Best DSLR cameras 2016: The best interchangeable lens cameras available to buy today

You want to buy a DSLR camera but don’t know what to go for? Then you’ve come to the right place, as this is where we round-up the best DSLR cameras of 2016. We’ll guide you through the hottest cameras available – and only models that we’ve seen in reality – to save you time when it comes to working out what the best options are.

DSLR cameras – which stands for digital single lens reflex – have removable lenses so that different optics can be attached in order to give a different view on the world. This variety allows you to start small and build-up to the more varied, sharper and desirable featured lenses as you go along. It also adds hands-on control for zoom and focus precision unlike that of most compact cameras.

DSLR cameras aren’t to be confused with the newer compact system cameras that are also infiltrating camera shops up and down the land. They are the ones that typically look a little more like point-and-shoot cameras but also have interchangeable lenses (there are exceptions to that, with some models acting as out-and-out DSLR replacements). We’ve got the best system cameras covered in another feature, linked below:

READ: Best compact system cameras 2016

Whether you’re new to the DSLR concept, are looking to upgrade, know plenty about cameras already and are weighing up the options, or are considering a more pro-spec option, we’ve broken down our list of great DSLR cameras into sub-headed categories to make things that bit easier to digest. You name it, we’ve got you covered.

A quick lesson in lenses

Lens mount

First thing’s first: cameras don’t work in a one-size-fits-all way. Brands like to keep their own heritage and, as such, each manufacturer has its own lens mount.

For Canon it’s EF, for Nikon it’s F-mount, for Pentax it’s K-mount, and Sony has A-mount. There are some additions and exceptions, but those are the current four to focus on. Don’t fall into the trap by buying the wrong lenses just because the brand names match up.

Sensor size

Second to the equation is sensor size. Entry and mid-level cameras typically have what’s called an APS-C size sensor. Some pro-spec cameras have full-frame sensors that, because they’re physically larger, need specific – typically pricier and more advanced – lenses that are capable of covering the larger dimensions. In each case the mount size remains the same, irrelevant of the sensor size. If you are looking at a top-of-the-range lens for a top-of-the-range camera, you’ll know all this already. For those starting out, don’t worry: it may seem a bit of a minefield out there, but a fairly easy one to understand once you get into the lingo of the manufacturer you’ve chosen. 

Focal length equivalent

There are plenty of things to consider with lenses and this all depends on the type of photography you are planning on doing. If it is all about portraits you’ll want something around the 50mm or 75mm mark. If you are trying to snap that lion on the Savanna and don’t want to get eaten then you’ll want something with a long zoom closer to 300mm or beyond. 

Best entry-level DSLR

Nikon D3300

You’ve decided that a DSLR is the one for you, but you don’t want to fork out masses of cash and don’t want overbearing or complex controls to get in your way. The Nikon D3300 is the entry-level model to Nikon’s series: an affordable and well-balanced choice to introduce you to the world of DSLR.

Complete with a Guide mode on its main mode dial, the camera can assist you in a visual way to generate the types of photographs you want. These visual cues will help in expanding your understanding of exposure, aperture values, depth of field and all those things that – quite probably – you don’t know about just yet. But at the same time if that that sounds too daunting then just stick the camera in auto mode and press the shutter button – it’ll do all the autofocus and exposure metering for you and, more often than not, do it well.

If there’s a drawback it’s that the optical viewfinder has a 95 per cent field-of-view, meaning that the outermost five per cent of the shot will be captured, but won’t show up in the preview. It’s typical of DSLR cameras at this level without exception.

Image quality from the D3300’s 24-megapixel sensor is top quality, and compared to to its D3200 predecessor it’s removed a filter between the lens and sensor for optimum sharpness. Competition comes in the form of the Canon EOS 1200D, which would be our other choice option at this level (see below) – although it’s just been replaced by the Wi-Fi capable 1300D (which uses the very same sensor as the 1200D).

PRICE: around £330

FULL REVIEW: Nikon D3300 review

Canon EOS 1200D

The Canon EOS 1200D might be a “safe” replacement of the nearly five-year-old 1100D model, but it holds enough weight to keep the entry-level DSLR market bubbling along.

If you want to use the rear LCD screen to take pictures then you might as well forget about it and look to a compact system camera instead. But if you’re after an affordable viewfinder-based option with the latest and greatest image quality at this level then the 1200D has definite plus points.

