Advanced Camera with Lens Nikon 1 J1 / V1

     Advanced Camera with Interchangeable Lens cameras that propose new forms of imaging expression and enjoyment

TOKYO-Nikon Corporation is pleased to announce the release of the first two models in the new Nikon 1 series, the J1 and V1. Nikon 1 is an advanced interchangeable lens that proposes new forms of imaging expression with a new super high-speed AF CMOS image sensor, the new high-speed image-processing engine, EXPEED 3, and the new Nikon 1 mount lens system.

Nikon J1

Nikon V1

Development Background

As a manufacturer of optical devices, Nikon has long developed products equipped with innovative new features based on technologies originally cultivated decades ago for film cameras. The many cameras released by Nikon over the years have continuously expanded photographic possibilities. Even with the nearly complete transition to digital that we see today, Nikon has continued to expand its lineups of compact digital cameras and digital-SLR cameras. Nikon's COOLPIX-series cameras are user friendly compact digital cameras, while the D-series line of digital-SLR cameras supports the needs of an incredibly wide variety of photographer, from the beginner to the professional. Nikon will celebrate its 95th anniversary next year, and is extremely proud of its record of having utilized its optical technologies in the development of many innovative products over nearly a century. So that we may continue our role as a leading company in the imaging industry in this age when digital technologies have become so common, Nikon looks forward to proposing new forms of imaging enjoyment and value over the next century as well. The first step in this process has been the development of a new type of camera that creates new imaging possibilities never before considered with conventional compact digital cameras or digital-SLR cameras.

Nikon 1 J1 / V1 Primary Features

1. The world's smallest and lightest*1 interchangeable lens digital cameras that propose new forms of imaging expression Faster image processing and superior reproduction characteristics have been achieved for both still images and movies through the combination of the CMOS image sensor and image-processing engine, both developed by Nikon. The cameras are also equipped with Nikon's newest lens mount system. Despite the new lens mount, the mount adapter enables the use of existing F-mount NIKKOR lenses*2 with the J1 and V1, for excellent compatibility with equipment users may already own.
   
   • Nikon 1 mount, Nikon's new compact, high-performance lens mount system The Nikon 1 mount is the new lens mount system developed for compatibility with Nikon's new imaging format. The new mount not only supports the dedicated 1 NIKKOR VR 10-30mm f/3.5-5.6, 1 NIKKOR VR 30-110mm f/3.8-5.6, 1 NIKKOR 10mm f/2.8 and 1 NIKKOR VR 10-100mm f/4.5-5.6 PD-ZOOM Nikon 1-mount interchangeable lenses, but also F-mount NIKKOR lenses*2, manufactured by Nikon for more than half a century, when the new FT1 mount adapter is used. This enables users to enjoy tremendous variety in their imaging expression with the ability to choose the lens best suited to the scene, subject, or their own creative intent from a broad lineup of standard and special-purpose lenses.
     
   • The world's first*3 cameras to be equipped with a new super high-speed AF CMOS image sensor and offer focal plane phase detection AF The new super high-speed AF CMOS sensor is a Nikon CX-format CMOS image sensor. With the new CX format, Nikon has added a new imaging format to its existing Nikon FX and DX formats for digital-SLR cameras. The J1 and V1 are the world's first interchangeable lens digital cameras equipped with focal plane phase detection AF*3 for the world's fastest autofocusing*4. They offer standard sensitivities of ISO 100 to 3200, with the ability to further increase sensitivity to an equivalent of ISO 6400 with a Hi 1 setting. They also support matrix metering, center-weighted metering and spot metering.
     
     • *1Applies to V1 only: Among interchangeable lens cameras with a built-in electronic viewfinder (EVF). (Based on Nikon research as of September 21, 2011.)
     • *2Autofocus may not perform as expected in some situations or with some lenses. Restrictions apply to mounting and functionality with some lenses.
     • *3Among interchangeable lens digital cameras. (Based on Nikon research as of September 21, 2011.)
     • *4Among interchangeable lens digital cameras available as of September 21, 2011. Statement based on performance with shooting using the 1 NIKKOR VR 10-30mm f/3.5-5.6 at the maximum wide-angle position with AF-area mode set to Single-point. Results based on Nikon test conditions.
   • New EXPEED 3 image processing engine The cameras are equipped with Nikon's latest image-processing engine, EXPEED 3, which is based on EXPEED, Nikon's exclusive comprehensive image-processing concept, and optimized for the Nikon 1 system for increased speed and performance.
     
