It’s currently the British definition of summer: a few short weeks in which to fit all the swimming, surfing, skating, cycling and sightseeing you possibly can. And, to prove you actually took advantage of the sun instead of sitting in a darkened room complaining it’s too hot, we’re giving away a GoPro Hero3+ Black Edition for you to catalog it all. This top of the range GoPro comes with a wireless remote, waterproof housing and selection of mounts to get you started, and was provided by the team at Tagstr.
Accessible on the web or through its iOS app, Tagstr is a media-centric social network that groups uploaded photos, videos and audio based on their hashtags, creating “shared moments” from the content of its users. You have a personal profile (Facebook and Twitter login is supported) which friends can follow, but the real point of Tagstr is to explore and contribute to “moments” for different events, themes and more — the perfect place to share some of your #summer GoPro footage, perhaps? In pursuit of a free GoPro, anyone can submit up to three entries via the Rafflecopter widget below. Oh, and give the rules a quick once-over while you’re down there.
- Entries are handled through the Rafflecopter widget above. Comments are no longer accepted as valid methods of entry. You may enter without any obligation to social media accounts, though we may offer them as opportunities for extra entries. Your email address is required so we can get in touch with you if you win, but it will not be given to third parties.
- Contest is open to all residents of the UK, 18 or older! Sorry, we don’t make this rule (we hate excluding anyone), so direct your anger at our lawyers and contest laws if you have to be mad.
- Winners will be chosen randomly. One (1) winner will receive one (1) GoPro Hero3+ Black Edition.
- If you are chosen, you will be notified by email. Winners must respond within three days of being contacted. If you do not respond within that period, another winner will be chosen. Make sure that the account you use to enter the contest includes your real name and a contact email or Facebook login. We do not track any of this information for marketing or third-party purposes.
- This unit is purely for promotional giveaway. GoPro, Tagstr and Engadget / AOL are not held liable to honor warranties, exchanges or customer service.
- The full list of rules, in all its legalese glory, can be found here.
- Entries can be submitted until July 25th at 11:59PM BST. Good luck!
Filed under: Cameras
High-speed photography can be daunting if you’re not a seasoned pro. You may have a fast camera and flash, but you probably don’t have the gear (or people) you’d need to get that frozen-in-time look in most situations. MIOPS’ new camera trigger might make it easier to take high-speed shots all by your lonesome, though. By itself, it can tell a DSLR to take a shot and fire your flash when it detects light, motion or sound; you can capture lightning the moment it strikes, or your cat the moment it bolts across the room. The device supports external sensors like pressure pads, too.
It really comes alive if you pay for the Ultimate variant, which adds remote control from a Bluetooth-equipped Android or iOS device. Unlike most trigger apps, MIOPS’ mobile software lets you set up capture scenarios that only take pictures under very specific conditions. You can tell your taking time-lapse photos as soon as it gets dark, and snap additional lightning pictures if a big storm brews; in short, you shouldn’t have to keep a close watch over your camera.
MIOPS is looking to crowdfunding to get its peripheral off the ground. If you’re intrigued by the idea, you can pledge $189 for the Basic unit, or $229 for Ultimate. Everything should ship in December, so long as everything goes according to plan. That’s a lot of money to spend for a specialized tool, but it might pay off if you’re keen to shoot more than just the usual portraits and still life scenes.
There are good cameras that look cute, take passable pictures and don’t cost an arm and a leg. And then there are incredible cameras that can really do it all, but come along with comparatively astronomical price tags. The Sony RX100 is the latter — the original model, which cost $650 and first appeared in 2012, was already wildly popular with camera enthusiasts, and 2014′s version cashes in on two additional years of R&D. The result is a more capable point-and-shoot that’s even pricier, at $800, but still worth every penny: It’s the RX100 III.
There are a few major changes in the third iteration. For some photographers, the most significant is the new pop-up OLED viewfinder that’s available when you need it, but retracts completely into the housing when you don’t. Sony removed the full-size hot shoe to accommodate the new EVF, but that’s a trade-off few will mind. Another big swap is the new 24-70mm lens, which sports an f/1.8-2.8 maximum aperture range, giving you more bokeh and better low-light performance when zoomed all the way in. Finally, there’s a new video codec on board, called XAVC S. On paper, it’s not tremendously exciting, but it does result in some pretty spectacular video footage, rivaling what you’d get with a higher-end (and much larger) rig, assuming you add on the mandatory Class 10-plus SDXC card.