Just like the Nikon D3300 (above) the Canon 1200D has the same 95 per cent field-of-view viewfinder limitations, but that’s to be expected at this price point. Speaking of which, despite being the newest entry-level DSLR model out there, the asking price isn’t overly inflated – it’s actually less than the older Nikon model.

Between the 1200D and the Nikon D3300 there’s not a huge difference in performance, price nor resulting image quality. The Canon’s 18-megapixel resolution may sound “inferior” to the Nikon’s 24-megapixels – but that’s not the case, and is roughly nine times the overall resolution of the Full HD television in your lounge anyway. Both cameras mean large images aid with the ability to crop into the shot.

The Canon has a companion app to help your learning, while Nikon opts for an in-camera Guide Mode. Whichever suits, choose wisely as once you’re invested in a lens mount it’ll pave the way for any future purchases and camera body progression. 

PRICE: around £289

FULL REVIEW: Canon 1200D review

Best small scale DSLR

Canon EOS 100D (Canon EOS SL1)

The Canon EOS 100D sits in a world of its own. It’s as small as DSLR cameras come and that in itself is the single biggest reason for buying it. It’s a technological mini marvel with a suitably affordable price tag to boot.

This is the DSLR to take up less bag space while delivering quality akin to the EOS 700D model thanks to the 18-megapixel sensor on board, which is like its bigger brother. The 100D stands out on its own, but doesn’t cost the earth.

PRICE: around £329

FULL REVIEW: Canon EOS 100D review

Best mid-level DSLR

Canon EOS 80D

If you’re looking for an all-rounder when it comes to both still images and movie capture then the 80D is one of the best pure DSLRs to cater for such a varied and successful feature set. Where the 80D really excels is with its new autofocus system – which gives the Nikon D7200 (below) something to think about.

The Dual Pixel AF system – which uses on-sensor phase-detection via live view and a different phase-detection system through the viewfinder – comprises 45 autofocus points, all of which are cross-type, 27 of which are sensitive to f/8 (nine of those are cross-type sensitive) to ensure heightened sensitivity if you’re using, say, a slower lens or zoom extender. It’s a super-fast and detailed autofocus system at this level, which was much needed to bump the 80D above the likes of the 760D/750D models.

Elsewhere the 80D ups the viewfinder ante with a 100 per cent field-of-view – something the earlier 70D couldn’t muster – while its 3.2-inch, tilt-angle touchscreen remains one of its strong points, however you choose to use the camera.

Great new technology, great image quality, and great in use – if you’re looking for a near-to-£1,000 DSLR that will last then, arguably, Canon has the best model of the bunch. Your move Nikon, seems like it’s time for a D7200 update?

PRICE: around £999 (body only)

PREVIEW: Canon EOS 80D preview

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Nikon D7200

We didn’t include the earlier Nikon D7100 in the best DSLR listing due to evidence of banding in shadow areas of its images. Its follow-up, the D7200, complete with a new sensor on board, rights such wrongs. But with the Canon EOS 80D (above) digging its heels in, the Canon-Nikon race is closer than ever.

However, without a vari-angle LCD screen the D7200 might feel as though it’s a step behind the curve. It does offer a 100 per cent field-of-view optical viewfinder and both Wi-Fi and NFC (near field communication; used for sharing images with a smart device or remote-controlling the camera) – again, matched by the 80D.

Just like the Canon, it’s the Nikon autofocus systems that really sells this camera. The second-generation Multi-CAM 3500 delivers 51 AF points that are super quick to acquire subject focus – even in the dark thanks to operability down to -3EV.

Overall the Nikon D7200 is an impressive enthusiast DSLR. We didn’t anticipate finding it that much better than the D7100, but with notable improvements to image quality, burst mode capacity, movie capability and autofocus, it’s every bit the Canon 80D competitor – minus, of course, that vari-angle touchscreen – but at a slight cut of the price given its age.

PRICE: around £749 (body only)

FULL REVIEW: Nikon D7200 review

Best entry-level full-frame DSLR

Full-frame is the holy grail of DSLR photography. Sensors the same size as traditional 35mm film negatives are considered full-frame. This large sensor sizes produces a pronounced depth of field, while the sensor’s “pixels” are typically larger for a cleaner signal and, therefore, usually superior image quality compared to APS-C sensors (this can be resolution dependent).