2. Simple operation with compact and lightweight bodies that make them perfect for everyday use The J1 and V1 are compact and lightweight cameras that you can keep with you at all times, making them perfect not only for vacations and special events, but also for quick and easy capture of everyday scenes or unexpected episodes.
   You can easily record photos or movies with four shooting modes (Motion Snapshot, Smart Photo Selector, Still image, Movie).
   
3. A new advanced hybrid autofocus system that enables the world's fastest autofocusing*1 with the world's most focus points*2 The advanced hybrid autofocus system combines phase detection AF, which enables faster focusing and superior subject tracking performance with moving subjects, with contrast-detect AF, which performs well in low-light conditions. This hybrid system ensures optimal focusing under a variety of shooting conditions.
   As the world's first*1 interchangeable lens cameras to implement focal plane phase detection AF, the J1 and V1 have achieved the high-speed autofocusing needed for certain capture of even the most unexpected photo opportunities. This enables certain capture of the perfect photo opportunities when shooting moving subjects and subjects such as children and pets whose movement is very difficult to predict.
   What's more, at 10 fps, the cameras also offer the world's fastest continuous shooting rate*3 with AF tracking, and the world's fastest high-speed continuous shooting rate*4 of 60 fps.
   The J1 and V1 also boast the most focus points*2—73 with phase detection AF—available with any interchangeable lens digital camera currently available.
   
   • *1Among interchangeable lens digital cameras available as of September 21, 2011. Statement based on performance with shooting using the 1 NIKKOR VR 10-30mm f/3.5-5.6 at the maximum wide-angle position with AF-area mode set to Single-point. Results based on Nikon test conditions.
   • *2Among interchangeable lens digital cameras available as of September 21, 2011. Refers to the number of phase detection AF points available for selection at an AF-area mode setting of Single-point. (Based on Nikon research.)
   • *3At shutter speeds of 1/60 s or faster and an aperture setting of f/5.6 or larger. Results based on Nikon test conditions as of September 21, 2011. (Based on Nikon research.)
   • *4The maximum number of shots per burst is 30 with the V1 and 12 with the J1. Maximum shooting rate when focus is locked with the first shot in a burst. Results based on Nikon test conditions as of September 21, 2011. (Based on Nikon research.)
4. Motion Snapshot, imaging function that combines full-HD movie with a still image for more dramatic imaging expression In Motion Snapshot mode, simply pressing the shutter-release button records a still image and about a second of high-resolution movie footage beginning before and ending after the time the shutter-release button was pressed. Movies recorded in Motion Snapshot mode are played back in slow motion. With slow-motion playback at 0.4x normal playback speed of the movie and a still image, Motion Snapshot allows users to express impressive moments that show slight changes in expression, the rustling of tree leaves, or fluctuations in nature.
   Shooting/recording: Choose one of four themes (Beauty, Waves, Relaxation, Tenderness) prior to shooting. When the shutter-release button is pressed halfway, the camera begins recording movie footage to the memory buffer. When the shutter-release button is pressed the rest of the way down, a still image, along with about a second of movie footage beginning before and ending after the time the shutter-release button was pressed, are recorded to the memory card.
   Playback: After approximately 2.5 seconds of movie footage recorded in Motion Snapshot is played back in slow motion, the still image is displayed. Total movie/still image display lasts for 10 seconds, during which time the background music for the selected theme is played. The movie file and still image file recorded each time the shutter-release button is pressed in Motion Snapshot mode are stored as a set on the memory card. This fun new feature enables a new form of imaging expression that combines both still images and movie footage using conventional shooting operations.
   
5. Smart Photo Selector for simple capture of the best shot When the shutter-release button is pressed halfway in Smart Photo Selector mode, the camera focuses and begins buffering images. When the shutter-release button is then pressed the rest of the way down, the camera compares shots recorded to the buffer both before and after the shutter-release button was pressed, and automatically selects five to record to the memory card. It also eliminates the need for capturing a large volume of shots with continuous shooting and the troublesome process of later manually selecting the best shot from a series.
   Shooting/recording: Rotate the mode dial to Smart Photo Selector mode. When the shutter-release button is pressed halfway, the camera focuses and begins recording images to the buffer memory. Up to 20 images can be saved in the buffer memory each time the shutter-release button is pressed (some before the shutter-release button is pressed, some after). Of the 20 buffered images, the camera automatically records the single best shot based on movement and composition, as well as four additional candidate images to the memory card.
   Playback: Users can choose a different "best shot" than that selected by the camera from the candidate images, and also delete unnecessary images.
   
