about Holga D".

Given the popularity of Lomography and iPhone apps such as Hipstamatic and Instagram that recreate typical film effects, we can see the appeal of a digital Holga camera.

For information and to see more mocked-up pictures of the Holga D camera, take a look at the Saikat Biswas website.

Updated: PS4 rumours: what you need to know about the PlayStation 4

Posted: 08 Aug 2011 04:29 AM PDT

When it comes to rumours about the next Xbox, there's some wild speculation to get your teeth into.

But on the PlayStation 4 rumour mill, things were, until recently, turning much slower. As Kaz Hirai said earlier in the year: "we're not deliberating on a PS4 or a next generation machine, whatever you call it."

But on 26 May 2011, that stance appeared to change when Sony's executive vice president and chief financial officer Masaru Kato seemingly confirmed that Sony is working on the PS4. The revelation took place during a conference call to investors where he was asked about increased R&D costs.

"This is a platform business, so for the future platform - when we'll be introducing what product I cannot discuss that - but our development work is already under way, so the costs are incurred there," Eurogamer reported him as saying.

However, in an interview with the Wall Street Journal on 31 May 2011, Kato denied that he was specifically referring to the PS4, saying "Some people misread what I said."

So what can we expect from the PlayStation 4?

The PS4 specs could abandon the Cell processor and return to x86…

In February, there were rumours of a failed Sony/IBM research project to develop a PowerPC chip for future PlayStations. Going forward, Sony will surely stick with the advanced, multi-core, bitch-to-develop-for Cell processor that it dropped $3 billion on. Here are three reasons why:

1. Easy backwards compatibility with the PlayStation 3

2. A familiar development environment. By 2015 (or whenever a PS4 comes out), games developers will have had much more experience working with Cell and its software tools

3. Toshiba recently sold its Cell factory in Nagasaki back to Sony for £400 million. Sony is hardly going to abandon the chip now it owns the means to manufacture it in bulk

What are the PS4 features we'd most like to see?

PS4info dreams of a next-gen PlayStation with a 32nm Cell processor an up to 16 SPEs, double the number in the PlayStation 3. While over on gamrConnect, there's talk of a greater partnership with Google. Sony's new fondness for Android on the Xperia Play is an interesting strategy.

Blu-ray on the PlayStation 4 is a dead cert. While digital distribution is undoubtedly the way forward, not every PlayStation owner has access to a fast broadband connection.

As Kaz Hirai told Develop, "we do business in parts of the world where network infrastructure isn't as robust as one would hope. There's always going to be requirement for a business of our size and scope to have a physical medium."

As for the PlayStation 4 controller, Dr. Richard Marks (Sony Computer Entertainment's US R&D manager of special projects) says that "anything that lets us get the player's intent into the system more" is technology they'll be looking at. No brain wave gaming just yet.

Could there be a redesign of the PlayStation network too?

According to Reg Hardware, Sony has a PlayStation Network design upgrade in the works to compete with Xbox Live - could it eventually launch alongside the PS4?

What about a PS4 release date?

Tricky. If you side with the likes of ITProPortal, you might believe that "the whole concept of a single lounge-bound gaming device may become obsolete". The future of gaming may well lie in a more portable device/controller that you can play on the move or plug into your TV. Epic's Mark Rein has some interesting thoughts on this here.

Sony claims that the PS3 will have a 10 year lifecycle, suggesting the next PlayStation will arrive by the end of 2016 at the latest. Or we might not get a PlayStation 4 at all. Developers haven't yet maxed out the potential of the PS3, while the release of PlayStation Move has given it an extra dimension…

Senior execs for a big US retailer told their shareholders that they don't expect the Xbox 720 and PlayStation 4 til 2014.

Bethesda's Todd Howard, game director for the forthcoming blockbuster Elder Scrolls V: Skyrim, says that gamers should not expect follow-ups to the PS3 and Xbox 360 until 2014, at the very earliest.

Speaking to PSM3 magazine, the Bethesda exec said that gamers were happy with the current generation of console tech and that he didn't expect to see an Xbox 720 or a PS4 before 2014.

However, according to Digitimes, Sony is to start production of PS4 at the end of 2011 with Kinect-like body control. Though we're not sure how accurate that can possibly be.

"Where we go after this is an interesting one," says Sony Computer Entertainment UK boss Ray Maguire. "The online side is very interesting and is a big part of our business going forward. But in terms of what sort of technology we'll be using, it's far too early to say yet because we're only half way through the lifecycle of PS3 - there are many years to come on that machine."

Long live PlayStation 3.

Updated: Xbox 720: every rumour about the new Xbox

Posted: 08 Aug 2011 04:15 AM PDT

Rumours about the new Xbox (or Xbox 720, as it's often referred to as) are now more than just internet gossip.

It's one thing to wildly speculate about the next Xbox console. It's quite another to find out that Microsoft is gearing up to build one.

Recent job postings reveal that the Xbox Console Architecture team is hunting for new blood. Successful candidates will join a team that will be "responsible for defining and delivering next generation console architectures from conception through implementation."

It screams Xbox 720 (or whatever Microsoft chooses to call its new Xbox). So let's gather together the facts, the half-whispered untruths and the wishful thinking to see what such a machine might be like…

The Xbox 720 specs will be a significant technological leap forward

The Xbox 360 was launched in 2005, with the best technology that 2004 had to offer. Inside, it used a custom-made IBM Power PC with a trio of 3.2GHz cores and an ATI graphics processor.

Compare this ageing specification to a 2011 PC like the Scan 3XS Vengeance. It rocks the latest Core i7-2600K Sandy Bridge CPU, Nvidia GTX 580 graphics card, 1TB of onboard storage and 8GB of DDR3.

