Accessories for DSLR Cameras with Video Function
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Fixation Secondhand 2018-02-19
Secondhand Items 19/02/2018 Canon Canon EOS 1D Mk IV 200,386 XSCAN1D1V611 £618 Canon EOS 1D X 110,000 XHCAN1DX172 £2,640 Canon EOS 1D X 165,000 XHCAN1DX115 £2,260 Canon EOS 1D X 173,000 XSCAN1DX663 £2,645 Canon EOS 1D X Mark II 110,948 XSCAN1DX11517 £3,510 Canon EOS 1DS Mark III 51,680 XHCAN1DS063 £750 Canon EOS 1DS Mark III New Shutter XSCAN1DS111948 £890 Canon EOS 5D S 78,175 XSCAN5DS999 £1,896 Canon EOS 5D Mark II 152,783 XSCAN5D11942 £540 Canon EOS 5D Mark II 160,006 XSCAN5D11533 £594 Canon EOS 5D Mark II 38,377 XSCAN5D11948 £714 Canon EOS 5D Mark II 60,669 XSCAN5D11098 £594 Canon EOS 5D Mark III 33,745 XSCAN5D111917 £1,200 Canon EOS 5D Mark III 182,730 XSCAN5D111544 £1,320 Canon EOS 5D Mark III 105,494 XSCAN5D111490 £1,398 Canon EOS 5D Mark III 235,858 XSCAN5D111625 £1,165 Canon EOS 5D Mark III 118,203 XSCAN5D111006 £1,165 Canon EOS 5D Mark III 34,306 XSCAN5D111490 £1,398 Canon EOS 7D Mark II 142,811 XSCAN7D11337 £780 Canon EF 24mm ƒ/1.4L II XSCAN2411660 £996 Canon EF-S 60mm ƒ/2.8 Macro XSCAN60621 £300 Canon EF 85mm ƒ/1.2L XSCAN8512119 £1,350 Canon EF 180mm ƒ/3.5L Macro XSCAN180MAC171 £810 Canon EF 8-15mm ƒ/4L Fisheye XSCAN815387 £870 Canon EF 16-35mm ƒ/2.8L II XRCAN163511753 £690 Canon EF 16-35mm ƒ/2.8L II XRCAN163511097 £840 Canon EF 16-35mm ƒ/2.8L II XSCAN1635804 £720 Canon EF-S 17-85mm ƒ/4.5-5.6 IS XSCAN1785686 £102 Canon EF 17-40mm ƒ/4L XSCAN1740202 £390 Canon EF 17-40mm ƒ/4L XSCAN1740709 £420 Canon EF 24-70mm ƒ/2.8L II XSCAN247011202 £1,080 Canon EF 28-300mm ƒ/3.5-5.6L IS XSCAN28300765 £1,350 Canon EF 70-200mm ƒ/2.8L IS II -
Digital High Resolution Still Video Camera Versus Film- Based Camera in Photogrammetric Industrial Metrology
International Archives of Photogrammetry and Remote Sensing, Vol. 30, Part 1, pp. 114-121. DIGITAL HIGH RESOLUTION STILL VIDEO CAMERA VERSUS FILM- BASED CAMERA IN PHOTOGRAMMETRIC INDUSTRIAL METROLOGY Thomas P. Kersten and Hans-Gerd Maas Institute of Geodesy and Photogrammetry, Swiss Federal Institute of Technology ETH-Hoenggerberg, CH-8093 Zurich, Switzerland Phone: +41 1 633 3287, Fax: +41 1 633 1101, e-mail: [email protected] Phone: +41 1 633 3058, Fax: +41 1 633 1101, e-mail: [email protected] ISPRS Commission I, Working Group 3 KEY WORDS: close-range photogrammetry, high resolution, still video ABSTRACT In this paper a digital high resolution still video camera DCS200 and a conventional film-based small format camera Leica R5 are compared. The image data used for the comparison were acquired during several pilot projects in a shipyard. The goal was the determination of 3-D co-ordinates of object points, which were signalised with retro- reflective targets, for dimensional checking and control in the ship building industry, as well as to test the suitability of the cameras for these applications. The image point measurements in the photos taken by the film-based camera were performed on an analytical plotter, while the digital image data were processed semi-automatically with digital photogrammetric methods. In addition, some of the analogue images were scanned and then also processed with digital photogrammetric methods. The results of simultaneous camera calibrations and 3-D point positioning are given, showing its accuracy potential, which turned out to be in the range of 1: 50,000 and 1: 75,000 for the DCS200 and up to 1: 27,000 for the Leica. -
Reikan Focal Camera Support