6. A simple, high-quality design The concepts of simple, streamlined, fashionable and high-quality were adopted for design of both the Nikon 1 J1 and V1. The only decoration on these flat, smooth cameras is the Nikon 1 brand name and the J1 or V1 model name on the front of the cameras. Positioning of a rear grip ensures a firm hold on the camera without sacrificing its simple, flat shape.
   What's more, lenses are available in the same colors as the cameras* for an integrated appearance. The graphical user interface (GUI) adopted for monitor display is structured to be as simple and streamlined as the cameras themselves. Superfluous menus have been eliminated for an intuitive, easy-to-understand GUI design.
   
   • *Kit lenses only.
   Nikon J1
   
   

   

   White

   

   Red

   
   

   

   Pink

   

   Black

    

7. 

   Silver

   
   
   
   
   Nikon V1
   

   

   Black

   
   White

   
   
8. Air-gapless structure adopted for LCD monitor with wide viewing angle The J1 is equipped with a 3.0-inch, approximately 460k-dot TFT LCD monitor with wide-viewing angle, and the V1 offers a 3.0-inch, approximately 921k-dot TFT LCD monitor with wide-viewing angle. The monitors built into both cameras utilize an air-gapless structure with which the protective glass and LCD panel are integrated for a thinner design and increased visibility outdoors, enabling users to enjoy more beautiful display of their photos and movies.
   
9. Short Movie Creator automatic movie editing software that is easy to use and can be launched independently The Short Movie Creator software bundled with the cameras is an automatic movie editing application that is fun to use with still images and movies recorded with Nikon 1 cameras. It can be used to easily create original short movies with imaging effects (styles) and background music. Short movies created with Short Movie Creator can be saved to a memory card for viewing on the camera, or uploaded to online movie sharing sites such as YouTubeTM. In addition, collaboration with Nikon's image transfer, browsing, editing and sharing software, ViewNX 2, enables easy organization and editing of still images and movies.
   
   • Short Movie Creator Primary Features
     • Easily create original short movies from still images and movies by simply selecting an imaging effect (style) and music. With a maximum playback time of 30 minutes, three options are available: Summarize to fit to music, Use all images and movies, Summarize to manual length.
     • Priority can be placed on the two seconds before and after a specific portion by simply selecting a "best scene". A single movie file can be registered more than once for specification of additional best scenes.
     • Music files can also be edited so that only a specific portion is used.
     • The frame size and frame rate of short movies can be selected to suit the manner in which they will be used. Short movies can be saved to memory cards in a format that makes it possible to view them with the cameras.
     • Titles and credits can be added to movie files.*
       • *Windows version only.
10. Bright, high-contrast electronic viewfinder with a resolution of approximately 1440k-dot (V1 only) The V1 is equipped with a bright, high-contrast electronic viewfinder (EVF) with a resolution of approximately 1440k-dot (SVGA). It is extremely clear with a frame coverage of approximately 100%, and utilizes a color filter system that prevents color breakup that appears as a rainbow artifact due to the interaction between subject movement and the photographer's eye, for faithful display of moving subjects.
    

Additional Features and Functions

• Movie recording mode with 1920 x 1080/60i full-HD movie support for superior picture quality
• Equipped with Nikon's exclusive imaging system, Picture Control, which allows users to choose and adjust the way in which the camera processes photographs according to the type of scene or their own individual preference
• Support for RAW (NEF) recording built in*1
• Active D

http://www.nikon.com/news/2011/0921_digital_01.htm

10 camera creative

The camera is one gadget and have had much choice.
    Often times, forget to switch the focus from manual to automatic!
    However, you can see the 10 concepts for a future camera that makes you from an amateur photographer, a pro photographer.

    1) The Canon Snap by David Münscher.

 Shaped like a ring, this camera is a type of antique and very easy for you to photograph each each time.
 

    2) Flying Stick Camera by Tsunho Wang.

    Flying Stick can fly like a helicopter and photographed from above.

    3) Triops Digital Camera by Franziska Faoro.

    The camera which has 3 fisheye lens, ideal if your tour to immortalize the scene.

    4) Samsung SS700 by Jin Woo Han

    Wow, imagine a camera that functions as a screen. Imagine how much it costs for a camera that has legs as in the picture frame!