Cevat Yerli, the boss at Crytek, believes that the PC is effectively a generation ahead of the Xbox 360 and PS3. "As long as the current console generation exists and as long as we keep pushing the PC as well, the more difficult it will be to really get the benefit of both," Yerli spilled to Edge.

Something has got to give.

Xbox 720 storage and disc format

Cloud storage? We might not be ready to abandon physical media just yet. But Steam has served PC users well for several years and OnLive is turning heads.

The most obvious next-gen storage option for the next Xbox is Blu-ray. But Microsoft has refused to add it to the existing Xbox 360. Other alternatives? You'll find flag-wavers for flash drives, Nintendo-style game cartridges, even the resurrection of HD-DVD.

Xbox 720 processor and graphics

Considering that the Xbox 360 Slim now features a 'Vejle' CPU/GPU combo processor, KitGuru ponders the possibility of the new Xbox 720 getting a cutting-edge AMD Fusion chip. It's betting on the DX11-capable Krishna APU (Accelerated Processing Unit), due for release late 2012.

AMD reckons it will be a beast of a machine, pumping out graphics that offer Avatar-levels of detail. James Cameron's opus used CGI and 3D capturing, with each minute of footage costing $1 million to make. Not only will the console be capable of Avatar-style graphics, according to Neal Robison, AMD's director of ISV relationships, it will also feature improved artificial intelligence and physics capabilities.

This could mean that each individual incidental character – like the pedestrians in Grand Theft Auto, for example – could each take on their own individual personality.

The 'bigger, better, more' ethic is what makes the games industry tick. Eat Sleep Play founder David Jaffe suggests we desperately need a new generation of high-end consoles to keep producing 'blockbuster' games like Battlefield 3, Crysis 2 and LA Noire. "Gameplay travels very easily," Jaffe told IGN. "The spectacle doesn't."

EA's Frank Gibeau disagrees. "Obviously, more computing horsepower is nice, but to be honest, the Xbox 360 and PS3 still have a lot of horsepower that hasn't been tapped."

Epic's Mark Rein suggests that a tablet might be the shape of consoles to come. "Imagine a future Xbox 360 that is actually a tablet you carry around," Rein told Develop last year. "It will have more power than 360 does today, with technology like Kinect built right in…"

What about the Xbox 720 controller?

Love it/hate it, gesture-control is here to stay. Expect an improved version of Microsoft's Kinect hardware to be a prominent feature of any new Xbox. Kinect is currently the world's "fastest selling consumer electronics device" with sales topping 10 million. A Guinness World Record.

But the game pad will remain the input device of choice for veteran gamers. We can't imagine playing Gears of War 4 by waving our arms around. It lacks precision.

Could the next Xbox run Windows 8?

Microsoft wants to create an ecosystem of apps and games that work between Windows Phone, Windows and the next Xbox. But could that mean the new gaming console could run a variant of Windows 8 as Gamerant suggests?

The Xbox 720 release date is 2013. Or 2014. Or 2015…

Microsoft has said publically that the Xbox 360 will have (at least) a 10-year life lifespan to match the PS3. That puts a new Xbox launch into 2015…

Senior execs for a big US retailer told their shareholders in July 2011 that they don't expect the Xbox 720 and PlayStation 4 until 2014.

Crytek CEO Cevat Yerli feels that we're due a "new [console] generation in 2012, 2013." While M2 senior analyst Billy Pidgeon told NowGamer that, while he expects a Wii 2 to surface by 2012, he's "not expecting a next generation Xbox before Q4 2014."

The 2014-2015 timescale looks a good bet. Square Enix is already anticipating the Xbox 720 by planning to open a second Canadian development studio by 2012. "The new consoles from Microsoft, Sony and Nintendo will require more attention and more staff," said Stéphane d'Astous. "We want to prepare ourselves."

Speaking to PSM3 magazine, the Bethesda exec said that gamers were happy with the current generation of console tech and that he didn't expect to see an Xbox 720 or a PlayStation 4 before 2014.

Backing this up is a comment made by a designer who has worked with Microsoft, who implied that a new Xbox 2015 release date is set. In his online portfolio, Ben Peterson wrote "Microsoft Xbox. Confidential / Collaboration with Microsoft's IEB design group investigating future user experiences and hardware for 2015."

Alongside an angled image that doesn't give much away, he wrote: "Microsoft Xbox. Confidential / Collaboration with Microsoft's IEB design group investigating future user experiences and hardware for 2015. *Work samples only permissible in person.* (March 2011)."

Question marks hang over such information; who is Ben Peterson? Didn't he sign an NDA when working with Microsoft? Why is there no contact information on his online portfolio? Will he be allowed to live after such a faux-pas? Or is this all a traffic-mongering lie?

But the next Xbox could be showcased at E3 2012

The successor to Microsoft's Xbox 360 console is likely to be unveiled at E3 2012, according to a "high-ranking source at Crytek". They said that TimeSplitters 4 is being developed for the next-generation console, using Microsoft's updated DX11 development tool. We're not so sure about that, but you never know...

Next-gen chips to make phones more powerful than PS3

Posted: 08 Aug 2011 04:12 AM PDT

Qualcomm is claiming that its next generation of Snapdragon chips will bring greater power to phones than today's gaming consoles.

S3 is the current top-of-the-range processor from the chip developer, with mysterious S4 'Krait' devices set to be launched at the end of the year. Qualcomm has said that the S4 devices will include 28nm quad core processors.

The point of inflexion will come, according to Qualcomm, when it releases that Krait Snapdragon S4 chip, with upgraded Adreno 225 GPU - the power of this will equate to being able to display more fluid and faster graphics on your phone than even a PS3.

Power to you

It unlikely this means that Sony and Microsoft will just pack up and go home, but consider being able to plug your phone into a TV and use it like a console - either with the phone in your hand or via a separate controller. That's a pretty mad scenario considering where phone technology was even five years ago.