http://www.fo-cal.co.uk FoCal 2.3.0 Camera Support The following sections show the full list of cameras and features supported by FoCal 2.3.0 1. Supported Canon Cameras Camera HFM UAM Future Further Info Canon EOS-1D Mark III Mirror Lockup not supported Canon EOS-1Ds Mark III Mirror Lockup not supported Canon EOS-1D Mark IV Canon EOS-1D X Canon EOS-1D X Mark II Canon EOS 5D Mark II Canon EOS 5D Mark III Canon EOS 5D Mark IV Canon EOS 5D S / R Canon EOS 6D Canon EOS 7D Canon EOS 7D Mark II Canon EOS 80D Canon EOS 70D Canon EOS 50D HFM – (Hands Free Mode) means the camera fully supported for all test modes (with limitations shown in Further Info column). One button tests will run and require no intervention. UAM - (User Assisted Mode) means that the camera does not support all the necessary functionality to be completely automated, so there are some on-screen/voice prompts for the user to make changes on the camera (very quick - typically 2 or 3 button presses) Continues... Reikan Technology Ltd FoCal Support Matrix Revision 2.3.0 (September 2016) http://www.fo-cal.co.uk 2. Supported Nikon Cameras Camera HFM UAM Future Further Info Nikon D3 Nikon D3x Nikon D3s Nikon D300 Nikon D300s Nikon D4 Nikon D4s Nikon Df Nikon D5 Nikon D500 Nikon D600 Nikon D610 Nikon D700 Nikon D750 Nikon D800 Nikon D800E Nikon D810 (+ D810A) Nikon D7000 Nikon D7100 Nikon D7200 HFM – (Hands Free Mode) means the camera fully supported for all test modes (with limitations shown in Further Info column). -
ILCE-7S Product Information Document • ILCE7S/B
ILCE-7S Product Information Document OFFICIAL NAMES Sony® α7S (Alpha 7S) Mirrorless Interchangeable Lens Digital Camera MODEL NAME IN ADVERTISING COPY • α7S (or Alpha 7S) • a7S (only allowable for web copy where alpha symbol (α) is not useable) KIT VARIATION MODELS (FAMILY) • ILCE-7S/B (black body) (UPC: 027242-881730) • ILCE7S/B (SAP name / SEL compressed model name) ANNOUNCEMENT/SHIP TIMING • Product announce date: 3 p.m. PDT, 04/06/2014/ 6 p.m. EDT 04/06/2014 • RDD: Requested Delivery Date WK27 Product will arrive at dealer’s warehouse. • CDD: Customer Delivery Date - July 8th 2014 • Price at launch $2,500 DESCRIPTION Basic Bullets (55 characters max) Rank Feature Char. 1 35mm sensor w/ large pixels for high-ISO & Dynamic Range 56 2 12.2MP full-frame optimized for 4k and low light video 46 3 High ISO up to 409,600 w/ fast AF in light as low as EV -4 58 4 Uncompressed 4:2:2 Full HD and 4K QFHD output via HDMI*1 56 5 50Mbps XAVC S 1920x1080 at 60P, 1280x720 at 120P 48 6 Picture Profile, S-Log2 and time code for a pro-workflow 56 7 High contrast 2.4-million dot XGA OLED Tru-Finder™ EVF 54 8 Audio level controls, AAC/Linear PCM*2, optional XLR kit 56 9 Silent shutter mode for discreet shooting 41 10 Simple connectivity to smartphones via Wi-Fi® or NFC 52 ADVERTISING & MESAGING Main Headline: Beyond Human Vision. Ad Copy Words 10-word World’s smallest in its class1, the full frame α7S delivers a breakthrough dynamic 17 range and low noise images. -
KODAK PLAYTOUCH Video Camera
KODAK PLAYTOUCH Video Camera Extended user guide Model Zi10 www.kodak.com For interactive tutorials: www.kodak.com/go/howto For help with your camera: www.kodak.com/go/support Eastman Kodak Company Rochester, New York 14650 © Kodak, 2010 All screen images are simulated. Kodak and PlayTouch are trademarks of Eastman Kodak Company. HDMI, the HDMI Logo, and High-Definition Multimedia Interface are trademarks or registered trademarks of HDMI Licensing LLC. 4H7217_en Product features Front view Focus switch (Close-up/Normal) Jack for external microphone, headphones Video Recording LED Microphone Lens A/V Out IR receiver, for optional remote HDMI™ Out control Micro USB, for 5V DC In USB Release USB arm www.kodak.com/go/support i Product features Accessing the USB arm 1 Open the door. 2 Slide the USB lock. 3 Pull down the USB arm. ii www.kodak.com/go/support Product features Back view, touchscreen gestures Power button Battery compartment, SD/SDHC Card slot Speaker Battery charging light Record/OK button Strap post Tripod socket Tap (or tap and hold) Swipe Drag www.kodak.com/go/support iii Understanding the status icons Liveview Recording Current mode Settings Battery Recording level Current Face video detection length brackets Zoom Zoom control control (Wide, Telephoto) Capture Mode Review Effects Review Current video length Battery level (or Volume DC-In connected) Previous Next Scrubber bar Single/Multi-up/ Edit Delete Share Timeline View iv www.kodak.com/go/support Table of contents 1 1 Setting up your camera .........................................................................1 -