Nikon D610

The words “entry-level” and “full-frame” tend not to go hand in hand. Given that close to £1,500 needs to be spent for that full-frame experience – and that’s before considering lens costs – you need to be sure that you’re ready to dip into the larger-sensor world.

The D610 replaces the earlier D600 and, frankly, doesn’t change much. If you scour the internet you will find a series of complaints about some Nikon D600 owners experiencing issues with oil on the camera’s sensor. It’s not an issue we had, but the sudden arrival of the D610, with only a modest bump in features, suggests that it’s a solution to brush any issues of its predecessor under the carpet. It does have a new shutter mechanism after all.

That might disappoint if you were hoping for a truly next-level experience, as the D610 only really adds Wi-Fi accessory compatibility and an ever so slightly faster burst rate to its predecessor. But the other side of the coin is that it retains all the good stuff of its predecessor.

This camera is like the lovechild of the high-resolution D810 (see below) and D7100. As most people won’t need the full feature set or 36-megapixel resolution of the D810, the 24-megapixel D610 opens up the full-frame door to a wider audience. Top image quality for a great price. Slick stuff – and not an oil slick this time around.

If you’re looking for something altogether different then the tilt-angle screen Nikon D750 might suit.

PRICE: around £1,249 (body only)

FULL REVIEW: Nikon D610 review

Best pro-spec all-rounder (APS-C sensor)

When full-frame 35mm film was settled upon back in the day, it later spawned a smaller format that came to be known as APS-C. By having this smaller sensor the image produced by a lens is “cut into” – imagine literally cutting the negative down by 50 per cent – which gives the impression of a greater zoom. That’s why you’ll see some lens’ focal lengths described in “35mm equivalent”.

Either way, this size of sensor doesn’t mean it’s necessarily any less professional. Manufacturers pour a lot of time and effort into making the best sensors at this scale, complete with full feature sets. It’s the most common sensor size, and arguably the most versatile.

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Nikon D500

The is-it-isn’t-it replacement for the Nikon D300S, the Nikon D500 is one of the most interesting and important DSLR cameras that we’ve handled for some time. Announced at CES 2016, which is the world’s largest consumer electronics show, this camera embodies much of the top-spec ultra-pro Nikon D5 in a smaller format. It’s the “D5 mini” if you will.

Which translates into a whole heap of good things. The new 21-megapixel sensor is backed up with the latest Expeed 5 processing engine and can capture shots up to an extended sensitivity of ISO 1,640,000. Yup, that’s six figures.

But, and having not critically been able to test image quality, the most interetsing thing about the D500 is just how fast it is. The new 153-point autofocus system – the same as found in the D5 but pulled into this APS-C format – includes 99 cross-type sensors for maximum portrait/landscape operability (15 of which support sensitivity to f/8), ensuring it’s not a watered-down version of the top spec system. It’s simply brilliant whether shooting still lives or tracking moving subjects.

A new layout with additional function buttons, tilt-angle LCD touchscreen, a 10fps burst mode that can shoot up to 200 raw files consecutively (wow), and weather-sealed construction add to this camera’s impressive feature set. Expect big things from this portable pro.

PRICE: £1,729 (body only)

PREVIEW: Nikon D500 preview

Canon EOS 7D Mark II

Until we’d seen the Nikon D500 (above) we’d yet to use an APS-C sensor DSLR camera that impressed us more than the Canon EOS 7D Mark II. Despite Nikon’s new entry, this Canon is still a strong contender.

It features a 65-point all-cross-type autofocus system, 150,000-pixel RGB infrared exposure meter, new shutter mechanism (to 200,000 cycles), faster burst mode to 10 frames per second (up from 8fps in the original 7D), and new 20.2-megapixel sensor all make it a feature-packed offering. You can see the similarities between this and the D500, it’s all-out war.

However, those thinking of upgrading from the original 7D who are hoping for a giant leap in image quality might not find their wishes granted. It’s a similar story as it was between 5D second- and third-generations: a minor push forward.

There are some feature absences that we would like to have seen on board, such as a tilt-angle screen, touch-sensitive operation, Wi-Fi integration and 4K video capture. But even these omissions aren’t a deal-breaker for us, even if it does make us lean towards the D500 that much more.

