Saturday, October 1, 2011

Marriage


In India there is no greater event in a family than a wedding, dramatically evoking every possible social obligation, kinship bond, traditional value, impassioned sentiment, and economic resource. In the arranging and conducting of weddings, the complex permutations of Indian social systems best display themselves.
Marriage is deemed essential for virtually everyone in India. For the individual, marriage is the great watershed in life, marking the transition to adulthood. Generally, this transition, like everything else in India, depends little upon individual volition but instead occurs as a result of the efforts of many people. Even as one is born into a particular family without the exercise of any personal choice, so is one given a spouse without any personal preference involved. Arranging a marriage is a critical responsibility for parents and other relatives of both bride and groom. Marriage alliances entail some redistribution of wealth as well as building and restructuring social realignments, and, of course, result in the biological reproduction of families.


Some parents begin marriage arrangements on the birth of a child, but most wait until later. In the past, the age of marriage was quite young, and in a few small groups, especially in Rajasthan, children under the age of five are still united in marriage. In rural communities, prepuberty marriage for girls traditionally was the rule. In the late twentieth century, the age of marriage is rising in villages, almost to the levels that obtain in cities. Legislation mandating minimum marriage ages has been passed in various forms over the past decades, but such laws have little effect on actual marriage practices.
Essentially, India is divided into two large regions with regard to Hindu kinship and marriage practices, the north and the south. Additionally, various ethnic and tribal groups of the central, mountainous north, and eastern regions follow a variety of other practices. These variations have been extensively described and analyzed by anthropologists, especially Irawati Karve, David G. Mandelbaum, and Clarence Maloney.
Broadly, in the Indo-Aryan-speaking north, a family seeks marriage alliances with people to whom it is not already linked by ties of blood. Marriage arrangements often involve looking far afield. In the Dravidian-speaking south, a family seeks to strengthen existing kin ties through marriage, preferably with blood relatives. Kinship terminology reflects this basic pattern. In the north, every kinship term clearly indicates whether the person referred to is a blood relation or an affinal relation; all blood relatives are forbidden as marriage mates to a person or a person's children. In the south, there is no clear-cut distinction between the family of birth and the family of marriage. Because marriage in the south commonly involves a continuing exchange of daughters among a few families, for the married couple all relatives are ultimately blood kin. Dravidian terminology stresses the principle of relative age: all relatives are arranged according to whether they are older or younger than each other without reference to generation.

On the Indo-Gangetic Plain, marriages are contracted outside the village, sometimes even outside of large groups of villages, with members of the same caste beyond any traceable consanguineal ties. In much of the area, daughters should not be given into villages where daughters of the family or even of the natal village have previously been given. In most of the region, brother-sister exchange marriages (marriages linking a brother and sister of one household with the sister and brother of another) are shunned. The entire emphasis is on casting the marriage net ever-wider, creating new alliances. The residents of a single village may have in-laws in hundreds of other villages.
In most of North India, the Hindu bride goes to live with strangers in a home she has never visited. There she is sequestered and veiled, an outsider who must learn to conform to new ways. Her natal family is often geographically distant, and her ties with her consanguineal kin undergo attenuation to varying degrees.
In central India, the basic North Indian pattern prevails, with some modifications. For example, in Madhya Pradesh, village exogamy is preferred, but marriages within a village are not uncommon. Marriages between caste-fellows in neighboring villages are frequent. Brother-sister exchange marriages are sometimes arranged, and daughters are often given in marriage to lineages where other daughters of their lineage or village have previously been wed.

In South India, in sharp contrast, marriages are preferred between cousins (especially cross-cousins, that is, the children of a brother and sister) and even between uncles and nieces (especially a man and his elder sister's daughter). The principle involved is that of return--the family that gives a daughter expects one in return, if not now, then in the next generation. The effect of such marriages is to bind people together in relatively small, tight-knit kin groups. A bride moves to her in-laws' home--the home of her grandmother or aunt--and is often comfortable among these familiar faces. Her husband may well be the cousin she has known all her life that she would marry.
Many South Indian marriages are contracted outside of such close kin groups when no suitable mates exist among close relatives, or when other options appear more advantageous. Some sophisticated South Indians, for example, consider cousin marriage and uncle-niece marriage outmoded.
Rules for the remarriage of widows differ from one group to another. Generally, lower-ranking groups allow widow remarriage, particularly if the woman is relatively young, but the highest-ranking castes discourage or forbid such remarriage. The most strict adherents to the nonremarriage of widows are Brahmans. Almost all groups allow widowers to remarry. Many groups encourage a widower to marry his deceased wife's younger sister (but never her older sister).