The improvements to these integrated chip systems means that we'll be seeing quad core phones with radically enhanced GPUs in the next year or so - whether this will be enough to convince studios to release the games capable of taking advantage of this power remains to be seen.

In Depth: TabCo tablet: what you need to know

Posted: 08 Aug 2011 04:00 AM PDT

You've got to admire TabCo: where other tablet firms are happy to say "here's our new tablet. We hope you like it!", TabCo is asking the rest of the industry to step outside for a fist-fight.

With tongue firmly in cheek, TabCo is comparing its efforts to the pyramid builders, Sir Isaac Newton, Thomas Edison, Tim Berners-Lee and Apple.

Can any tablet live up to so much hype? Here's a clue: no. But let's go along with it anyway.

The TabCo tablet specifications are secret

There is no official TabCo tablet features list. The only promised TabCo tablet spec is "a much higher cool factor than the stuff out there today". Them's fighting words.

The TabCo release date should be revealed in mid-August

As the teaser videos hint. TabCo promises to reveal all on the 15th of August. Whether that reveal will include the TabCo tablet specifications, price and release date, or just more marketing nonsense, remains to be seen.

The TabCo Tablet specs suggest an iPad-a-like design

On the company blog, TabCo says that the tablet will be lighter than 1.33lbs and bigger than a 7.31 x 9.5 inch tablet, which just happen to be the weight and size of an iPad 2. TabCo promises Bluetooth, USB, 3G/4G data, applications including Angry Birds and "something new and innovative to the tablet world regarding physical design."

The TabCo tablet software could be interesting

TabCo says that its tablet software will have a "spherically inspired" user interface, which reminds us of Microsoft's Ultra-Mobile PC designs and its (sadly, canned) Courier project, but the site also says that "there will be elements of the interface that might remind you of a Rubik's Cube."

The TabCo OS might not be Android

"It's hard keeping all those Android versions straight," TabCo says. "Does your tablet run Froyo? Gingerbread? Honeycomb? Ice Cream Sandwich? What do those even mean? Are you really just buying an OS made for a phone, sloppily put onto a tablet? You should know before you buy." It also mocks Apple "fanboys" and parodies the famous 1984 Macintosh ad - although it also says people should "stop waiting for an 'iPad Killer'" - and suggests that when Microsoft invented the tablet PC, "the name stuck. The product, not so much."

TabCO

The TabCo could be an elaborate hoax

Nobody appears to know who's behind TabCo. Is it Nokia, bringing MeeGo to the tablet in awesome fashion? Does the quoted commandment "if at first thy tablet fails, innovate, innovate, innovate again" mean Motorola's pulling the strings, or is Microsoft preparing to show off a Windows 8 tablet that'll make Steve Jobs squeak? Nobody knows, and the whole thing could be an elaborate PR stunt designed to annoy everybody.

The TabCo launch could backfire horribly

Assuming there's a real product here, the marketing campaign is taking a huge risk: if the tablet doesn't turn out to have four times the resolution of a retina display, a battery that lasts for two years and the ability to bring your ancestors back from the dead, the tablet's going to be a laughing stock. No matter what you think of the campaign, you've got to admire its bravery. We'll find out more on the fifteenth.

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Review: Pentax Optio RS1500

Posted: 08 Aug 2011 03:53 AM PDT

Changeable covers may have been all the rage with mobile phones ten years ago, but, for whatever reason, the concept never really took off with compact cameras. With its latest RS1500 model, though, Pentax clearly reckons the audience for them is still there, with the camera equipped with ten changeable covers and two lens rings as standard.

The model follows Pentax's RS1000 which worked on the same principle, only the company claims that the covers may now be changed with greater ease and with no additional tools. And, should none of the ten provided quite suit the user's personality, they're invited to download further options from Pentax's website, or even design and print their own creations using software.

The new model is otherwise a carbon-copy of the previous RS1000. It sports a 14MP CCD and a 27.5-112mm zoom lens, the latter of which incorporates three aspheric elements to help control distortion and spherical aberration. This is particularly impressive for a model priced at £70, as is the 3in LCD screen on the camera's rear, although, unsurprisingly, it's resolution is at 230,000 dots.

Optio rs1500: front facing

On the inside, Pentax has equipped the RS1500 with a trio of focusing options: 3-point multi area, spot and AF tracking. It's capable of focusing down to a minimum distance of 40cm on its standard mode and 15cm when set to its Macro option, although the Super Macro setting only brings this figure down down to a minimum 8cm. Face Recognition, Smile Capture technology and a Shadow Correction option are all provided, as are a range of scene modes and digital filters such as Fisheye and Toy Camera.

The camera's sensitivity settings span a native range of ISO 100-1600, while further options equivalent to ISO's 3200 and 6400 are provided for when the standard options won't suffice. Sadly the camera's metering pattern cannot be adjusted from its default multi-segment option, although the capability of a 3.2fps burst mode at full resolution is a nice surprise.

Not all budget compacts have caught up to offer with HD video yet, but the RS1500 provides 720p recording at a maximum 30fps. While this isn't complemented with an HDMI port, this is unlikely to be a deal breaker for most. Instead, the model relies on a sole micro USB port for transferring images and videos. The model also runs on a rechargeable lithium-ion battery, rather than on AA cells common to budget compacts, which helps to keep its profile slim next to similarly priced models.

Weighing just 127g with a battery and card in place, the RS1500 is a reasonably lightweight compact. As we may expect its body is largely plastic, while the rear sports a matte backplate which is pleasing to the touch. The camera's angular, boxy design wont be to everyone's taste, but button responsiveness, thumb space and overall weight all combine to make it comfortable to operate with just one hand.

Optio rs1500: front

Changing the covers is fairly straightforward, although you do need a nail or plectrum to prise the lens ring away from the body. Once this is done the plastic covering slips off and the faceplate of your choice may be positioned against the camera's body, before the cover and ring are fixed back on.