The battery life is great, while the layout, performance and resulting image quality are all exemplary.

PRICE: £1,179 (body only)

FULL REVIEW: Canon 7D MkII review

Best high-resolution DSLR

Nikon D810

Nikon did what we thought was utter madness when it announced the 36-megapixel D800 in 2012 – but after using it extensively we found its super-high resolution full-frame sensor was an utter marvel. Two years on from that launch and the D810 maintains the resolution but tweaks performance and image quality. The result is one of our favourite DSLR cameras ever – although it’s not the highest resolution on the market, with the Canon EOS 5DS (below) taking that crown.

The Nikon might not have the upper hand when it comes to those low-light shots, due to some image noise at the higher ISO settings, and the sheer volume of pixels means potential blur from movement can be amplified. But get it right and the results are a thing of beauty.

There are top-spec features aplenty too: the 51-point autofocus system is the best out there in our view, image quality even at this super-high resolution is astounding and the solid build, battery life and raft of features are formidable.

PRICE: £2,349 (body only)

FULL REVIEW: Nikon D810 review

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Canon EOS 5DS

Not content with allowing Nikon to win the resolution war, Canon came guns-a-blazing with the 5DS – a 50-megapixel full-frame DSLR that’s got a pixel count high enough to take on medium format.

And it’s really rather brilliant. But absolutely specialist. Shoot with this camera and you’ll need to be extra tight with shutter speed control to avoid blur, which is why some of the 5DS’s high-flying features – such as the 61-point autofocus system – almost seem mis-matched if you’re the kind of user who expects to pick this camera up and snap away as if it’s the same as the 5D Mark III.

Even so, when paired with the right lenses and selecting sufficient shutter speeds we’ve seen no ultra-high-resolution DSLR more capable than the Canon EOD 5DS. It’s the one to take down the Nikon D810 if resolution is your be-all and end-all want. It’s that simple point that makes it a true five-star product for those pining for a medium-format-matching DSLR camera with added versatility.

PRICE: £2,699 (body only)

FULL REVIEW: Canon EOS 5DS review

Best DSLR for movie capture

Sony Alpha A99

We might have some qualms with the A99 as a standalone stills camera, but when it comes to movie capture it’s Sony’s single lens translucent (SLT) technology – which, we confess, means this isn’t technically a DSLR – that make for exceptional fast and quiet autofocus.

There’s a silent control wheel to the front of the camera for live adjustment during recording, while the full-frame sensor is spot on for blurred-background effects and creating those pro-looking 1080p shots.

All this can be witnessed in real time on the rear LCD screen without any cost to autofocus ability which, because of the SLT design, is just as fast as when using the camera through its electronic viewfinder – and that’s also possible when capturing video.

Other cameras throw plenty at the movie front too – there’s rarely a DSLR model that doesn’t have plenty to offer in this department – but the Sony’s got stacks of good stuff on offer. A sure winner.

There’s rumours of an A99 II showing off 4K capture due early this year, to coincide with CP+ 2016, but we’ll have to wait and see just how true that is.

PRICE: £1,479 (body only)

FULL REVIEW: Sony Alpha A99 review

Best enthusiast full-frame DSLR

Canon EOS 5D Mark III

You already know your stuff. You want to take the full-frame sensor plunge or perhaps upgrade from an earlier model but don’t have the cash for the crazy-fast pro-spec camera. Yet you still want just enough power in a feature set that’s rounded enough to cover sports, portraits, landscapes – the works. If the Nikon D810’s or EOS 5DS’s ultra-high resolutions don’t suit your work then the Canon EOS 5D Mark III is the camera for you.

Now it’s not cheap by any means – an end-of-line Mark II might do you justice instead – but it’s got every base covered and that 22-megapixel sensor is not only awesome in good light, it aces low-light too. Add Canon’s vast array of lenses and there’s not another choice out there as we see it.

In short the 5D MkIII is a brilliant camera that offers both superb stills and fantastic video. It’s ideal for people looking to get a video-capable SLR, but owners of the 5D MkII might want to keep their existing gear and wait for the next update. Still, when it comes to all-round versatility this is the camera to go for.