    5) Touch Sight by Chueh Lee, Liqing Zou, Ning Xu, Saiyou Ma, Dan Hu, Jiang & Zhenhui Fengshun Sun

    Visual digital cameras equipped with the Touch Sight sound has a lightweight, equipped with a flexible Braille display 3D images on the embossed image drngan on the surface.

    6) Fun camera by Jian Guan

    With a convex glass is very pleasing to the art of photography, this camera will give a fisheye distortion to see the photos we take. You can even make a funny picture.

    7) Skyros by Siddharth Kambe & Dipti Hanako Kambe.

    Can fly to actually take pictures from above.

    8) Extreme Compact Digicam by Camillo Vanacore.

    Water repellent, asyiik times yes while diving.

    9) Panoramic Digital Camera by Hye-Jeong Yang

    Wow this is also a camera that can fly, soar and play (spins) and captures all that to see from above.

    10) USB Digital Camera by Sungwoo Park.

    This small and tiny .. simple .. 

http://gamexeon.com/forum/handheld-portable-device/60477-10-konsep-kamera-masa-depan.html

New nikkor lenses

The first four lenses in the new 1 NIKKOR series for the Advanced Camera with Interchangeable Lens Nikon 1 camera system: three compact and lightweight kit lenses, 1 NIKKOR VR 10-30mm f/3.5-5.6, 1 NIKKOR VR 30-110mm f/3.8-5.6 and1 NIKKOR 10mm f/2.8, suitable for a wide variety of shooting scenes, and the power drive zoom lens 1 NIKKOR VR 10-100mm f/4.5-5.6 PD-ZOOM.

TOKYO-Nikon Corporation is pleased to announce the release of the first four 1 NIKKOR lenses for the new Nikon 1 camera system. The Nikon 1 Advanced Camera with Interchangeable Lens is a new digital camera system that proposes new forms of imaging expression and enjoyment. Cameras in this new system utilize the new Nikon 1 lens mount system, which supports the new 1 NIKKOR brand of interchangeable lenses. The first four lenses released for this new system are the 1 NIKKOR VR 10-30mm f/3.5-5.6, 1 NIKKOR VR 30-110mm f/3.8-5.6, 1 NIKKOR 10mm f/2.8 and 1 NIKKOR VR 10-100mm f/4.5-5.6 PD-ZOOM.
The new 1 NIKKOR brand of interchangeable lenses continues in the tradition of the Nikon F mount, which has a history that goes back more than half a century. 1 NIKKOR lenses employ the new Nikon 1 mount, and are developed for use with Nikon 1 cameras. These lenses support Nikon's new CX format, which adds a new imaging format to the existing Nikon FX and DX formats. They are compact and lightweight for superior portability, have a simple design that is well suited to that of Nikon 1 cameras, and are available in a variety of colors.
The 1 NIKKOR VR 10-30mm f/3.5-5.6, 1 NIKKOR VR 30-110mm f/3.8-5.6, 1 NIKKOR 10mm f/2.8 and 1 NIKKOR VR 10-100mm f/4.5-5.6 PD-ZOOM lenses released under the 1 NIKKOR brand offer optical performance optimized for the Nikon 1 system for sharp rendering in a compact size. With release of these four lenses, Nikon offers a lineup for the Nikon 1 system that covers basic requirements in terms of typical scenes. In addition to standard and telephoto zoom lenses that cover a wide range of focal lengths (angle of view equivalent to 2.7x that of the same focal length in 35-mm [135] format), a high-power zoom lens equipped with a 10x power drive zoom mechanism perfect for movie recording, and a wide-angle, slim fixed focal length (prime) lens with superior portability are being released.
For nearly 80 years, Nikon's extremely reliable photographic lens brand, NIKKOR, has been comprised of highly functional, high-performance lenses. These lenses have supported the photography of a wide variety of users to become one of the world's most popular lens brands. With release of the new Nikon 1 digital camera system, which proposes new forms of imaging expression, enjoyment and value, and NIKKOR lenses employing the Nikon 1 mount, Nikon will continue to expand its lineup of NIKKOR lenses utilizing optical technologies accumulated over its long history to offer increased convenience to users of Nikon cameras.