Among Muslims of both the north and the south, marriage between cousins is encouraged, both cross-cousins (the children of a brother and sister) and parallel cousins (the children of two same-sex siblings). In the north, such cousins grow up calling each other "brother" and "sister", yet they may marry. Even when cousin marriage does not occur, spouses can often trace between them other kinship linkages.
Some tribal people of central India practice an interesting permutation of the southern pattern. Among the Murias of Bastar in southeastern Madhya Pradesh, as described by anthropologist Verrier Elwin, teenagers live together in a dormitory (ghotul ), sharing life and love with one another for several blissful years. Ultimately, their parents arrange their marriages, usually with cross-cousins, and the delights of teenage romance are replaced with the serious responsibilities of adulthood. In his survey of some 2,000 marriages, Elwin found only seventy-seven cases ofghotul partners eloping together and very few cases of divorce. Among the Muria and Gond tribal groups, cross-cousin marriage is called "bringing back the milk," alluding to the gift of a girl in one generation being returned by the gift of a girl in the next.
Finding the perfect partner for one's child can be a challenging task. People use their social networks to locate potential brides and grooms of appropriate social and economic status. Increasingly, urban dwellers use classified matrimonial advertisements in newspapers. The advertisements usually announce religion, caste, and educational qualifications, stress female beauty and male (and in the contemporary era, sometimes female) earning capacity, and may hint at dowry size.
In rural areas, matches between strangers are usually arranged without the couple meeting each other. Rather, parents and other relatives come to an agreement on behalf of the couple. In cities, however, especially among the educated classes, photographs are exchanged, and sometimes the couple are allowed to meet under heavily chaperoned circumstances, such as going out for tea with a group of people or meeting in the parlor of the girl's home, with her relatives standing by. Young professional men and their families may receive inquiries and photographs from representatives of several girls' families. They may send their relatives to meet the most promising candidates and then go on tour themselves to meet the young women and make a final choice. In the early 1990s, increasing numbers of marriages arranged in this way link brides and grooms from India with spouses of Indian parentage resident in Europe, North America, and the Middle East.
Almost all Indian children are raised with the expectation that their parents will arrange their marriages, but an increasing number of young people, especially among the college-educated, are finding their own spouses. So-called love marriages are deemed a slightly scandalous alternative to properly arranged marriages. Some young people convince their parents to "arrange" their marriages to people with whom they have fallen in love. This process has long been possible for Indians from the south and for Muslims who want to marry a particular cousin of the appropriate marriageable category. In the upper classes, these semi-arranged love marriages increasingly occur between young people who are from castes of slightly different rank but who are educationally or professionally equal. If there are vast differences to overcome, such as is the case with love marriages between Hindus and Muslims or between Hindus of very different caste status, parents are usually much less agreeable, and serious family disruptions can result.
In much of India, especially in the north, a marriage establishes a structural opposition between the kin groups of the bride and groom--bride-givers and bride-takers. Within this relationship, bride-givers are considered inferior to bride-takers and are forever expected to give gifts to the bride-takers. The one-way flow of gifts begins at engagement and continues for a generation or two. The most dramatic aspect of this asymmetrical relationship is the giving of dowry.