The H.264 Advanced Video Coding (AVC) Standard
Whitepaper: The H.264 Advanced Video Coding (AVC) Standard What It Means to Web Camera Performance Introduction A new generation of webcams is hitting the market that makes video conferencing a more lifelike experience for users, thanks to adoption of the breakthrough H.264 standard. This white paper explains some of the key benefits of H.264 encoding and why cameras with this technology should be on the shopping list of every business. The Need for Compression Today, Internet connection rates average in the range of a few megabits per second. While VGA video requires 147 megabits per second (Mbps) of data, full high definition (HD) 1080p video requires almost one gigabit per second of data, as illustrated in Table 1. Table 1. Display Resolution Format Comparison Format Horizontal Pixels Vertical Lines Pixels Megabits per second (Mbps) QVGA 320 240 76,800 37 VGA 640 480 307,200 147 720p 1280 720 921,600 442 1080p 1920 1080 2,073,600 995 Video Compression Techniques Digital video streams, especially at high definition (HD) resolution, represent huge amounts of data. In order to achieve real-time HD resolution over typical Internet connection bandwidths, video compression is required. The amount of compression required to transmit 1080p video over a three megabits per second link is 332:1! Video compression techniques use mathematical algorithms to reduce the amount of data needed to transmit or store video. Lossless Compression Lossless compression changes how data is stored without resulting in any loss of information. Zip files are losslessly compressed so that when they are unzipped, the original files are recovered. -
2Nd Hand List Updated on 07/10/2016 6-Month Warranty on All Items Without an Asterisk
1 of 3 2nd Hand List Updated on 07/10/2016 6-month warranty on all items without an asterisk NIKON BODIES £ +VAT NIKON AF LENSES £ +VAT (SEE ALSO SIGMA LIST) NIKON D800 BODY (fr. 18,932) £995 NIKON D700 BODY (fr. 123,300) £449 NIKON D3 BODY (fr. 193,000) £495 NIKON TC-17E II £160 NIKON D3 BODY (fr. 215,721) £499 NIKON TC-17E II £155 NIKON D3 BODY (fr. 251,105) £525 NIKON TC-17E II £165 NIKON D3 BODY (fr. 264,050) £525 NIKON TC-20E £95 NIKON D3 BODY (fr. 182,000) £495 NIKON TC-20E III £199 NIKON D3S BODY (fr: 250,000) £795 NIKON TC-20E III £200 NIKON D3S BODY (new shutter) £895 NIKON 12-24MM F4 G AF-S DX £280 NIKON D3S BODY (fr: 502,000) £750 NIKON 12-24MM F4 G AF-S DX £275 NIKON D3S BODY (fr. 320,000) £895 NIKON 14-24MM F2.8 G N FX £895 NIKON D800 BODY (fr. 27,700) £895 NIKON 14-24MM F2.8 G N FX £950 NIKON Df KITinc 50mm LENS (fr. 24,910) £1,300 NIKON 14-24MM F2.8 G N FX £950 NIKON D4 Body (fr, 146,150) £1650 NIKON 16-35MM F4 G VR £550 NIKON D4 Body (fr,172,688) £1,699 NIKON 16-35MM F4 G VR £579 NIKON D4 Body (fr,420,597) £1,699 NIKON 16-35MM F4 G VR £595 NIKON D4S Body (fr, 291,158) £2,500 NIKON 24MM F1.4 AF-S G N £950 NIKON 24MM F2.8 AF-D £179 NIKON 24-70MM F2.8 G N AF-S £650 NIKON 35-135MM F3.5-4.5 AF £65 NIKON MANUAL LENSES £ +VAT NIKON 70-200MM F2.8 G VR £625 NIKON 70-200MM F2.8 G VR 11 £899 NIKON 70-200MM F2.8 G VR 11 £950 NIKON 24MM F3.5 PC-E £850 NIKON 200-400MM F4 G AF-S VR II £1,950 NIKON 300MM F4 AF-S D £479 NIKON 300MM F4 AF-S £595 NIKON FLASHES £ +VAT NIKON 300MM F2.8 AF-I £1,325 NIKON 300MM F2.8 G ED VR 11 £2349 NISSIN DI 622 MK II FLASH (NIK FIT) £65 NIKON 300MM F2.8 G ED VR 11 £2495 NIKON 400MM F2.8 G N VR £3,595 NIKON 400MM F2.8 G N VR £3,599 NIKON 400MM F2.8 G N VR £3,750 SIGMA & OTHER LENSES £ +VAT SIGMA 50-150MM F2.8 DC EF 11 EX APO £245 SIGMA 80-400MM F4.5-5.6 APO DG EF FIT £295 NIKON ACCS. -
The Leica Dicomar Lens on the UX Cameras the New AG-UX90 and AG-UX180 Camcorders Are Large-Sensor General-Purpose Professional C