1 NIKKOR VR 10-30mm f/3.5-5.6 Primary Features

1 NIKKOR VR 10-30mm f/3.5-5.6

• A 3x standard zoom lens that covers the 10–30-mm range of focal lengths (angle of view equivalent to 27–81-mm in 35-mm [135] format) and is easy to use
• Compact and lightweight enough to be taken anywhere
• A standard zoom lens with a retractable lens mechanism
• Equipped with a vibration reduction (VR) mechanism
• A minimum focus distance of just 0.2 m for extremely close-up shooting

1 NIKKOR VR 30-110mm f/3.8-5.6 Primary Features

1 NIKKOR VR 30-110mm f/3.8-5.6

• A 3.7x telephoto zoom lens that covers the 30–110-mm range of focal lengths (angle of view equivalent to 81–297-mm in 35-mm [135] format)
• A compact, lightweight telephoto zoom lens that offers superior portability with a retractable lens mechanism
• Equipped with vibration reduction (VR) mechanism
• Support for a wide variety of scenes, from portraits to sports scenes

1 NIKKOR 10mm f/2.8 Primary Features

1 NIKKOR 10mm f/2.8

• A slim, wide-angle fixed focal length (prime) lens with a focal length of 10 mm (angle of view equivalent to 27 mm in 35-mm [135] format)
• Superior portability from a stylish, slim wide-angle fixed focal length (prime) lens with a maximum length of just 22 mm
• Metal mount adopted for increased durability, and a metal exterior for an elegant feel
• The perfect lens for those who want a lens that can easily be taken anywhere to capture snapshots with superior image quality

1 NIKKOR VR 10-100mm f/4.5-5.6 PD-ZOOM Primary Features

1 NIKKOR VR 10-100mm f/4.5-5.6 PD-ZOOM

• A high-power zoom lens that covers the 10–100-mm range of focal lengths (angle of view equivalent to 27–270-mm in 35-mm [135] format)
• A 10x power drive zoom lens
• Retractable lens mechanism
• Equipped with a vibration reduction (VR) mechanism
• Zooming speed (3 speeds available) can be adjusted with positioning of the power drive zoom switch
• Smooth zooming with the built-in power drive zoom mechanism, an unusual feature for interchangeable lenses
• The perfect lens for those who want to maximize the enjoyment of recording still images, movies, or both
• Metal mount adopted for increased durability, and a metal exterior for an elegant feel

• Imaging Products—lineup—Advanced Camera with Interchangeable Lens

http://www.nikon.com/news/2011/0921_lens_02.htm

iPhone DSLR: the next generation (video)

Everything you know about awkwardly attaching SLR lenses to iPhones is wrong. This is how you do it. What started out as a quick and less-than-perfect mod of OWLE's Bubo iPhone mount by one Jeremy Salvador (pictured above) has turned into a collaboration between production company Vid-Atlantic and OWLE itself on a more finely tuned, iPhone 4-friendly prototype that delivers some truly impressive results. Sadly, the actual iPhone 4 version of the rig won't be available for a while yet, but you can get an idea of what will be possible with it after the break.

you can see video ==> http://vimeo.com/13402704


     http://www.engadget.com/2010/07/17/iphone-dslr-the-next-generation-video/

Sony SLT-A35 Review

Preview based on a production SLT-A35 with firmware 1.00

The format of this review has been slightly shortened as the Sony SLT-A35 is in terms of operation and image output very similar to the Sony SLT-A55 that we reviewed in August 2010. To learn everything about the SLT-A35 we recommend reading not only this review but also the full review of the SLT-A55.

The Sony SLT-A35 marks the second wave of Sony's radical SLT design, and does so in a way that offers to put the technology into more people's hands. This entry-level model incorporates almost all the features of the original A33 and A55, but includes what Sony promises is an improved 16MP sensor and handful of extra processing options. The only real losses are the articulated rear screen and $50 from the MSRP of the 18-55mm lens kit, compared to the A33, taking it down to $699.

Almost from the moment it bought Konica Minolta's DSLR division, Sony has been working on offering DSLRs with truly usable live view. Rather than clumsily adding live view to a conventional DSLR design, Sony has tried to offer it while retaining one of the key features that make DSLRs so desirable - their fast autofocus system. Its first attempts, using a secondary live view sensor built into the viewfinder prism, were promising but often resulted in cameras with distinctly different behavior depending on whether you were shooting in live view or optical viewfinder mode.

The SLT design has an electronic viewfinder, rather than an optical one, and as a result it doesn't need a movable mirror to direct light up to the viewfinder. Instead it used a fixed, semi-transparent mirror to provide light to a focusing sensor, allowing the rest through to the imaging sensor. The result is a full-time live view camera that can offer fast, DSLR-style phase-detection autofocus and complete consistency of behavior regardless of whether you're using the eye-level viewfinder or the rear screen for viewing. The fact that this is all available in a small, relatively inexpensive enthusiast camera made the A55 one of our favorites in its class.