Pentax has long been a champion of clarity when it comes to labeling its functions and controls, and the RS1500 continues the tradition. Everything on the back is marked with large and clear text, while all options within the menu system are equally well-labelled and segregated into either recording or settings sub-menus.

Optio rs1500: side view

The camera takes a second or so to power up and down although it responds well to the touch, with small arrows dotted throughout the menu system to guide the user. Focusing speed is average, not particularly slow but noticeably behind other cameras of this type. For most static subjects this shouldn't prove to be too great an issue, although against low-contrast details and in poorer light this tardiness can be a touch frustrating.

The biggest disappointment with regards to the camera's performance is its LCD screen, whose narrow viewing angle impedes visibility whenever the camera is tilted. Its default brightness level is perfectly good in subdued light, although it fares less well in brighter conditions and whenever the scene contains larger bright areas such as skies. Thankfully, the screen's brightness may be adjusted over seven levels.

Optio rs1500: front facing

The RS1500's metering system does pretty much what's expected: good exposures when the conditions present no obvious challenges, and a sensitivity towards brighter and darker scenes respectively leading to slight under and overexposure. While the predictability of this behavior can be quite useful, for a camera pitched at this level it would probably be better if, like many similar compacts, it simply exposed more intuitively for the main subject at the slight expense of highlight and/or shadow details.

Elsewhere, the camera's white balance system generally gets it right too, although images of the same subject in quick succession occasionally display differing colour casts.

Colours themselves are fine, though, even if they do tend to be more saturated and vibrant than faithful. In terms of detail reproduction and sharpness the camera does well next to some of its peers, although the heavy processing artefacts visible throughout images taken on all sensitivities serves as a reminder that the camera isn't going to perform past its modest price tag.

At higher sensitivities the camera process out much of the noise which forms, but sadly it takes with it a lot of the colour and detail, too, leaving images lifeless.

There's significant barrel distortion at the wide end of the camera's lens, although the camera's processing engine does a good job to automatically correct for most of this.

Edge and corner sharpness is particularly impressive, too, even at the camera's widest aperture, although chromatic aberrations aren't quite as well controlled, being particularly prevalent towards the edges of the frame. Oddly, though, they tend to appear in areas of medium contrast rather than across the higher contrast – such as across the edges of buildings – where we would expect to see them the most.

Overall it has its flaws, but for the money the pentax RS1500 actually performs admirably.

Pentax optio rs1500: test shot 1

The camera's metering system largely manages to produce pleasing exposures.

(See the full-res image here)

Pentax optio rs1500: test shot 2

Most of the time auto white balance performance is also good.

See the full-res image here

Pentax optio rs1500: test shot 3

The camera's autofocus system did well to identify the main subject here.

See the full-res image here

Pentax optio rs1500: test shot 4

At a mid-range aperture, such as f/4.8, corner sharpness is very good.

See the full-res image here

Pentax optio rs1500: test shot 5

The camera has exposed for the darker buildings well, although the blown-out sky shows the typical limitations of dynamic range with such cameras.

See the full-res image here

Pentax optio rs1500: test shot 6

As with practically all other compacts under £100, the camera struggles to retain detail at higher sensitivities.

See the full-res image here

Pentax optio rs1500: test shot 7

At low sensitivities, details are perfectly respectable for a £70 camera.

See the full-res image here

Pentax optio rs1500: test shot 8

Colours are slightly more vibrant than faithful, but results are pleasing nonetheless.

See the full-res image here

Pentax optio rs1500: test shot 9

While mainly sound, there are occasions where the auto white balance errs, such as with this slightly cold beach shot.

See the full-res image here

Pentax optio rs1500: test shot 10

Slight over-sharpening is visible in this image, which has resulted in some haloing.

See the full-res image here

Pentax optio rs1500: test shot 11

There's a little distortion from the camera's optic, particularly visible in shots such as these two.

See the full-res image here

Pentax optio rs1500: test shot 12

See the full-res image here

Pentax optio rs1500: iso100

Pentax Optio RS1500: ISO100

Pentax optio rs1500: iso200

Pentax Optio RS1500: ISO200

Pentax optio rs1500: iso400

Pentax Optio RS1500: ISO400

Pentax optio rs1500: iso800

Pentax Optio RS1500: ISO800

Pentax optio rs1500: iso1600

Pentax Optio RS1500: ISO1600

Pentax optio rs1500: iso3200

Pentax Optio RS1500: ISO3200

Pentax optio rs1500: iso6400

Pentax Optio RS1500: ISO6400

Sensor
1/2.33in CCD type, 14MP effective

Lens
27.5-110mm f/3.2-5.9

Memory
SD, SDHC, approx. 21.6MB internal memory

Viewfinder
n/a

LCD Screen
3in 230,000 dots

Video resolution
1280x720 at 30/15fps, 640x480 at 30/15fps, 320x240 at 30/15fps

ISO range
ISO 100-1600, expandable to ISO 6400

Focus modes
3-point multi auto, spot AF, auto-tracking AF

Max burst rate
3.2fps (max. 10 frames)

Shutter speeds
1/2000 to 1/4 sec. (Night Scene mode up to 4 sec)

Weight
127g (including battery and memory card)

Dimensions
56x92x22.5mm

Power supply
Rechargeable Li-ion D-LI108 battery (supplied)

Optio rs1500: front facing grey

As far as budget compacts go, the RS1500 is a fun and capable performer, and at £70 something of a bargain too. True, it can't be said to produce stunningly detailed images, and the effects of its processing make themselves known, but its by no means the worst performer of its kind and any issues it does have are entirely expected for a camera of its class.

We liked

Simple to use and decent image quality, with the further addition of its changeable covers the RS1500 proves it's as capable a performer as it is fun to use.