The Leica Dicomar Lens on the UX Cameras The new AG-UX90 and AG-UX180 camcorders are large-sensor general-purpose professional camcorders, designed to deliver great footage regardless of the particular shooting scenario, whether the user is tasking it with shooting sports, or news, or live events, or concerts, or conventions, or speeches, or commercials, or corporate films, or weddings, or interviews, or any of the myriad other situations professional shooters find themselves in. An absolutely key component of being able to tackle so many different types of shooting environments, is the lens. While many shooters have come to rely on large-sensor cameras such as DSLRs, DSLMs, and digital cinema camcorders, the limitations of the lens for these large-sensor cameras has always introduced complications or limitations in shooting style as compared to the small- sensor all-in-one camcorder designs of professional handheld camcorders. With the UX90 and UX180, Panasonic has set out to deliver a single-lens system that provides the quality, performance, and flexibility to let the camera excel in all these environments. Creating such a lens that could cover the relatively huge 1” sensor and 4K resolution was a significant task; getting it to do so with Leica Dicomar-certified performance was a significant accomplishment. Getting it to do so while actually delivering more capability, a wider field of view, better image stabilization, better autofocus, and a longer zoom range, is truly impressive. In this paper I’d like to explore what they’ve accomplished, how they approached it, and what these innovations mean for the typical shooter. -
The Dos and Don'ts of Videoconferencing in Higher
The Dos and Don’ts of Videoconferencing in Higher Education HUSAT Research Institute Loughborough University of Technology Lindsey Butters Anne Clarke Tim Hewson Sue Pomfrett Contents Acknowledgements .................................................................................................................1 Introduction .............................................................................................................................3 How to use this report ..............................................................................................................3 Chapter 1 Videoconferencing in Higher Education — How to get it right ...................................5 Structure of this chapter ...............................................................................................5 Part 1 — Subject sections ............................................................................................6 Uses of videoconferencing, videoconferencing systems, the environment, funding, management Part 2 — Where are you now? ......................................................................................17 Guidance to individual users or service providers Chapter 2 Videoconferencing Services — What is Available .....................................................30 Structure of this chapter ...............................................................................................30 Overview of currently available services .......................................................................30 Broadcasting -
Nikon D3s Menu Settings for Sports Photographers
Nikon D3s Menu Settings for Sports Photographers Whether at the ballpark or via email, two of the most frequently asked questions I hear are “what are your basic settings when shooting sports using the Nikon D3s” or “how is your Nikon D3s set up? I’ve been shooting sports for a living for over 25 years, with clients ranging from Sports Illustrated to Major League Baseball and The Chicago White Sox. The approach I use when setting up with my equipment might not be considered conventional, but I can tell you this; it works. I refer to it as my unscientific approach to better sports photography. I trust and believe in what works in the real world. I’m always open to new ideas and so should you. If your images are already perfect, stop here. But if you shoot sports action and are looking for ways to