You’ll still get better performance from a top-of-the-line mirrorless camera or DSLR, but those aren’t nearly as portable, and they’re certainly not small enough to carry in your pocket. The RX100 is plenty capable, but its greatest strength is its size. While heavier than many other point-and-shoots, it’s not much larger. Its powerful 24-70mm f/1.8-2.8 Vario-Sonnar T* zoom lens does make it quite a bit thicker than your run-of-the-mill compact, but assuming you can deal with a moderate bulge, it can fit in a pants pocket.
You’ll more likely be dangling the RX100 III from your wrist, using the included band, or from a third-party neck strap (the requisite adapters are in the box). Despite its small size, however, the camera offers all of the necessary buttons and dials, including a dedicated mode dial, a video record button, a scroll wheel (for adjusting aperture and/or shutter speed) and a button for accessing the integrated WiFi mode, which lets you transmit images from the camera directly to a smartphone or a tablet.
This time around, the greatest engineering feat is the pop-up electronic viewfinder. It’s located at the far-left corner, and extends up about one inch when in use. The clever design includes a slide-out magnifier, complete with a diopter adjustment dial. The camera powers on as soon as you extend the EVF using the release switch on the left side of the housing, though it also turns off when you push it back down. Like most other EVFs, there’s a proximity sensor that activates the finder and disables the LCD when you raise it to your eye. Of course, grazing the viewfinder with a finger or other appendage has the same effect, but you can simply push it back into the housing to eliminate the issue.
Because the EVF takes up quite a bit of space within the housing, Sony had to move the pop-up flash a bit to the right. It’s now centered just above the lens, though it extends far enough to reach beyond the zoom, even at the widest focal length. Given that the flash has now taken over the real estate previously allocated to the full-size hot shoe, that component is a casualty of the RX100′s redesign, though (as mentioned earlier) with the exception of perhaps a few hardcore shooters, it likely won’t be missed.
For a spell, Sony began including touchscreens with its mirrorless cameras, such as the NEX-5N, but newer models, including the Alpha 6000 and flagship A7s don’t offer that feature. All three RX100 models also lack touch functionality, including this year’s iteration, which may be a disappointment to some. On the other hand, no touchscreen means Sony needed to include a range of dedicated controls and dials, which ultimately work to improve the experience. The trade-off, of course, is that you can’t tap to focus, which many shooters have come to count on when capturing video.
The user interface hasn’t changed much since the original RX100. The menu layout is more or less identical, though there have been some slight cosmetic tweaks. The quick-access menu has been refined — it’s a bit more straightforward to use now — but indicators and the camera’s general workflow are consistent with past models. Like with the RX100 II, you can transfer images over WiFi using Sony’s PlayMemories Mobile app for smartphones and tablets, but unlike competing products, you can’t control the camera remotely.
Performance and battery life
The first model in this series was lauded for its incredibly fast focusing, and the RX100 III performs just as you’d expect. It focuses very quickly, and it’s accurate nearly all of the time. Focus hunting is perceptible, particularly with dim subjects when you’re not using the AF-assist light, but if you miss a shot due to speed, the camera probably won’t be to blame. Granted, it’s not the fastest gun in the West, but it’s definitely one of the best in its class. As with any compact camera with a power zoom lens, it takes a second or two to get the camera powered on and ready to capture its first shot. If you’re anticipating an upcoming capture, it’s best to leave the RX100 powered on — once the camera’s standing by, shutter lag is barely noticeable.
As for battery life, I took the RX100 on vacation and managed to get through three days of exploring without charging up. On average, I probably used the camera for a few hours each day, so if you tend to capture hundreds of shots and dozens of video clips during each day of touring, you’ll need to charge up overnight. During that period, I was able to snap more than 500 stills and 13 minutes of 1080p/60 video, which was captured with the high-bit rate (and processor-intensive) XAVC S codec.