We disliked

The camera's focusing system isn't always the fastest, while the poor viewing angle of the LCD screen means it isn't always that easy to see.

Verdict

Even for those not convinced by the Optio RS1500's headline novelty feature, the 3in LCD screen and use of lithium-ion batteries make it a welcome addition to a competitive market. It's an ideal point-and-shoot model for beginners.

Buying Guide: Best rugged compact camera: 5 reviewed

Posted: 08 Aug 2011 03:33 AM PDT

We all want to get shots of holidays and summer activities, but only a rugged camera can withstand exposure to seawater and sand.

Sure, most cameras can withstand a few drops or rain or a knock or two, but as soon as seawater and sand come into play we risk turning our pricey cameras into little more than shiny paperweights.

Waterproof housings are one solution, although for many a camera with built-in protection is a more convenient option. Whereas once there were only a few models worthy of any consideration, an increasing number of manufacturers are today furnishing their lines with interesting and capable models to suit all budgets.

Going beyond the standard water protection these have long offered, many are also dust, shock and freezeproof too, and with increasing styles and greater variety they become even better candidates for more general use.

This increasing choice can make finding the right model tricky, though, as each camera will differ in both its photographic specifications and protective credentials. To that end, we've gathered up some of the latest rugged offerings and treated them to a day by the sea, not only putting their protection to the test but also their general performance and image quality when faced with conditions more demanding than usual.

So what's the best rugged compact camera? Let's find out.

Rugged cameras: canon d10

With its 12.1MP sensor, 35-105mm zoom range and 2.5in LCD screen, the Canon D10 lags a little behind on the spec front, although it does compare more favourably with regards to its protection: it's waterproof down to 10m and freezeproof to -10C, and can be dropped from a height of 1.22m without sustaining injuries.

It's also fully sealed against any dust ingress, making it versatile enough for both the wettest and driest shooting conditions.

Rugged cameras: canon d10

Other notable features include Optical Image Stabilisation inside the camera's lens, and Motion Detection Technology to help keep any moving subjects sharp by way of adjusting the camera's sensitivity. The camera also incorporates the Canon's latest DIGIC 4 processing engine to handle images and videos although - again, largely due to its age - it only manages to offer VGA movie recording.

Rugged cameras: canon d10

The design of the D10's bulbous, two-tone body is unconventional, and its bulk makes it the least pocketable out of the five here. Nevertheless, the large shutter release button and rounded buttons on the rear make the camera easy to operate, although for one handed shooting the position of certain buttons - such as playback which is above the LCD screen - together with the body's design can make operation less than convenient.

With just a 3x optical zoom range it doesn't take very long for the camera to move between its wide and telephoto extremes, but most impressively, almost as soon as the camera is turned on it's ready for action.

It's a shame that its LCD screen measures only 2.5in in size, although in brighter conditions it's still easy enough to see the large green boxes which confirm that focus has been found. Focusing speed itself is commendable, a touch behind the Casio G1, but on a par with the Panasonic FT3.

Rugged cameras: canon d10

As with the others here the Canon D10 remained a little moist around its buttons after being used underwater, although no water got inside and any drops on the outside quickly dried up, leaving the camera perfectly operable.

Underwater use is very good, and despite not having the best screen the camera did well to display subjects clearly, with the AF assist light kicking in to help focus. Just as impressive was the camera's willingness to stay on and active after being dropped from various heights, only once needing to be restarted after being dropped, as well as its performance post-freezing, with just a quick wiping down of its lens and LCD required.

Performance

The PowerShot D10 does an excellent job of capturing plenty of detail and it produces images that are decidedly natural looking, with little of the processing artefacts visible in images from certain other models here.

This naturalness continues with colour and white balance; some may, therefore, prefer to switch to the Vivid or Positive Film My Color options if they prefer their images with a little more life.

The D10's metering system does a stellar job to expose well, with the priority on the subject rather than the scene as a whole. Only a few minor issues mar its performance, such as the pronounced barrel distortion at the optic's wide end, as well as noticeable chromatic aberrations. Also, the comparatively good details within the D10's images can be partly attributed to lower noise reduction in camera than with the others, which can leave images with a slightly finer texture.

Rugged cameras: casio ex-g1

With a body measuring just under 20mm thick, the Casio G1 puts paid to any notion that rugged cameras need to be cumbersome. It's also one of the better-designed models, with a catching asymmetrical body showing strong influences from Casio's G-Shock watches. Like those, it is fitted with shock resistance - here to an impressive 2.13m height - and it's dust, freeze and waterproof, although with the latter only down to 3m.

Rugged cameras: casio ex-g1

On the inside there's a 12.1MP CCD sensor alongside a 38-114mm optic which includes a single aspheric element. Although movie recording maxes out at just 848x480 pixels, it's possible to shoot in the same 16:9 widescreen format as with HD video, while a range of BEST SHOT modes cater for different types of environment, such as Snow, Beach and Underwater.

Curiously there's also a BEST SHOT Interval Timer for time-lapse recording, a feature not often found on compacts.

Rugged cameras: casio ex-g1

The G1 sports a reasonable sensitivity range of ISO 64-3200, and a range of focusing options including manual focus and Auto AF tracking. The 2.5in LCD screen with its 230,4000dot resolution is the joint smallest on test here, and somewhat annoyingly, the camera only accepts microSD and microSDHC media, although such cards are relatively cheap should you need to buy one especially.

Rugged cameras: casio ex-g1

Picking it up you wouldn't guess that the G1 has the level of protection it claims to have, with its diminutive body weighing only 154g when loaded with a battery and card.

During the test it showed no ill effects from being submerged underwater, and after a few focusing issues it managed to focus underwater well. It also seemed perfectly happy to be thrown around, never needing to be restarted.

Aside from a slightly noisy display the G1 also didn't appear to have any issues post-freezing, maintaining good operation and some of the fastest focusing speeds on test. The second wait upon powering up the camera isn't unreasonable too, just behind Canon's D10 but similar to Panasonic's FT3.