PRICE: £2,179 (body only)

FULL REVIEW: Canon EOS 5D Mk III review 

Best specialist full-frame DSLR

Nikon Df

Looking for an entirely alternative approach? The Nikon Df could be exactly what you’re looking for. It’s wrapped the top-spec D4’s full-frame sensor into a retro body similar to the FM2 from decades gone by. That means independent control dials for an old skool feel. “Wow” or “meh”? Take your pick – it’ll be loved by some and seen as little more than a pricey exercise in nostalgia by others.

This could be the camera to reinvigorate where those photographic passions started. Classic manual control dials give the camera a distinct look and way of operation. But it all comes at a price: this niche camera is kitted out with the 50mm f/1.8 G lens only and has a recommended retail price of £2,749. Ouch.

The Nikon Df could be called over-ambitious. We can’t shun the feeling that Nikon needs to learn some lessons from this release. But as much as we thought we’d made up our mind about the Df based on its “almost there” aspects, we just kept on taking photos, looking at the pictures and being impressed. And that’s what pulls it back from the brink of obscurity because everything that comes out of this camera looks so great.

PRICE: around £1,999 with 50mm f/1.8 G lens

FULL REVIEW: Nikon Df review

Best professional DSLR (full-frame sensor)

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Canon EOS 1D X Mark II

The choices at this level are more or less two-fold if you’re considering full-frame: Nikon D5 (below) or Canon 1D X Mark II.

Both cut it close and there’s little to separate the two, but it’s Canon that succeeds in the speed stakes, delivering 14fps burst shooting. It’s ridiculously fast (the Nikon D5 can only manage that pace with the mirror locked, otherwise it’s 12fps).

The battery seems to last forever and, importantly, its 20.2-megapixel full-frame sensor is just about perfect for all manner of jobs. An updated autofocus system – and there’s no enough space here to explain its complexities – hits home with 61 ultra-sensitive AF points.

Some other full-frame models outperform in the resolution stakes, it’s questionable as to whether Canon lost its “movie king” hat (the Mark II does replace the 1D C, however), andthe Nikon D5 shouts a lot with its new autofocus system – but otherwise the 1D X II is a great professional full-frame DSLR. If you can afford one and don’t mind the bulk, that is.

PRICE: £5,199 (body only)

PREVIEW: Canon EOS 1D X II preview

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Nikon D5

The latest professional DSLR on the market, the Nikon D5 is a heavyweight in all departments. Matching the earlier Canon 1D X in terms of burst speed (12fps; 14fps with mirror lock), in the months since its announcement it’s been pippedby the 14fps 1D X Mark II (above). Still, the D5 has a substantial buffer capable of shooting 200 consecutive raw files at that pace, and is the higher-resolution of the two models too, at 21-megapixels.

Not content with that being enough, Nikon has really gone all out to make the D5 the highest sensitivity consumer camera on the market. With an extended ISO 3,280,000 – yep, three million, two hundred and eighty thousand – it’s certainly targeting the action and low-light shooter.

But perhaps best of all is the new 153-point autofocus system, which is super-fast whether shooting still lives or tracking moving subjects. We tested out the camera’s continuous autofocus (AF-C) mode with 3D, 153- and 72-point arrangements and it’s lightning fast, slipping between subject depths at pace, while locking onto subjects with a subtle depress of the (highly sensitive) shutter.

For the average consumer this is the Ferrari of cameras: out of reach in both price and realistic use. For the pros out there who don’t mind the physical bulk (and associated long-lasting battery life) it will be a potentially priceless tool. And, quite possibly, the best consumer camera in the world today, all things considered… although if you’re a Canon user and want the extra frame-rate then there’s no contest but to go 1D X II.

PRICE: £5,199 (body only)

PREVIEW: Nikon D5 preview

PlayStation VR price and release date revealed: October for £349

Sony has revealed the price and release date for its PlayStation VR virtual reality headset and it is considerably cheaper than both Oculus Rift and the HTC Vive.

The headset will be available in time for the holiday rush. Although there’s not an exact date, Sony will release the device in October this year. It will cost £349 in the UK, $399 in the States and 399 euros across Europe.

It will also be launched in Sony’s native land of Japan at the same time for 44,980 yen.

Sony Computer Entertainment head Andrew House had previously said that the headset would cost the same as a new gaming system and the company has followed that up.

READ: PlayStation VR preview: Virtual reality for the gamers

With the HTC Vive costing around £700, the PS VR is half. In addition, it doesn’t require a high-end PC to operate. Instead, it will work with a standard PlayStation 4.