In many communities throughout India, a dowry has traditionally been given by a bride's kin at the time of her marriage. In ancient times, the dowry was considered a woman's wealth--property due a beloved daughter who had no claim on her natal family's real estate--and typically included portable valuables such as jewelry and household goods that a bride could control throughout her life. However, over time, the larger proportion of the dowry has come to consist of goods and cash payments that go straight into the hands of the groom's family. In the late twentieth century, throughout much of India, dowry payments have escalated, and a groom's parents sometimes insist on compensation for their son's higher education and even for his future earnings, to which the bride will presumably have access. Some of the dowries demanded are quite oppressive, amounting to several years' salary in cash as well as items such as motorcycles, air conditioners, and fancy cars. Among some lower-status groups, large dowries are currently replacing traditional bride-price payments. Even among Muslims, previously not given to demanding large dowries, reports of exorbitant dowries are increasing.
The dowry is becoming an increasingly onerous burden for the bride's family. Antidowry laws exist but are largely ignored, and a bride's treatment in her marital home is often affected by the value of her dowry. Increasingly frequent are horrible incidents, particularly in urban areas, where a groom's family makes excessive demands on the bride's family--even after marriage--and when the demands are not met, murder the bride, typically by setting her clothes on fire in a cooking "accident." The groom is then free to remarry and collect another sumptuous dowry. The male and female in-laws implicated in these murders have seldom been punished.
Such dowry deaths have been the subject of numerous media reports in India and other countries and have mobilized feminist groups to action. In some of the worst areas, such as the National Capital Territory of Delhi, where hundreds of such deaths are reported annually and the numbers are increasing yearly, the law now requires that all suspicious deaths of new brides be investigated. Official government figures report 1,786 registered dowry deaths nationwide in 1987; there is also an estimate of some 5,000 dowry deaths in 1991. Women's groups sometimes picket the homes of the in-laws of burned brides. Some analysts have related the growth of this phenomenon to the growth of consumerism in Indian society.
Fears of impoverishing their parents have led some urban middle-class young women, married and unmarried, to commit suicide. However, through the giving of large dowries, the newly wealthy are often able to marry their treasured daughters up the status hierarchy so reified in Indian society.
After marriage arrangements are completed, a rich panoply of wedding rituals begins. Each religious group, region, and caste has a slightly different set of rites. Generally, all weddings involve as many kin and associates of the bride and groom as possible. The bride's family usually hosts most of the ceremonies and pays for all the arrangements for large numbers of guests for several days, including accommodation, feasting, decorations, and gifts for the groom's party. These arrangements are often extremely elaborate and expensive and are intended to enhance the status of the bride's family. The groom's party usually hires a band and brings fine gifts for the bride, such as jewelry and clothing, but these are typically far outweighed in value by the presents received from the bride's side.
After the bride and groom are united in sacred rites attended by colorful ceremony, the new bride may be carried away to her in-laws' home, or, if she is very young, she may remain with her parents until they deem her old enough to depart. A prepubescent bride usually stays in her natal home until puberty, after which a separate consummation ceremony is held to mark her departure for her conjugal home and married life. The poignancy of the bride's weeping departure for her new home is prominent in personal memory, folklore, literature, song, and drama throughout India.

JVC Everio GS-TD1

So far, consumer 3D camcorders have generally hedged their bets by providing the third dimension as an addition to otherwise essentially 2D models. Panasonic’s HDC-T750 came with an attachment, and this is now just an optional extra for the HDC-TM900 andHDC-SD90. JVC, however, has decided not to do 3D by halves. The Everio GS-TD1 does shoot 2D if you want, but its primary focus is 3D, with hardware specification arranged accordingly.

You may have noticed that human beings have two separate eyes, rather than two lenses feeding a single eye. Yet the latter has been the approach taken by previous consumer 3D camcorders, with just a single sensor fed by a dual-lens arrangement. The GS-TD1, in contrast, has two parallel optical systems. There are twin lenses feeding a pair of 1/4.1in back-illuminated CMOS sensors, each with 3.32Mpixels

This setup gives the GS-TD1 an important set of features that the Panasonic offerings lack. First, there’s no need for calibration as the 3D lens is permanently attached, so you’re always ready to shoot as soon as the device is powered up. Second, and perhaps more significantly, the twin lenses mean you can actually zoom in 3D mode. There is only a 5x factor available when shooting 3D, which is still a little miserly, but this extends to 10x in 2D mode. Even 5x is preferable to the fixed framing offered by Panasonic’s consumer 3D models so far.


The final benefit of JVC’s dual approach is that the GS-TD1 doesn’t natively record side-by-side 3D, which squeezes two anamorphic frames into a single Full HD resolution, although it can for maximum compatibility. Instead, two Full HD video streams are captured, promising much greater detail in 3D mode. To take advantage of this, the GS-TD1 records at a maximum data rate of 34Mbits/sec in 3D mode, although 2D mode is still limited by the constraints of the AVCHD standard, so tops out at 24Mbits/sec


There is a 64GB allocation of Flash memory on board, enough for four hours of footage at the top 3D quality setting, and nearly six hours at the top 2D quality setting. This can be further extended via the single SDXC-compatible SD card slot. A big blue-illuminated button on the rear switches between 2D and 3D modes.


We’ve also noticed that, when camcorders grab two frames within the area of a single CMOS, image quality drops dramatically in 3D mode due to the fact that each side of the stereoscopic picture has been squeezed into half the sensor. With the GS-TD1, there’s an entire 1/4.1in sensor for each side, which isn’t massive but better than half of any other current consumer 3D camcorder’s CMOSes, and will benefit from the back-illuminated technology too. So low light performance should, in theory, be significantly better than other 3D camcorders.