Performance

Although the G1 is the second-cheapest rugged compact on test, that's not necessarily something you could guess from its images, which compare favourably with those from its more expensive rivals. Most impressive is the camera's metering system, which ensures that even in difficult conditions the camera exposes well (although the LCD screen's visibility in bright light often suggests otherwise), while the auto white balance system also does a fine job to record tones accurately, only occasionally producing a slightly warm or neutral cast.

It's a pity that the LCD screen reproduces images with such a warmth compared with the same images on a calibrated monitor, though, as it makes it difficult to judge whether the white balance needs to be corrected during capture.

In terms of detail and noise control the camera does a better job than expected, even outshining the more expensive Olympus TG-810, while chromatic aberrations are visible but controlled. There is slight barrel distortion at the wideangle setting, though, and the minimum focal length of 38mm is a little disappointing, particularly as the camera is likely to be used for expansive beach shots where a wideangle comes handy.

Rugged cameras: fujifilm xp30

Although Fujifilm houses the XP30 within its advanced compact range, it comes with a slightly less advanced price tag of just £140. And, although it may only offer waterproof capabilities down to a depth of 5m, elsewhere it comfortably equals the protection offered by the others here, including shockproofing to a height of 1.5m, freezeproofing down to -10C, and protection against sand and dust, too.

All of this may seem fairly standard for such a compact, but the added extra of GPS functionality is a nice surprise, particularly at this price point.

Rugged cameras: casio g1

Aside from this, the camera combines a 14.2MP CCD sensor with a 28-140mm zoom lens, and provides image stabilisation through shifting the sensor.

720p HD movie recording is also on hand, as is a healthy sensitivity range of ISO 100-3200, although there's no HDMI port for transferring images and videos, and the LCD screen fails to impress as much as the camera's other specifications, measuring 2.7in in size and only resolving details to 230,000 dots. Still, this is larger than on Canon's D10 and Casio's G1, and as the cheapest model out of the group it nevertheless does well to combine technology with protection at a reasonable price.

Rugged cameras: fujifilm xp30

The XP30's relatively light body and glossy front fascia may not instill the same feeling of solidity as with some of the others here, but handling the camera shows it to be solidly constructed and with no creaking when subjected to pressure.

Controls are kept simple, with a large shutter release button and just four key controls on the rear, although the zoom rocker embedded in the top plate is small and fiddly, thus annoying to use.

Furthermore, the menu pad is reasonably sized, but the engravings of each control's functions are difficult to make out, even in well-lit conditions (although over time this should become less of an issue as the user familiarises themselves with its operation).

Rugged cameras: fujifilm xp30

The camera emerged from being frozen with no issues, and proved its shockproofing by remaining operable after being dropped repeatedly.

During the waterproof test, however, the XP30 was the only camera to let water in, sadly to the point where the camera could still power up but do practically nothing else. Examining the camera's battery compartment door showed the cause of this; part of the sealing was slightly warped, suggesting that the issue was specific to the review sample rather than any fundamental flaw in the camera's design.

Performance

Being the cheapest model out of the group by quite a margin, it comes as little surprise that the XP30's image quality also noticeably lags behind the others.

At smaller sizes images can occasionally appear fine, but the cameras auto white balance inconsistencies and occasional underexposure issues, as well as the lens's lack of protection to extraneous light, make themselves known.

Upon closer inspection things go from bad to worse, with very poor detail retention, plenty of softness and noise providing images with an unpleasant coarseness.

Although there's a little distortion present at the wide end of the lens the XP30 isn't quite the worst offender here, and chromatic aberrations are also minimal, although with images this soft and overprocessed looking that's barely surprising.

For £140 we may expect some of these issue, but for just £30 more, the Casio G1 manages to deliver far better images.

Rugged cameras: olympus tg-810

Olympus has long had a hand in producing rugged, waterproof cameras, and its latest TG-810 sits at the top of its TOUGH series.

To match its mid-range price tag it has a more than reasonable level of protection, which includes waterproofing down to 10m, shockproofing up to a height of 2m and freezeproofing down to -10C. Olympus goes on to claim than it can also withstand dust, scratches and even pressures of up to 100kg to make it 'virtually indestructible', and with the further additions of a GPS system and compass it does well to almost match the Panasonic FT3's specifications at a more attractive price point.

Rugged cameras: olympus tg-810

Elsewhere, a 14MP sensor supports 720p movie recording, while the 5x optical zoom range covers a 35mm-equivalent focal range of 28-140mm.

Dual Image Stabilisation uses a combination of sensor shifting and sensitivity range adjustment to help keep images sharp, while the latter is also available during movie recording to achieve the same goal.

Around the back there's a 3in LCD screen with a 920,000dot resolution, while an LED on the front plate is said to illuminate underwater and macro subjects.

Finally, in addition to standard SD cards the camera also supports Eye-FI cards for the wireless sending of images and videos, while an HDMI port joins a USB socket for more traditional transferring of media.

Rugged cameras: olympus tg-810

Despite it not being the most expensive model on test the TG-810 appears as the most solid to the eye, and handling it only affirms this view.

The largely metal body feels robust, while the exposed screws and defined controls give the impression that this is a camera ready for all the use and abuse you can throw at it. Indeed, the camera handled the water test with ease, and appeared as the least affected following being frozen, in that its screen wasn't quite as noisy as the others and it's lens just needed a quick wipe down.

It also showed no adverse effects from being dropped, although despite Olympus claiming the model to be scratchproof 'to an unprecedented degree' the LCD did pick up a slight scratch following the drop test. None of the surrounding areas showed any marks or scratches, though.