The Oculus Rift, at £500, is also £150 more expensive and requires a super computer to run the better experiences. Both rival headsets do have the advantage of being available from April, however.

Sony also confirmed the specifications for the headset during its GDC press event. The display is a 5.7-inch OLED panel with a resolution of 1920 x 1080 (960 x 1080 per eye).

Refresh rate is 120Hz and 90Hz, depending on the experience. There are 360-degree tracking sensors and nine LEDs on the front for a separate PlayStation Camera to track.

Field of view is 100-degrees, while latency is less than 18ms.

As expected, players will be able to use both the DualShock 4 controller and PS Move wands to interact with different experiences and games.

More about the experiences and titles will be announced at E3. Pocket-lint will be there to report live in June.

Sennheiser’s 3D audio for VR feels totally natural

Sennheiser announced its 3D audio platform AMBEO back at CES this year, and today at SXSW I got a chance to try a VR demo and see how it sounds. Using a standard pair of headphones and a stock Gear VR, I was transported into a church where a lone piano player was seated a few feet in front of me. As she began to play, I looked all around the virtual room — and the audio mix adjusted on the fly, no matter how I moved, to keep the piano’s audio rooted exactly where it should be in the virtual space.

It wasn’t a terribly dramatic demo, but it didn’t need to be. All Sennheiser really needs to show is that when I turn around, the piano’s audio felt like it was coming from behind me instead of in front of me. That simplicity belies the complex engineering needed to make this work. It starts with a virtual reality microphone the company is producing and expects to launch this year. It looks like a fairly standard mic, but mount it to a 3D camera and you’ll be able to record audio that moves along with your video.

Then there’s all the post-processing needed to make this work. Sennheiser is working on a suite of tools to let you mix the audio and sync it up with the video as needed, though that will come a bit later than the mic’s planned Q3 2016 launch.

That combo of hardware and software means AMBEO really is a platform for making VR more realistic using Sennheiser’s particular audio expertise. It’s something VR sorely needs, and the demo I saw today made me think back to all the VR demos I’ve tried this far and wonder how the audio worked in them. It certainly wasn’t something that stood out to be, because I was too busy being awed visually. But as VR filmmaking inches closer to the mainstream, audio solutions like this are entirely necessary.

It’s entirely different technology than Samsung’s experimental Entrim 4D headphones I tried yesterday. Those use electrical impulses to stimulate your ear into feeling a sense of motion, but the audio was bog -standard. However, combining those two technologies would likely yield some of the most immersive VR we’ve seen thus far. That said, as realistic and natural as this demo was, it was also very basic. I’m looking forward to seeing full 360-degree audio in much more sonically complicated demos than what I tried today.

‘Harry Potter’ meets ‘Zelda’ in a fantasy action game

Mages of Mystralia is a fantastical romp through a mystical world, starring a young woman named Zia who discovers she has powerful magical abilities — though this isn’t necessarily a welcome development. Zia accidentally burns down her house and is forced to flee her homeland, and as she journeys across the countryside she meets other exiled mages who help cultivate her powers. Eventually, it’s up to Zia to save Mystralia from certain doom.

Mages of Mystralia combines elements from some of the most popular fantasy franchises in recent memory: There’s a special, magical child like in Harry Potter, whimsical yet creepy woodland creatures as seen in The Legend of Zelda: Ocarina of Time, and a determined, red-headed young warrior like the star of the Disney-Pixar movie Brave. All of this is bundled into a cohesive narrative by a star of Dungeons & Dragons lore, the creator of the Forgotten Realms world, Ed Greenwood.

The game’s creators are accomplished veterans of the video game world. Mages of Mystralia is the first title from Montreal studio Borealys Games, which is staffed by developers who worked on franchises including Assassin’s Creed, Far Cry and Sang-Froid – Tales of Werewolves. Just as the game’s premise mixes aspects from various popular fantasies, the gameplay itself offers a new kind of combination.

Zia’s powers grow as players create spells for her. This isn’t a classic RPG skill-tree system and it doesn’t require any hardcore programming skills. Instead, Mages of Mystralia allows players to build unique spells in a hexagonal, grid-like system, attaching power-ups like “curve,” “reflect,” “magnetic” or a multiplying behavior to her projectiles, for example. Players aren’t limited to just one modification for each spell type, either.