As with the Everio GZ-HM960, JVC has equipped the GS-TD1 with a LCD display incorporating parallax barrier technology. So you can see the 3D effect as you shoot, without the need for special glasses. This system is nowhere near as effective as shutter glasses, but it’s about the best currently possible without extra paraphernalia, and gives you the sense of depth required as you shoot.

The GS-TD1 has all the necessary physical features for enthusiast users, too. There’s a standard-sized accessory shoe, so you can connect third-party peripherals such as a radio mic receiver, with a minijack input nearby on the bottom edge of the lens body. Another minijack is available at the rear of the device for hooking up headphones to monitor your audio levels.

Strangely, a large part of the camera body is taken up by an internal battery compartment. This is considerably bigger than the 1460mAh unit included in the box, so although we don’t usually approve of captured batteries, at least in this case there are options for greater capacities if desired. Also strange is use of a manually operated lens cover, rather than one which opens automatically when you turn the camcorder on.



Although the GS-TD1 doesn’t offer a lens ring, it still provides a commendable selection of manual controls and enough buttons to make these easy to access. In manual mode, the Adjust button on the rear provides access to an array of settings, which are then adjusted by a nearby wheel. Press and hold to call up the menu, or press once to adjust the current parameter.

The available settings include brightness, focus, shutter speed, aperture, white balance, and parallax. Aperture and shutter speed can be configured separately, but not at the same time as brightness. The parallax adjustment lets you widen or shorten the separation of the two sides of the stereoscopic image. Although the image should be calibrated already, you may want to make changes for various creative reasons. There’s also a User button which can be assigned with a range of functions, to provide immediate access.



With its duo of 1/4.1in CMOS sensors, the GS-TD1 promises decent, if not absolutely high-end image quality. In good light, colour fidelity and detail are excellent whether you’re shooting 2D or 3D. The 3D effect is very respectable for objects more than a meter away, when viewed on a large 3D TV. As we predicted, low light performance is noticeably superior in 3D mode than other models we’ve tested. Colours are not quite as faithful as 2D mode, but the level of brightness is similar.

However, the dual-Full HD recording does have its drawbacks. This uses a proprietary MP4 format, which will appear to non-compatible editing apps as 1080/50p footage. We found this played in Windows Media Player as if it was just 2D footage. Pixela’s Everio MediaBrowser 3D is provided for converting the MP4s, so you can output them to sites like Facebook and iTunes in 2D mode, and YouTube in 3D mode. The 2D and 3D AVCHD formats are more widely compatible, however. The 3D version uses the now-standard side-by-side system, so you could even upload this manually to YouTube, add a tag, and watch it using anaglyphic glasses. The other alternative is to use the GS-TD1's Mini HDMI connection to output directly to a TV. The GS-TD1 will convert its MP4 footage to side-by-side, so most 3D TVs will be able to handle it.

Verdict

Although we’re still not entirely convinced by 3D either as a domestic viewing format or for grabbing your home movies, JVC has at least created a product with potential to cross over into the semi-professional arena. Where the Panasonic consumer models so far have been very limited in 3D mode, the GS-TD1 behaves similarly whether you’re shooting with or without the third dimension. This makes greater creative possibilities available, so the GS-TD1 has the potential to appeal to student filmmakers or even experimental videographers on a budget. Unfortunately, the price is at least £1,400 from most stores, so only the very richest hobbyists will be interested. But otherwise this is the most competent consumer-oriented 3D camcorder yet.