Since we’re already on the topic of video, I’ll start with some analysis there. The XAVC S codec available with Sony’s latest cameras is a significant step up from AVCHD. Video looks great on the camera, of course, but when evaluating footage on a laptop, it’s hard to believe this level of quality came from a camera you can slip in your pocket. The new f/1.8-2.8 lens also deserves some of the credit, I’m sure, but the improvement is clear. The one con is that you’ll need to use a file converter to edit and output your footage using a computer. I used Pavtube ($35), which worked very well.
Unfortunately, once you convert footage and upload it to the web (with further compression), you lose a lot of that captured detail. The resulting clips, as you’ll see in the footage reel above, look better than what you’d shoot with some other compact cameras, but unless you’re maintaining that high 50 Mbps bit rate, you’ll notice some degradation for sure. In the reel above, exposure was spot-on, and the RX100′s integrated optical image stabilization helped keep things steady, even as I moved around.
Moving on to still images, the RX100 exposed this late afternoon, backlit shot beautifully, with an aperture of f/4 and a shutter speed of 1/640 second at ISO 125. Details are very sharp and colors are accurate.
This plate of cacio e pepe, a typical Roman dish, is slightly underexposed, at f/4 and 1/320 second, with a sensitivity of ISO 125. The camera may have been thrown off by the metal fork, but it’s nothing a slight levels tweak in Photoshop won’t fix.
I saw dozens of tourists shooting tablet photos each day during my short trip to Rome. Moments like these come and go in only a few seconds, so this was a great test for the RX100. I was able to turn the camera on and snap a few shots as I walked by on the sidewalk. Details are sharp and colors are accurate in this 1/200-second, f/5 exposure at ISO 125.
This is where gelato cups go to die. The camera opted for an exposure of 1/100 second at f/4 here, with a sensitivity of ISO 125. Details are sharp; colors are accurate; and the exposure is spot-on.
Like the iPad shot above, this is another opportunity that came and went in only a few seconds. Fortunately, the RX100′s speed enabled me to grab this sharp shot, at 1/50 second and f/2.8, with a sensitivity of ISO 125.
The Pantheon is remarkably dim, yet the RX100 did a fine job of capturing this stranger with sharp details, assuming you’re uploading for the web. In-camera processing counteracts the high sensitivity of ISO 6400, but results in softer details, as you can see in the inset of this 1/60-second, f/2.8 exposure.
The RX100 really excels at night, capturing consistently exposed images with limited noise. The camera’s optical image stabilization helped keep details sharp in this 1/20-second, f/2.8 exposure at ISO 800.
I returned from Italy just in time to capture this shot of New Yorkers making their way home after the July 4th fireworks. With plenty of vapor light, colors are accurate, believe it or not, though details are soft due to in-camera processing in this ISO 6400, 1/50-second, f/2.8 exposure.
Given all of the features that Sony’s managed to pack into the RX100 III, including a 1-inch sensor, an f/1.8-2.8 lens, an LCD that flips forward 180 degrees and that one-of-a-kind pop-up viewfinder, this is currently the only camera you can buy that includes that identical feature set. There are a few similar options on the market, though, with Canon’s PowerShot G1 X Mark II offering the most comparable specifications while still maintaining a point-and-shoot form factor. That camera, also priced at $800, includes a larger 1.5-inch sensor and a longer 24-120mm f/2-3.9 zoom lens. And while there’s no pop-up EVF, you can attach one to the hot shoe.
If you’re looking for even more power, you’re not going to find it in a pocketable form factor. Instead, consider stepping up to a mirrorless camera or a DSLR. Our mid-range pick in the mirrorless category, the Sony Alpha 6000, which also retails for $800, offers many of the same features as the RX100, such as an integrated EVF and plenty of hardware controls, with the added benefit of a larger APS-C sensor and interchangeable lenses. You should also consider purchasing last year’s RX100 II ($650) or the original RX100 ($500) at a discount. Both are excellent cameras, and they’re considerably less expensive than this year’s model.