There are four categories of spells: melee, projectile, conjuring and self (which includes healing and shield properties). Each of these are combined with one of the four elements, air, water, fire or earth. The modifications then apply to these combos, allowing for an accessible yet dense valley of spell crafting. Zia’s abilities help her defeat evil beasties and solve spatial puzzles as players adapt her spellbook to each unique scenario.

Mages of Mystralia is due to hit PC in 2017 and the team is considering other platform options. Former Nintendo of America indie outreach mastermind Dan Adelman is handling communications for Mages of Mystralia and we met up at the Game Developers Conference in San Francisco. Adelman says Mages of Mystralia isn’t intended to be a “childish” game.

It’s meant to breach the gap between adult and younger players — those who grew up with Ocarnia of Time will hopefully appreciate the game’s whimsical adventure overtones and its dense spell-creation system, while new players will dig its fairy-tale-like story and cute character designs.

Google now encrypts over 75 percent of its internet traffic

How much progress has Google made on securing your internet traffic ever since Edward Snowden’s leaks made it clear that encryption is crucial to maintaining privacy? Quite a bit, if you ask Google itself. As part of its latest Transparency Report, the search firm has revealed that over 75 percent of its internet requests use encryption. That’s steep climb from just over 50 percent back at the start of 2014, just a few months after the scope of the US’ mass surveillance became clear.

As you might guess, services that absolutely demand privacy were already well-guarded, such as Gmail and Drive (both 100 percent) and Maps. Most of the improvements came from advertising, news and other services where encryption hadn’t been a priority until a couple of years ago.

It’s not all sunshine and roses. North America has the largest share of unencrypted traffic, and 95.5 percent of that unprotected data comes from mobile devices. Clearly, there are a lot of people running old phones (or old operating systems) that either can’t support broader encryption or don’t have it turned on by default. Google adds that there’s only so much it can do — some countries and organizations try to neuter encryption, whether it’s for spying purposes or simply a matter of outdated policies. As quick as Google was to get to 75 percent, getting the remaining 25 percent could be much harder.

Source: Google Transparency Report

Apple Music gets previously unlicensed remixes thanks to Dubset

When it comes to remixes and mashups, music licensing deals and royalties become tricky business. Thanks to a new deal with Dubset, though, Apple Music will gain an entire collection of the tunes. Dubset’s MixBANK distribution platform ensures that both artists being sampled and the DJs creating the mixes get their share of the royalties. The company does this by using MixBANK to identify any copyrighted music in a remix and clearing its use with the proper labels and publishers.

“This is a very important day for the music industry,” explained Dubset CEO Stephen White. “Until now the major music services could not offer DJ mixes and unofficial remix content on their services. Although DJs were able to sample tracks during live performances, they were not allowed to legally distribute the recordings.”

That’s all about to change, though. White told Billboard that Dubset currently has deals with 14,000 labels and publishers. Of course, handling royalties is still rather complex. As White puts it, a song can have up to 600 different rights holders. Until now, unlicensed remixes found a home in places like SoundCloud and YouTube, but both of those spots have dealt with their fair share of copyright issues. One example is Skrillex and Diplo’s (Jack Ü) remix of Beyonce’s 7/11. It was once available on the duo’s SoundCloud page, but now only bootleg versions remain on the site, and the same goes for the track on YouTube.

With Dubset’s MixBANK, though, songs like that would be available on streaming services because both Jack Ü and Beyonce (their labels and publishers, too) would receive the proper royalties for it. When a file is submitted to Dubset, it’s first analyzed and checked for any restrictions sampled rights holders may have on the content. Dubset employs Gracenote’s database of song clips to lend a hand in that identification process. Rights holders can opt to prohibit an artist, song or album from using their work. They can also limit the length of a sample that can be used in a remix or mashup or choose to have a final review before the song is sent out for distribution.

“Dance music fans are the biggest winners here because they will now have access to great remixes on the same platform that they listen to our original tracks,” said Tiesto, a popular DJ and Dubset ambassador.