The A35 represents a gentle refresh and reshuffle compared to the existing models, rather than any radical redesign. The A35 gets a redesigned version of the 16MP CMOS chip featured in the A55, with Sony promising improved power consumption. This improvement should not only improve the camera's battery life compared to its predecessors, but also offer improved heat characteristics - extending the duration of videos the camera can capture before any risk of overheating occurs. It can now record for up to 29 minutes per clip, rather than the 9 that the A55 can manage with SteadyShot switched on (most DSLRs are limited to 29 minutes or fewer to avoid attracting duty at the higher rate applied to camcorders).

Beyond that, the changes are subtle - the main difference being that the A35 gains a series of image processing filters (such as the de rigueur 'Toy Camera' option), that are becoming a standard feature at this level of camera. The high-speed shooting speed is the same as the A33's 7 frames per second, but no longer gives full-resolution images. Instead, to reduce the amount of data being processed (this slower rate and the lack of GPS emphasizing that this is an A3X camera, rather than an A55 replacement), the A35 takes a 8.4MP chunk from the middle of the frame, giving a 1.4x crop. This has the effect of giving the long end of the kit zoom a field of view equivalent to a 116mm lens in film terms, rather than the usual 83mm.

Sony A35 specification highlights

• Revised 16.2MP CMOS sensor
• ISO 100-12800
• ISO 100-25600 in multi-frame NR mode
• 15-point AF sensor (3 cross-type)
• SLT design offering full-time live view with phase-detection autofocus
• 1080i60 HD video in AVCHD format (from 30fps sensor output)
• Auto+ mode giving easy access to the appropriate multi-shot shooting modes
• Picture Effects processing options

http://www.dpreview.com/reviews/sonyslta35/

Nikon updates Capture NX adding Raw support for V1/J1

Nikon has announced version 2.2.8 of its Capture NX image editing software. The latest version resolves minor bugs and extends Raw support to the recently released Nikon 1 V1 and J1 mirrorless cameras, and the Coolpix P7100 enthusiasts' compact.

Click here for more information and to download Capture NX v2.2.8

Article: 3D Video Primer: Part 2

3D Video Primer: Part 2 

Why 3D, Why Now?

Three-dimensional still and video imaging has been around for a very long time, but in recent years, 3D has enjoyed something of a resurgence in popularity. Film studios are busy pumping out 3D movies, every other television set released these days seems to be capable of displaying 3D content, and it is even possible to capture images in 3D yourself, using many of the latest digital still and video cameras.

But what is driving the current upsurge of 3D? Improvements in the technology, pressure from manufacturers who are desperate to create and monitize the next 'big thing' in consumer electronics, or consumers themselves?

3D Video: Who's playing?

All of the major television manufacturers offer 3D-compatible TVs, and today's big 3D releases are available for purchase on Blu-ray, to watch in the home. After a long wait, there is now a standard for 3D video. Announced earlier this year, AVCHD 2.0 includes support for 1080 60p and 50p, and high-definition 3D movies encoded using Multiview Video Coding (MVC). As far as 3D video creation is concerned, Panasonic and Sony are currently the only two companies that offer an 'end-to-end' 3D solution in both professional and consumer spheres, but in the consumer space they are also joined by JVC.

As well as 3D display solutions, JVC currently markets two 3D camcorders, the twin-lens, twin-sensor GS-TD1B full HD 3D Everio, and the single-lens, single-sensor GZ-HM960BUS Full HD Everio, which can convert 2D footage into 3D in-camera. Like the GZ-HM960BUS, Panasonic's HDC-TM900K is a conventional single lens, single sensor 2D camcorder but when paired with an optional 3D conversion lens it can record 3D footage.

JVC's GS-TD1B full HD 3D Everio has twin lenses, twin sensors and an autostereo LCD screen.	The Sony  HDR-TD10 is designed in the same way, and allows videographers to manually adjust the convergence of its two lenses for fine control over the 3D effect.
Panasonic takes a different approach in the HDC-TM900K, which is a conventional single-lens single-sensor camcorder which can produce 3D footage when paired with the optional VW CLT1 stereo adapter.	Sony's 3D Bloggie pocket camcorder can produce 2D or 3D video and stills courtesy of its twin lens design. Like the Panasonic HDC-TM900K/VW CLT1 pairing, footage is captured on a single sensor, at correspondingly reduced resolution compared to 'true' twin-lens, twin-sensor designs.