When Sony launched its first RX100 back in 2012, we were very impressed. The camera offered tremendous functionality in a pocketable package. Then, when the RX100 II came around last year, Sony added WiFi along with a full-size hot shoe (which can accommodate high-end audio gear, among other accessories), besting the original model. This year’s iteration is by far the most capable yet, with a superior lens, XAVC S encoding and a unique pop-up EVF. At $800, it’s a significant investment, particularly within the point-and-shoot category, but if you need a ton of power in your pocket and you don’t mind paying for it, you can’t do any better than this.
It’s been a long journey, but Samsung’s managed to build out a compelling camera lineup that has something for everyone. Pros can get the high-end NX30; cameraphone addicts can pick up the Galaxy K Zoom; and selfie fanatics will probably go for the $450 NX mini, a tiny interchangeable-lens camera with a flip-up LCD that fits in your pocket. It’s that latter model we’re checking out today, and while it’s hardly a professional workhorse, Samsung’s entry-level mirrorless cam is a practical choice for the largest demographic any electronics manufacturer could hope to target: regular people.
The biggest selling point here is a super-slim, lightweight body that you can slip into a handbag, or even a pants pocket. Without a lens attached, the NX mini is no larger than many compact point-and-shoots, and when you stick on the 9mm (24.3mm, 35mm equivalent) f/3.5 kit lens, it’s not much thicker. There’s a 1-inch, 20.5-megapixel CMOS sensor that’s identical in size to what you’ll get with very high-end compacts, like the $800 Sony RX100 M3, but quite a bit smaller than the APS-C sensor manufacturers include with mirrorless cameras like the Alpha 6000 or the aforementioned NX30.
Of course, a slim design also means you’ll have to put up with some limitations. There are only a few buttons on the rear, and they’re adorably small. They’re adequate for petite hands, but many adults will need to use a fingertip to do things like accessing the menu, switching to a different mode or reviewing captured images. There are miniature buttons on the top, too, for turning on the power or launching into Samsung’s WiFi mode. Fortunately, the shutter release is nearly full-size, and once you launch the menu, you can adjust many settings simply by tapping the 3-inch, 480 x 320 touchscreen, which also flips up 180 degrees for self-portraits, or at any angle in between for shots below eye-level, or overhead if you flip the camera upside-down.
Another peculiarity is the microSD card slot, which Samsung’s now including with many of its point-and-shoot cameras. It’s not like microSD cards are difficult to come by or much more expensive than their full-size counterparts these days, but they are tricky to insert. Plus, they’re incompatible with most laptops for downloading pictures and video (without an adapter), and very easy to misplace. The battery, however, is large enough for full-day shoots, at 2,330mAh, and the camera charges via micro-USB, which I prefer personally, though some users will want to have an external charger (which you won’t find in the box).
As for the UI, there’s nothing out of the ordinary here. You can control just about everything using the touchscreen, though you can also use the four-way controller on the side to navigate if you prefer. Settings are limited, and therefore relatively straightforward, so you should be able to find what you’re looking for with only a few taps.
There is a dedicated mode button, but there’s no room for a dial, so you need to tap the screen to move among auto, smart, program, aperture or shutter priority and manual options. Once you’ve made your pick, you can tweak settings using a touchscreen function menu. In manual mode, this can be a bit cumbersome, since you need to go back in the menu to adjust aperture and shutter speed. But this probably isn’t a camera most owners will use with a manually dialed-in exposure.
There’s also a WiFi mode, which lets you access a variety of wireless sharing options. You can use MobileLink to send photos from the camera to a smartphone or tablet, or Remote Viewfinder, which miraculously lets you access all of the NX mini’s shooting modes, including manual, from another device. You also have access to Samsung Home Monitor, which requires its own smartphone app and lets you use the camera to keep an eye on a child, for example, assuming your camera and phone are connected to the same WiFi network. Additionally, you can back up photos via WiFi, post directly to the web or send pictures in an email, all directly from the camera.
Performance and battery life
I really enjoyed shooting with the NX mini. The camera performed as expected every time when shooting outdoors or in decent lighting conditions — low-light photos didn’t turn out nearly as well (more on that in the image quality section below). The camera is fairly quick to boot up and you only have to wait a moment for the bundled 9mm lens to extend. There is a noticeable amount of focus hunting, but in bright light you can fire off a shot very quickly. Dim scenes are another story, but the NX performed reasonably well when the (oddly green) focus-assist light was turned on.