Rugged cameras: olympus tg-810

As well as having the largest and most detailed LCD screen out of the group, the TG-810 also has one of the better menu systems, with clear labeling and good contrast between text and background; these two factors were particularly beneficial when using the camera underwater.

It's a shame that the small joystick on the back used for setting navigation is so fiddly that it's easy to knock it either up, down or to one side when you simply want to press it in (and vice-versa).

The zoom control can also be less than comfortable to operate, although the lens moves swiftly through its range and focusing speed is admirable.

Speed isn't quite so good upon powering up, where the camera needs to take a moment before it's ready, although the GPS system works well to quickly identify the closest landmark or location.

Performance

With four aspheric elements within the lens's construction the control over distortion at wideangle is impressive and certainly the best out of the bunch, although very linear details do suffer from the slight unevenness that aspherical elements often introduce.

Despite the ease which with highlights are lost - something typical to such cameras - exposures are consistently balanced, and images only suffer from the occasional auto white balance issue.

Flash performance is particularly impressive, both in terms of illumination and accuracy of white balance.

The only major let down is noise, which affects images on even lower sensitivities and compromises detail; this is particularly a shame as at lower sensitivities and in good conditions details are recorded satisfactorily.

Rugged cameras: panasonic ft3

One of the newest arrivals on the lifeproof compact scene, the FT3 is one of the dearest models on test. Panasonic justifies this by specifying it competitively, with a range of up-to-date technologies and arguably the best protection against its competitors.

This includes waterproofing down to 12m and protection from drops of up to 2m, together with freezeproofing down to -10C and dustproofing to the same high IP6X standard as Canon's D10.

The combination of these is impressive enough, but Panasonic extends its generosity even further by proving an altimeter, compass and barometer alongside.

Rugged cameras: panasonic ft3

Elsewhere, the FT3 packs in a 12.1MP CCD sensor and a 28-128mm lens, the latter of which is fitted with Panasonic's POWER OIS system to counter any image blur. Complimenting this is a Motion Deblur feature which adjusts the camera's sensitivity range to help keep moving subjects sharp and focused, while HD movie recording is also provided, recording in the AVCHD format to the 1080i standard.

The inclusion of a fully-featured GPS system rounds off the FT3's specs nicely, and makes it one of the three models on test to offer the function.

Rugged cameras: panasonic ft3

The FT3's polished spec list is matched by a sober and rugged design, with round metal buttons and solid metal paneling going some way to justify its price tag. The controls are engraved with their functions and can be a little difficult to read, but the menu system is clear and the Underwater, Beach & Snorkeling and Snow scene modes may be accessed as quickly as the Intelligent Auto and Normal shooting modes.

General responsiveness is also excellent, with speedy operation throughout the menu system and very little time between image capture and the camera being ready again to fire the next shot.

Rugged cameras: panasonic ft3

The camera sailed through the waterproof challenge with complete sealing from its side door, and the benefits of its bright LED illuminator were particularly noticed when shooting subjects underwater.

It also proved its shockproof capabilities by remaining operational after being dropped from various heights up to its 2m limit, although on occasion it did display a message to turn the camera off and on again before any further operation.

It also worked well after being frozen, although as with the others the screen initially appeared a little noisy.

Performance

It's also good news with the FT3's images. At its default settings colours retain a good balance between natural tones and print-ready results, and there are only a handful of instances where the camera's auto white balance seems to err, although when it does it's to optimize the scene rather than to produce any inaccurate colour casts.

The metering system also does a great job to also keep the main subject in mind, preferring to sacrifice highlight detail than to underexpose whenever lighter tones may be present, and images show plenty of detail - not quite as much as those from the Canon D10, but not much less either.

Noise is also well controlled, with a slight texture in images but still the best performance out of the group.

Canon PowerShot D10

Click here for the full size Canon D10 test shot

Canon d10 test shot 2

Click here for the full size Canon D10 test sho t

Canon d10 test shot 3

Click here for the full size Canon D10 test shot

Canon d10 test shot 4

Click here for the full size Canon D10 test shot

Canon d10 test shot 5

Click here for the full size Canon D10 test shot

Casio Exilim EX-G1

Click here for the full size Casio G1 test shot

Fujifilm FinePix XP30

Click here for the full size Fujifilm XP30 test shot

Olympus Tough TG-810

Click here for the full size Olympus TG-810 test shot

Olympus tg-810 test shot 2

Click here for the full size Olympus TG-810 test shot

Olympus tg-810 test shot 3

Click here for the full size Olympus TG-810 test shot

Olympus tg-810 test shot 4

Click here for the full size Olympus TG-810 test shot

Olympus tg-810 test shot 5

Click here for the full size Olympus TG-810 test shot

Panasonic Lumix FT3

Click here for the full size Panasonic FT3 test shot

Canon PowerShot D10

Sensor - 1/2.3 type CCD sensor, approx. 12.1MP
Lens - 35-105mm f/2.8-4.9
Memory - SD, SDHC
Viewfinder - No
Video resolution - 640 x 480 at 30fps, 320 x 240 at 30fps
ISO range - Auto, ISO 80-1600
Focus modes - Single, Continuous, Servo AF
Max burst rate - Approx. 1.1 shots/sec (until memory card becomes full)
LCD - 2.5in PureColor LCD, approx. 230,000 dots
Shutter speeds - 15 - 1/1500 sec (total range, varies by shooting mode)
Weight - Approx. 212 g (including battery and memory card)
Dimensions - 103.6 x 66.9 x 48.8mm
Power supply - Rechargeable Li-ion Battery NB-6L (supplied)
Price - £289.00 (SRP), £235 (street price)