Sony debuted its HD 3D Camcorder, the Handycam HDR-TD10, earlier this year. The twin-lens, twin-sensor TD10 allows the user to switch between recording in 3D and 2D, and if you don't have a 3D-compatible TV or computer, footage shot in 3D can also be played back conventionally in 2D. Sony also markets the 3D 'Bloggie' compact video camera. Dual lenses provide 1920x1080 3D HD video and like the TD10, the Bloggie offers the option to record in 2D as well.

The advantages of twin-lens, twin-sensor designs, like those shown above from JVC and Sony are primarily the ability to adjust the convergence of the two lenses (either manually or automatically), which is useful when shooting at close focussing distances, and low-light performance. With a single sensor per lens, there are many more pixels available to assemble the image, and in low light this means that downsampling (where the signals of neighboring photosites are combined to produce a cleaner, less noisy image) is more practical.

Systems that use twin lenses but a single sensor cannot be adjusted for convergence (although this isn't a problem in most shooting situations) but more seriously, they must necessarily use a smaller area of that sensor to record each of the left/right channels, limiting the options for downsampling, and thus increasing the risk of noisy footage in low light. Naturally though, twin-lens single-sensor systems are potentially less bulky and - of course - less expensive.

Still 3D Imaging

Stereography has been popular for more than a century, but until recently it was largely confined to the hobbyist sphere. Although 3D still imaging isn't being pushed as heavily as video by mainstream electronics manufacturers, an increasing number of cameras are being introduced which feature some kind of 3D functionality, either built-in or via special accessories.
Several of Sony's current range of Cyber-shot compact cameras, including the recently-reviewed DSC-HX9 and DSC-TX10, feature a 3D capture mode, and the same is true of Panasonic's DMC-ZS10, FX78 and TS3. last autumn, Panasonic also announced three new interchangeable lenses for its LUMIX G series of cameras, including the world's first interchangeable 3D lens, the H-FT012.

The only company which currently offers a dedicated 3D still image camera is Fujifilm. The FinePix REAL 3D W3 features two lenses and two sensors. Fujifilm also markets a small range of dedicated accessories, including the FinePix REAL 3D V1 viewer, an 8-inch autostereo LCD display.

Life in 3D

Manufacturers are clearly banking on the monetary potential of consumer-level 3D imaging, but stereoscopy, in many forms, has been around for over a century. Why the sudden interest in grabbing a new consumer demographic and putting 3D cameras into their hands?

According to Dave Briganti, Senior Product Manager of Imaging at Panasonic, part of the answer is that various technologies are maturing at the same time, and coming together to make it easier for manufacturers to offer complete, affordable, 3D 'solutions'. Briganti mentions 3D televisions as a specific example: 'I think bringing this phenomenon into your living room has been what's driving this current trend. Television [reflects] what happens in mainstream America. I think the fact that 3D has become available in a TV in your home is really what's lead imaging manufacturers to develop these 3D products and technology.'

If you're shopping for a new television, the chances are that you'll come across a lot of models which boast '3D compatibility'. Although availability of 3D content is still fairly low, the number of channels that offer it is growing, and 3D movie releases are available on Blu-ray disc. Manufacturers are also hoping that the emergence of affordable, consumer-level 3D video cameras onto the market will increase the popularity of home 3D, too.

The logical next step from becoming a consumer of 3D content is becoming a creator. When it comes to 3D camcorders, Andy Bubala, Sony Electronic's Camcorder Business Director echoes Briganti's sentiments 'It used to be a five-figure minimum for this type of equipment, really only available to professionals and studios. Now, for $1,500 you can buy a video camcorder that shoots really high quality 3D, and has the option to shoot and playback in 2D.'

But will consumers accept a whole new learning curve? How easy will it be for people to adapt to a new way of capturing and viewing video? Most people can't remember a time when enthusiast amateurs didn't have access to video cameras. So in 20 years' time, is it possible that we won't be able to remember a time when we didn't have 3D video cameras?

'It's easy to make 3D, but hard to make it good'. So says Buzz Hays, Senior VP of Sony's 3D Technology Center, and respected stereographer. 'As a consumer, you want to be able to turn on the camera and get baby's first steps. You don't get two chances with that. So at Sony we had to take a lot of the professional experience we have in 3D filmmaking and translate that into an experience that works in a video camera where people shooting it don't have to think at all about what they're doing.'