The camera offers a few positive surprises on the performance front, including a 6 fps consecutive-shooting mode that lets you capture full-resolution RAW or JPEG images. If you’re willing to settle for 5-megapixel shots, you can also choose from three burst modes, including 10, 15 and 30 frames per second. The clever selfie mode launches as soon as you flip the display forward — you can access it directly even when the camera’s powered off. When you press the shutter release, the camera will start a three-second countdown, giving you enough time to reposition before it captures an image.
There’s a 1/16,000-second maximum shutter speed, letting you shoot at larger apertures in bright sunlight, though even at f/3.5, you won’t capture much bokeh (blurred backgrounds) due to the smaller sensor size. The sensitivity ranges from 160-12,800, or 25,600 in extended mode, while videos can be captured at 1080p, 720p, VGA or 320 x 240, all at 30 frames per second. Battery life is rated at 650 shots with the 9mm lens or 530 shots with the 9-27mm zoom lens. That should get you through a full day of shooting on vacation, assuming you don’t spend hours reviewing pictures on the display or transmitting photos via WiFi.
The NX mini has a 1-inch sensor, so it’s reasonable to expect image quality to be superior to what you’d get with a typical point-and-shoot. But the camera’s no match for higher-end mirrorless models or even an entry-level DSLR. I did some casual shooting over the span of one month in San Francisco, Taipei and Austin, Texas. Results were generally quite solid with daytime shoots, but indoor photos and shots captured at night fell a bit short. The 9mm pancake lens excludes optical image stabilization, so captures at slower shutter speeds are often quite blurry, particularly when you’re holding the camera at a distance to shoot a selfie. Let’s take a look at some samples.
Here’s a typical group selfie. The camera opted for an f/3.5 aperture at 1/30 second, with a sensitivity of ISO 3200. That would have been fine when paired with image stabilization, but without OIS, what you get is a blurry mess. If you’re taking similar selfies in low light, capture several frames at once or use the built-in flash to guarantee a usable image.
This f/3.5, 1/30-second exposure was much more successful, thanks to a nearby table that helped to prop up the NX mini. Noise is barely visible at ISO 1600, even in the 1:1 inset view, and colors and exposure are accurate.
With instant access as soon as you flip up the LCD, it’s easy to capture spur-of-the-moment selfies, such as this f/3.5, 1/30-second exposure at ISO 1600. Unfortunately, the camera opted to focus on the background, though even details there are slightly blurry due to the absent OIS.
Ordinary daytime shots turn out just fine, such as this f/6.3, 1/125-second exposure in downtown Austin. Details are sharp, and there’s not much noise to speak of, thanks a sensitivity of ISO 200.
Like the supported selfie up above, this f/3.5, 1/8-second night scene in San Francisco is relatively sharp thanks to a nearby table, which served to anchor the camera. Captured at ISO 3200, noise is visible in the 1:1 inset, but wider views look fine.
We call this a Tuna taco (Tuna’s the cat). She held perfectly still for this f/3.5, 1/50-second shot, which sports relatively sharp details and low noise despite the high sensitivity of ISO 6400.
The NX mini shouldn’t be your first pick for shooting video. Quality is decent in brighter conditions, but without integrated image stabilization, hand-held shots are shaky at best, as you can see in the sample reel above. The camera also struggled with focus, especially when moving between subjects. The onboard microphone also failed to capture clear audio from a subject just a few feet away. Sharpness and exposure, however, are perfectly fine.
Samsung’s in a unique position with the NX mini. There isn’t anything quite like it from another manufacturer, though the $450 Nikon 1 S2 offers an attractive, colorful design with a similar sensor size and kit lens range. It’s also quite compact, though noticeably thicker than the NX. If you’re a pro looking for a high-quality camera that you can slip into a pocket, the $800 Sony RX100 M3 is a stronger contender, with a superior lens, better image and video quality and much more comprehensive manual controls. It also has a flip-up LCD and a pop-up electronic viewfinder.