Casio Exilim EX-G1

Sensor - 1/2.3-inch CCD, 12.3MP total, 12.10MP effective
Lens - 38-114mm f/3.9-5.4
Memory - microSD, MicroSDHC, 35.7MB internal memory
Viewfinder - No
Video resolution - 848 x 480 at 30 fps, 640 x 480 at 30 fps, LP: 320 x 240 at 15 fps
ISO range - Auto, ISO 64-3200
Focus modes - Auto Focus, Macro Mode, Pan Focus, Infinity Mode, Manual Focus
Max burst rate - Approx. 3 frames per second (at 1600 x 1200 pixels)
LCD - 2.5in LCD, 230,400 dots
Shutter speeds - 1/2 - 1/1250sec (up to 4 sec in Night scene BEST SHOT mode)
Weight - Approx. 154g (including battery and memory card)
Dimensions - 103.5 x 64.2 x 19.9mm
Power supply - NP-80 rechargeable lithium ion battery (supplied)
Price - £279 (RRP), £170 (street price)

Fujifilm FinePix XP30

Sensor - 1/2.3-inch CCD, 14.2MP effective
Lens - 28-140mm f/3.9-4.9
Memory - SD / SDHC / SDXC, 10MB internal memory
Viewfinder - No
Video resolution - 1280 x 720p, 640 x 480, at 30fps
ISO range - Auto, ISO 100-3200
Focus modes - Single, continuous
Max burst rate - 0.8fps
LCD - 2.7in LCD, 230,000 dots
Shutter speeds - º -1/2000sec (up to 4 sec possible with scene mode)
Weight - Approx. 148g (excluding accessories, battery and memory card), approx. 165g (including accessories, battery and memory card)
Dimensions - 99.2 x 67.7 x 23.9mm
Power supply - Rechargeable NP-45A Li-ion battery (supplied)
Price - £199 (SRP), £140 (street price)

Olympus Tough TG-810

Sensor - 1/2.3in CCD sensor, 14.5MP total, 14MP effective
Lens - 28-140mm f/3.9-5.9
Memory - SD, SDHC, SDXC, Eye-Fi, 19.5MB internal memory
Viewfinder - No
Video resolution - 1,280 x 720p, 640 x 480, 320 x 240
ISO range - Auto, Hi Auto, ISO 80-1600
Focus modes - iESP, Face Detection AF, Spot, AF Tracking
Max burst rate - 3.0 fps for 200 frames (in 5MP mode)0.6 fps for 200 frames (full size)
LCD - 3in LCD, 920,000 dots
Shutter speeds - 1/4 - 1/2000sec (up to 4sec in Night scene mode)
Weight - 221g
Dimensions - 100.2 x 64.5 x 26.0 mm
Power supply - Rechargeable LI-50B Lithium-Ion Battery (supplied)
Price - £269 (RRP) £230 (street price)

Panasonic Lumix FT3

Sensor - 1/2.33-type Hi-Speed CCD sensor, 12.5MP total, 12.1MP effective
Lens - 28-128mm f/3.3-5.9
Memory - SD, SDHC, SDXC, internal memory 19MB
Viewfinder - No
Video resolution - 1920x1080 at 60i (AVCHD), 1280x720 at 60p (AVCHD), 1280x720 at 30fps (Motion JPEG), 640x480 at 30fps (Motion JPEG), 320x480 at 30fps (Motion JPEG)
ISO range - Auto, ISO 100-1600 (extendable to ISO 6400 in High Sensitivity mode)
Focus modes - 1-area, 23-area, Face detection, Spot, AF tracking
Max burst rate - 3.7fps (12.1MP) / approx 7fps in High-speed Burst Mode (12.1MP) / approx. 10fps (3MP)
LCD - 2.7in TFT LCD, 230,000 dots
Shutter speeds - 8 - 1/1300 sec (Starry Sky Mode 15, 30, 60sec)
Weight - Approx. 175g without battery and memory card (approx. 197g with battery and memory card)
Dimensions - 103.5 x 64.0 x 26.5mm
Power supply - DMW-BCF10E rechargeable lithium-ion battery (supplied)
Price - £370 (SRP), £300 (street price)

Rugged cameras: group shot

Although the five cameras here offer similar levels of protection, they vary wildly in terms of results and performance. The test shows that a more expensive camera does necessarily not outgun a cheaper one in all areas, even though it may have good reason to be priced higher. Ultimately, anyone buying such a camera needs to decide how much they want it for image quality and how much for protection.

Olympus tg-810

For example, from its specifications and design, and after various testing, the Olympus TG-810 appears as the most resilient camera on test, and its large, detailed screen is a joy to use compared with some of the others (particularly underwater), yet its image quality is bettered by the similarly-priced Canon D10 and the cheaper Casio G1, both of which are admittedly protected to a lesser degree and suffer from having relatively smaller screens.

Casio g1

The G1 is also perhaps the better option for those wanting protection but that don't intend to use it solely in tricky conditions, and that may want something a little more stylish to keep in their pocket at all times.

Bulbous canon d10

Likewise, the design and shape of the Canon D10 may be off-putting for more general use, but it's easily used underwater and it's difficult to argue with its largely excellent image quality (although it does fall behind with control over both distortion and chromatic aberrations). Fujfilm's XP30 is a fair effort and one of the more practical options for use outside of the water, and considering its functionality it's something of a bargain too, but its image quality is by far the worst for a number of reasons.

Fujifilm xp30

The best all-rounder then is Panasonic's FT3, with its commendable image quality, reasonable protection and the handy additions of a GPS system and full HD video recording, although at £300 it's understandable that many will be looking at one of the cheaper alternatives.

Panasonic ft3

For the utmost protection it's the Olympus TG-810 that has it, while for a good all-rounder under £200 the Casio G1 is the one to go for. Otherwise, if you don't mind its bulky body and image quality is paramount, the Canon D10 is an excellent choice.

Scores:

Canon D10 - 4/5
Casio G1 - 4/5
Fujfilm's XP30 - 2/5
Olympus TG-810 - 3/5
Panasonic FT3 - 4/5

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Tuesday, August 9, 2011

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