Friday, September 30, 2011

Shutter goes down on video killing fields: war game for camera buffs


An Australian journalist who told the world about the Balibo Five, the director of Balibo and a video game developer have joined forces to create a violent video game where the only shooting players do is with a camera, not a gun.
It is one of the few bright spots in an Australian game development industry that has been decimated by the high Australian dollar and a withdrawal of investment in the industry by overseas publishers.
Some of Australia's biggest game development studios have shuttered in the last few years including Krome, Red Tribe, Pandemic, Transmission, Team Bondi, Blue Tongue, THQ Studio Australia, Visceral and Auran.
The game, Warco, puts players in the shoes of a war correspondent - a novel take on the first person shooter genre that could perhaps only be pulled off by a trio as diverse as this. Despite offering a different type of shooting than most players are used to, they promise the game will be "more effecting than the average war game".
Tony Maniaty, a veteran Australian journalist who covered the conflict in East Timor in 1975 and was nominated for a Walkley award for his documentary on post-Soviet Eastern Europe in the 90s, first came up with the idea of the game, seeing it as a training simulator for reporters heading into war zones.
Maniaty shared his idea with filmmaker Robert Connolly, who directed Balibo - a film about the killing of five Australian journalists by Indonesian forces during their incursion into East Timor in 1975. Maniaty is credited with breaking the story of the murders.
They then brought on Morgan Jaffit from Brisbane-based development studio Defiant Dev, and got to work on creating the game. Jaffit created Defiant Dev after he lost his job when Pandemic Studios shuttered a few years ago.
"It's actually been an incredible partnership, with each of us bringing our relative skills to the table," said Jaffit. "Our goal is to build a game that is mature, realistic and compelling."
Connolly, Jaffit and Maniaty, who are being funded by Screen Australia and Screen New South Wales, have already developed a playable proof-of-concept prototype of the game. They are now looking for a publisher and hope to release the game on all platforms.



Shooting without bullets
In Warco, the player fills the shoes of Jesse DeMarco, a female freelance video journalist in a war zone who is tasked with shooting battle footage and then editing that footage into gripping frontline news reports.
The game is set in the fictional North African town of Benouja, where rebel forces are overwhelming the loyalist government troops of dictator Vincent Ghemba. The situation is too violent - and the risk of kidnapping too high - for the big global networks to send staff, so DeMarco has a golden opportunity for a scoop.
Although they don't kill anything, players are still challenged in that they must not only get the right shots but avoid being kidnapped or killed in the process. Once the footage is captured the other part of the game is editing the footage into a TV news report in an interface similar to iMovie - and the developers promise that no two reports are the same.
Jaffit said the combination of the journalistic experience and writing skills of Maniaty, Connolly's cinematic eye and visual storytelling and Deviant Dev's game making experience meant the team was able to "build something that's much more than the sum of its parts".
"I genuinely don't think we could have done the concept justice without the varied experience and passion of all three groups," he said.
But despite its Australian roots, none of the characters in the game are Australian.
Jaffit conceded that a first person shooter game without shooting is "somewhat unusual", however, he compares it to titles like Mass Effect and Portal which have large portions of their gameplay that doesn't revolve around running and gunning.
Other titles including the Australian-developed L.A. Noire, have put the focus on players using their brains rather than brawn. L.A. Noire was developed by Team Bondi in Sydney but the game's huge international success was not enough to save the studio from closure.
A game about choices
"For us, the interest arises from the environment, the narrative, and the ways in which you interact and engage with the actors in the scene to find and create your story," said Jaffit.
"Your actions have consequences and your decisions and choices influence the sorts of stories that arise and the scenarios you encounter."
Players will face a series of moral challenges such as whether to strictly remain an observer or jump in to fight or help wounded soldiers.
But despite players themselves doing no killing in the game, it is unlikely to appeal to groups like the Australian Christian Lobby. Jaffit went as far as saying Warco was "more effecting than the average war game".
"We're trying to realistically depict a warzone, while most games give you the action movie overview," said Jaffit.
"On the one hand, the player isn't actively causing violence, they just happen to be in an environment that is brutal and bloody."
Jaffit was proud to be part of a project that was pushing gaming into a direction where more complex stories could be told. He said the average gamer was 37 years old and had been playing games for 12 years.
"With Warco , we're betting that there's an untapped desire for adult narratives and more nuanced exploration of the topics of war than a simple one-man-army action movie," he said.

Indeed, video games are becoming so realistic that this week Britain's ITV1 launched its new current affairs show with what it thought were pictures of the IRA shooting down a helicopter with weapons supplied by Muammar Gaddafi, but which in factturned out to be a sequence from a computer game, Arma 2 
Connolly, Jaffit and Maniaty, who are being funded by Screen Australia and Screen New South Wales, have already developed a playable proof-of-concept prototype of the game. They are now looking for a publisher and hope to release the game on all platforms.

Thursday, September 29, 2011

Samsung SMX-F54BN


Samsung SMX-F54BN camcorder offers a powerful zoom

For a full-sized camcorder, Samsung’s SMX-F54BN is compact, sleek, and attractively priced. But it comes with a big catch: It offers only standard-definition video in a world that is rapidly moving to high definition.
Aside from the low price, what does the SMX-F54BN offer to make up for its low-resolution output? Mainly, a powerful zoom lens, the ability to shoot two-megapixel still images, and a generous 16GB of onboard memory. Plus, its 4.7-by-2.2-by-2.1-inch dimensions at five ounces, make it convenient to carry around in any large pocket or backpack.
Let’s face it, not everyone wants HD video. For certain people, such as insurance adjustors who video-document many accidents each day to calculate claims, a decent quality SD cam may be all they need or want, plus they can use it to shoot still images at a reasonable 2MP (JPEG format only). If all you need is basic documentation—and the convenience of not having to hassle with multiple SD cards and large files—this camcorder might interest you.