If you’re in the market for a mirrorless camera, but you’re not set on the mini’s compact size, Sony’s $800 (with kit lens) Alpha 6000 is an excellent pick. The sensor is significantly larger, so you’ll get better image quality, particularly in low light, and Sony has a much broader selection of lenses available for its mirrorless series. Samsung’s NX30 is also a solid option, priced at about $800 with an 18-55mm lens. The NX mini is also available in a kit with a 9-27mm (24-73mm, 35mm equivalent) f/3.5-5.6 zoom lens for $450.
I was skeptical when Samsung first demoed the NX mini, having seen several manufacturers fail to deliver a great camera within a very small package. Pentax’s infamous Q was tiny, but it was also spectacularly overpriced and an underperformer across the board, due in no small part to its small sensor and inadequate lenses. Nikon’s initial lineup of mirrorless cameras, the V1 and J1, fell short as well. Samsung’s NX mini introduction is well-timed, however, with young casual photographers now focused on style and selfies above all else. The NX mini is hardly the most capable mirrorless camera on the market, but at $450 with a lens, it’s a very solid buy.
We’ve seen plenty of curved screens, but Sony has just revealed the first picture taken with a curved image sensor that may one day bring cheaper, smaller lenses and higher photo quality. Regular, flat camera sensors have a rather large problem called “Petval field curvature.” That results when light rays passing through the edge of a lens fall in front of the sensor’s focal plane, rather than on it. As a result, optical designers must add costly elements to lenses, which also makes them heavier and more complex. The shot above flaunted by Sony is just a test and there’s no high-resolution samples available yet; in fact Sony has indicated that high-megapixel sensors may be a ways off. However, it does mark the first image shown from Sony’s curved CMOS sensor and a possible new direction for its digital camera division.
A sensor with the edges bent towards the lens takes care of many optical sins. Sony built its prototype curved sensor flat, bent it into a shape known as a “Petzval surface” and reinforced it with a ceramic backplate. That geometry permits shorter, lighter lenses with larger apertures that let more light in. In addition, such a design also reduces light falloff at the edges of a typical flat CMOS sensor, and the process of bending a sensor introduces strain in the photodiodes that actually benefits them by reducing noise. Finally, Sony added that its sensors work the same way as the human eye to fix optical issues, and even have a similar level of curvature.
As such, Sony has constructed a 2/3-inch prototype sensor typically seen in compact cameras, along with a full-frame version. As it happens, the latter sensor would work very nicely in an RX1-type camera. When such sensors arrive commercially, they’re likely to be used in fixed lens and not mirrorless or DSLR models to start with, since they wouldn’t work with any existing lenses on the market. In fact, there’s a rumor that a possible RX2 will be announced in September at Photokina 2014 — we’re not holding our breath for a curved sensor on it, but you never know.
Source: Nikkei (Japanese)
It’s been two years since Nikon’s medium-format D800 and D800E SLRs hit the scene, and that’s just about an eternity for gadget nerds. What exactly has Nikon been doing since then? Well, aside from working on top-tier beauties like the D4 and D4S, it’s also been working on a proper successor to the D800 line. Surprise, surprise: it’s called the D810, and it’s about the sort of leap forward you’d expect from a modest model number jump.
Nikon didn’t reinvent the wheel as much as refined a formula that’s already served the company well. Consider the sensor at the heart of the affair: the ’810 sports a 36.3 megapixel sensor, but it’s a far cry from the ones spotted in its forebears despite the similar resolution. Nikon says it’s designed to produce sharper, clearer images, especially since it works in tandem with the company’s EXPEED 4 processing engine (which first debuted on last year’s D5300). Then there’s the fact that Nikon pulled out the optical low pass filter present in the D810′s most recent ancestor — the change means you’ll probably be able to squeeze even more nuance out of your shots, at the risk of possibly introducing moiré effects. Want more? Nikon has pumped up the ISO ceiling to 12,800 (or as high as 51,200 when you dip into Hi-2 mode), though we’ll see what sort of grain gets added to the mix.