Dubset isn’t stopping with Apple Music either. Plans are for the remix content to be available to 400 distributors worldwide according to White. While we’ll have to wait and see which services that includes, it’s hard to imagine the likes of Spotify won’t be interested in hopping on board, too. It’s certainly interesting that the content didn’t debut on SoundCloud, which has established itself as the go-to spot for one-offs, remixes and the like. The site has yet to launch its long-discussed streaming service, though, so it’s easy to see how Cupertino was a more attractive option with both Apple Music and iTunes.

Via: Billboard

Source: Dubset (PR Newswire)

Comcast starts rolling out gigabit internet access in Atlanta

At last, Comcast’s promised gigabit internet rollout is starting in earnest. The cable giant is beginning an “advanced consumer trial” of the extra-quick, DOCSIS 3.1-based broadband in multiple Atlanta neighborhoods, with additional cities coming this year. You’ll have to make a big commitment if you want in, though. It costs $70 per month if you lock yourself into a 3-year contract, and it’s an eye-watering $140 per month if you want the freedom to leave at any time. And it gets worse: if you don’t commit to that contract, you’ll have to accept a 300GB monthly data cap that’s trivially low for the speed. Assuming you max out your connection, you could blow through your limit in 40 minutes.

There are plans to experiment with pricing in different areas, so don’t despair (at least, not yet) about having to pay similar rates when the service reaches your neck of the woods. However, this isn’t exactly going to make rivals sweat bullets. Alternatives like AT&T’s GigaPower and Google Fiber typically charge $70 without such lengthy contracts, and they typically have much faster upload speeds (Comcast’s is capped at 35Mbps). As DSLReports notes, this is really about tying you to your existing cable provider so that it’s harder to switch to competitors when their gigabit-grade services arrive.

Source: Comcast

Microsoft is opening up the world of ‘Minecraft’ to Gear VR

The Oculus Rift isn’t the only virtual reality platform getting a piece of Minecraft’s pie. Today, at a GDC 2016 event, Microsoft and Oculus are set to announce that the open-world phenomenon is also coming to the Gear VR, a spokesperson for the companies confirmed to Engadget. For many people, Samsung’s headset is a far more accessible option than the consumer Rift, so this is good news for anyone who wants to play Minecraft in VR without breaking the bank.

This new version is expected to be similar to the one from an Oculus Rift, which we played recently and found quite impressive. As of yet, there’s not any information on how much Minecraft for Gear VR will cost or when you can download it, but we’ll let you know as soon as we have those details. At least now you’re aware it’s official, not just a thought.

Sony’s PlayStation VR headset launches in October for $400

The PlayStation VR headset lands in October 2016 for $400 (€400 / £350 / ¥44,980), Sony announced at the Game Developers Conference in San Francisco today. PS VR, originally called Project Morpheus, is Sony’s answer to the current rush of virtual reality hardware heading to the gaming market. It’s exclusive to the PlayStation 4 console — and it has a fairly strong install base, considering Sony has sold 36 million PS4 units since its launch in 2013.

There are more than 230 developers creating content for PS VR, Sony Computer Entertainment CEO Andrew House announced at today’s event. Sony expects roughly 50 games to launch alongside PS VR. Additionally, EA, Lucasfilm and DICE are creating a Star Wars: Battlefront experience for Sony’s system.

The final, consumer version of PS VR includes an OLED display, 5.7-inch screen, 1920×1080 resolution, 360 degree tracking and latency of less than 18ms. Plus, it supports 3D audio.

PS VR release date and price directly from Andrew House! pic.twitter.com/JvMkhAGTVo

— Jessica L. Conditt (@JessConditt) March 15, 2016

Here’s what $400 of VR looks like in Sony’s #PSVR consumer edition: pic.twitter.com/xKByhV9Aj5

— Jessica L. Conditt (@JessConditt) March 15, 2016

‘Star Wars: Battlefront’ is coming to PlayStation VR

If you wanted something a little bit bigger to sink your teeth into for PlayStation VR, there’s Star Wars: Battlefront. It’s a third-party exclusive and, well, Sony’s Andrew House didn’t say much more beyond that at today’s GDC event aside from it being a DICE-developed project — just like the base game. He promised we’ll hear more about it in the coming months. So, E3? Here’s to hoping it’s more than just virtual reality viewer for the game’s collectible diorama pieces.

Star Wars Battlefront experience coming only to PlayStation VR — more news to come in the months ahead

— PlayStation (@PlayStation) March 15, 2016

Source: PlayStation (Twitter)