Sony's TD10 3D camcorder uses two lenses, and two sensors - one for each lens. As illustrated in this image (simplified for illustration only), the convergence of the lenses can be adjusted either automatically or manually by the videographer, according to the distance of the subject. This doesn't make much difference at normal viewing distances, but can help a lot when shooting subjects at close quarters.

The experience that Hays is talking about is the experience of using Sony's latest HDR-TD10 3D HD camcorder. The TD10 captures high-definition 3D video using two lenses, mated to two sensors, and its innovative '3D ready' LCD screen shows 3D footage during capture and review, without the need for special glasses.

Some 3D camcorders use a single lens/sensor combination and split a 1920 x 1080 signal into two channels, thereby reducing 'true' resolution. The TD10's twin lens/sensor design maintains full HD in both left and right channels, mimicking the human vision system. By adjusting the amount of convergence between the two lenses, advanced videographers can take precise control over the look of their 3D footage. If they want to, amateurs – of the sort that Hays is talking about – can just leave those decisions to the camera.

Adoption Worries

Despite the pace of innovation, and the raft of new 3D products on the market, manufacturers aren't getting things all their own way. Panasonic's Dave Briganti accepts that consumers aren't adopting 3D as quickly as the industry had expected. There are many possible reasons for this (a global recession certainly doesn't help) but the most likely is that consumers tend to be a little cautious about jumping onto new technological bandwagons in case they turn out to be a fad. A similar, equally cautious purchasing pattern occurred when HDTVs first debuted on the market.

In fact, Buzz Hays at Sony believes that part of the answer to the thusfar relatively slow takeup of consumer 3D lies in the timing of the new technology, so soon after HDTV – the last 'big thing' in television. As Hays points out, a significant number of consumers have only recently, within the last three or four years, adopted HD technology on their home sets.

'For those people who've just bought an expensive TV that will last them for a while, they're not ready to turn around and invest again,' he explains. Going forward, however, 'Sony is now outfitting a significant majority of its newly manufactured TV with 3D capability, so regardless of whether people buy it for 3D purposes or not, [if you buy a new Sony TV now] you have a very good chance of ending up with something that's 3D capable.'

Sony's strategy is not unique. Dave Briganti at Panasonic similarly believes that the secret to consumer adoption of 3D partly lies in the way in which the technology is promoted to consumers. Panasonic's stragegy is simple: 'When we have a customer that wants to buy a 3D television, we try to bundle that with a camcorder or another 3D device that is compatible with the set.'

Meanwhile, Nick Dager, an analyst with the Gerson Lehrman Group as well and editor and publisher of Digital Cinema Report and IndieFilm3D thinks that the reasons 3D televisions, specifically, are not selling as well as their manufacturers had hoped are threefold. 'The cost [of the hardware], confusion about [whether or not people need] special glasses – as well as the cost of the glasses - and a serious lack of quality content'.

In Dager's view, it is the third reason that holds the key to 3D's long-term viability, and that as the amount of high-quality 3D broadcast content increases, so will the willingness of consumers to watch it.

With 3D TVs filling stores, more and more 3D-capable cameras and camcorders being released and more tha 40 3D movies projected for release in 2012, 3D is growing fast. But like a teenager experiencing growing pains, it hasn't quite reached maturity yet. If Hollywood can stop making 3D just to make 3D and find out where it really fits, and if electronics manufacturers can convince consumers that their home videos reallyneed to be in 3D not 2D, then maybe, just maybe, the angry teenager will grow into a healthy adult.

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Barnaby Britton is Reviews Editor of dpreview.com. Valentina Valentini is a freelance journalist based in Los Angeles. You can see more of her work at her website, www.valentinavalentini.com

http://www.dpreview.com/articles/5239141538/3d-video-primer-part-2

Updated: Sony Carl Zeiss Sonnar T* E 24mm F1.8 ZA samples

We have just updated our previously posted samples gallery from the Sony Carl Zeiss Sonnar T* E 24mm F1.8 ZA. Our previous gallery was shot exclusively using the NEX-7 but these latest samples were shot with the NEX-5N. Together, these samples should give you a good overall indication of how the lens performs in front of both 24MP and 16MP sensors. As usual we've tried to shoot the lens in a variety of conditions and at a variety of apertures to give an idea about how it behaves. 

http://www.dpreview.com/