Aside from those internal changes, the D810 is going to feel awfully familiar. The control cluster has been changed up a bit, and the 3.2-inch LCD has received a much-needed resolution bump. Alas, we’re halfway through 2014 and Nikon still decided against tricking this thing out with 4K video recording, though it’ll still handle 1080p footage at all the usual framerates. Interested? Who could blame you? Just be prepared to hear your wallet groan just a bit — the D810 will set you back a cool $3,300 sans lens when it hits store shelves some time this July.
GoPro is trying to build a media empire by capturing moments that other video cameras sometimes miss, and it just might achieve that feat if its latest (and arguably most dramatic) footage is any indication. The company mounted its action cams in the car of Guerlain Chicherit hoping to catch a record-setting jump, but instead caught what it’s like to survive a horrifying crash. The clip is cringe-inducing, even if you’ve seen your fair share of in-car replays — Chicherit can’t do much more than prepare for the worst as his modified Mini tumbles end over end. He thankfully escaped with minor injuries, but the resulting movie is an especially stark reminder of just why stunt driving is so dangerous.
Via: Huffington Post
Source: GoPro (YouTube)
Sony Action Cam owners: if you’re eager to share your sporting adventures with the world, your moment has come. The company has just rolled out a firmware update for the AS100V (installable on Macs or Windows) that lets you broadcast live video on Ustream, complete with social network alerts when you’re on the air. The higher-end camera also gets a new Motion Shot Mode that composites several photos into one, while burst shooting and self-timer modes are useful for both action-packed images and self-portraits.
You won’t get live streaming or high-speed photography if you’re using the more modest AS30V cam, but you’re not out of luck. It’s getting its own upgrade (available on Macs and Windows) that delivers multi-camera control through an optional remote, better automatic exposure and the use of WiFi without a memory card. Hit the source links if you’re ready to expand your cinematic repertoire.
If you want to record a bike ride or some other adventure by yourself, you typically have to wear an action camera. Going that route is fine for a first-person view, but what if you want some more dramatic shots? That’s where Hexoplus’ crowdfunded Hexo+ camera drone comes into play. The robotic hexacopter captures aerial footage of your expeditions simply by detecting where you are (or rather, where your phone is) and following along — you only have to set a preferred distance. It’s fast (43MPH) and stabilized, too, so it should keep up even if you’re racing across hilly terrain.
Should you like the idea of starring in your own sports movie, you’ll need to pledge at least $499 if you want a Hexo+ and already have a GoPro camera on hand; $699 will get you both the craft and a camera. That’s a lot of money just to get yourself in the frame, but it might be worthwhile if it gives you the production quality you usually only see from a big studio. You’d better hope that the FAA gets its drone rules in order before Hexoplus’ planned May 2015 ship date, though. After all, you don’t want to get into a legal battle over your airborne magnum opus.
It may be hard to come across an invite to buy the OnePlus One featuring the special edition CyanogenMod ROM, CM11S, but that doesn’t mean you can’t get some of the best features now.
The source code for the device has been released and a system dump has showed up online, so you can try out many of the apps, in addition to downloading the boot animation.
Over at XDA Developers forum, member iH8ra!n uploaded a system dump from CyanogenMod 11S build KVT49L_XNPH22Q, “a complete firmware dump of the OnePlus One” as well as some Nexus 4 compatible CM11S applications. iH8ra!n tested all of the apps on a Nexus 4, running the latest CM 11 nightly and said that all are working. It was also noted that you should be running a CM 11 build compiled on or after May 8, 2014.
Some of the apps include CameraNext, GalleryNext, Screencast, the Hexo theme (there are two APKs, one for the icons, the other for everything else such as the wallpaper, font, etc.) and the theme store, Theme Showcase. The app APKs are uploaded to Google Drive and can be downloaded here.
Not all of the apps worked on my Nexus 4 running the latest nightly, but the new CM camera is one that worked that’s pretty great and I’ve used the Hexo theme and GalleryNext.
If you would like to install the new Cyanogen boot animation, there are flashable .zip files at the source link below, as well as flashable zips for the apps if you would like to install them that way. Make sure when flashing the boot animation you download the right one for your device, according to your device’s screen resolution.
Although I wasn’t able to test them on another device, some may be able to be used on other devices, but that’s all up to you guys to try.
The post Get features from the OnePlus One and CyanogenMod 11S on your device appeared first on AndroidGuys.