improve your images and increase your "keeper percentage", or are setting up a Nikon D3s for the first time, read on. I decided to dissect the menu of my trusty D3s and share my personal settings while discussing a few in detail so that other sports photographers can use them as a point of reference. As the old adage goes, please remember that these are my own personal settings and opinions and should be used as a guide only. No one set of rules (or in this case, settings) should be considered the absolute only way to go. I highly recommend taking the time to experiment and come up with a few of your own favorites. -
FEATURING: the Complete Guide for All Your Safari Photography and Binocular Needs
FEATURING: The complete guide for all your safari photography and binocular needs. SAFARI PHOTOGRAPHY TABLE OF CONTENTS WHICH CAMERA IS RIGHT FOR YOU? TECH SAVVY PAGE 3 PAGE 6 TIPS & TRICKS BINOCULARS PAGE 8 PAGE 16 CHOOSING THE RIGHT CAMERA Camera Technology photographs you take great appeal for many. Modern equipment on safari. If you are Many people prefer helps, fast autofocus, Camera Technology going to try and sell the idea of capturing excellent exposure has become so them to a magazine or movement and sound metering and most advanced in recent book publisher, then and with video importantly, not years that it is easier you need high-quality camcorders being so running out of film than ever for optics and good compact and easy to every 36 pictures. amateurs to take quality transparency use, this is an obvious professional-quality Video cameras and (color slide) film or a choice. camcorders in photographs. Digital professional digital 35mm SLR (single lens The huge advantage of themselves are great camera. If you are digital cameras is the fun, and many a reflex) cameras are going to make an more often used than tiny size of the happy memory can be electronic album to picture-storing captured on the video film cameras. email to friends, then Camcorders with apparatus ? this that would simply be a reasonably priced eliminates the need impossible to depict freeze-frame options digital zoom will be are easy to use and for bags and bags of with a ?still? camera. ideal. Print film is film. In addition, Another great are also very popular preferable to slides, if with safariers. -
The D800 on Assignment
The D800 On Assignment Benjamin Antony Monn Cliff Mautner Fine art/Architecture (Germany) Wedding (U.S.A.) As a modern architectural photographer I am always looking for a lightweight, Speed and power, without compromise. That’s how I’d sum up my impression compact and reliable camera system fulfilling the requirements of my personal of the new Nikon D800. Established medium-format image quality is artistic and client expectations. The Nikon D800 will set new standards for now inside a phenomenal, incredibly responsive Nikon machine. At 36.3 the high-end 35mm D-SLR market. I have never worked with a 35mm digital megapixels, the D800 produces unprecedented image quality and resolution camera that produces images with such exceptional quality and detail till within a body that boasts revolutionary technological advances. The 3D color now. Particularly, the live view mode enables extremely precise compositions matrix metering III, wide dynamic range and the improved AF performance and easy focusing in dim lighting, which simplifies my workflow. Superior in low light are just a few features that are glaring improvements. The D800 quality lenses such as the PC NIKKOR tilt & shift lineup are indispensable for allows me to concentrate on the light, the composition and my subject architectural photography. From my hands-on experience I found that they without having to think about much else. In years past, wedding photography perfectly match with the newly invented system and produce breathtakingly was traditionally captured with medium-format equipment for maximum clean, clear and sharp files. This camera gives me the photographic flexibility image quality.