Impressive zoom

The SMX-F54BN offers an impressive 52x optical, and 65x digital, magnification. For example, when I zoomed in on vehicles that were over a half-mile away on the freeway, I could decipher the brands of some of the vehicles zipping by. I normally don’t discuss digital zoom become most of these zooms render video images too blurry and pixelated to bother with. In the SMX-F54BN, however, the video remained relatively crisp, even at the maximum 65x zoom setting.
But most people don’t shoot reams of video, and they really do want the sharpest, highest-resolution video they can afford. HD is their clear choice, and they have plenty of low-cost options for a good, full-sized full-HD cam, including other Samsung offerings. Plus, some HD cams offer the option to shoot in SD.

Performance issues

Despite its excellent zoom, the SMX-F54BN suffers from serious performance shortcomings. The cam scored only Fair to Poor in our lab tests, falling down most in exposure and color rendering. My own experience reflects the lab results. I filmed scenes both inside and outside of my home, including a pair of wild turkeys grazing on my lawn. I was disappointed to find those images lacked sharpness and colors appeared a little washed out. The grass looked noticeably less green, and the vivid red color of the turkey toms looked much less vibrant than they did in real life.
Usability is a mixed bag. I had no problem navigating the menu on the LCD panel, but if you want to take photos, you may find the top-mounted shutter button a little awkward to use, especially if you have large hands. I had to hold the cam with my left hand so I could remove my right hand from the strap enough to click the shutter. If you plan to take a lot of still shots alongside your video, you’ll want to try this cam out first to make sure the resolution is high enough for your needs.
The SMX-F54BN is also one of the few cams we’ve reviewed that forces you to keep the 2.7-inch LCD panel flipped open when you want to recharge the unit’s Lithium-ion battery via either the USB cable or the AC adapter. That needlessly exposes the panel to accidental damage.
Samsung touts several features in the SMX-F54BN, including continuous record, extended battery time, and Smart Background Music (Smart BGM). Of the three, continuous record is by far the most useful. When you are shooting, this feature lets you pause your shoot, then resume, while saving to the same video file rather than generating a new file. This is very handy for many home and event recordings, such as a child’s birthday party. You can shoot the main events—for example, the guests arriving, little Suzie blowing out the candles and opening her gifts—meanwhile pausing during the lulls in the action. At the end of the party, you have only one file to shoot up to YouTube or Facebook. That’s much faster and easier than juggling a raft of video clips.
The extended battery is much ado about a feature most cams already have—the option to set the unit to auto-power off after a few minutes of inactivity. You can upgrade to the optional high-capacity battery pack for $99, which should double your battery life. Smart BGM lets you play from a limited selection of tunes in the background while you are previewing your video on the camera; the volume automatically lowers when you hear people speaking in the video. A nice touch, but not a dealmaker.
The built-in file transfer software—Intelli-Studio—works well on the PC, but not on the Mac, but that will not be a problem for most users. You can connect the cam to your computer via USB or via a card reader, and use your file manager to copy over your videos and stills. The SMX-F54BN uses H.264 compression, making the video files compatible with most editors. I had no trouble loading the image files into a MacBook Pro and viewing the still pictures in iPhoto, and the video clips in iMovie.

Wednesday, September 28, 2011

Kogeto Lens Enable iPhone 4 to Shoot 360-Degree Videos



New York-based technology firm Kogeto has developed a lens that can be used on an iPhone 4 to shoot 360-degree panoramic videos.
The lens called Dot, which is attachable to the Apple smartphone, captures the video and then an app called Looker, also developed by Kogeto, process it into a 360-degree footage. When played back on the iPhone 4, the panoramic video can be turned just by moving your fingers on the touchscreen.
The video can also be uploaded to FacebookTwitter or the Kogeto website (www.kogeto.com), where any of its sides can be viewed just by dragging the mouse or trackpad sideways. The sample videos show how driving and touring around New York looks like at a 360-degree view.
Prototype shots of the Dot can be viewed at the Kogeto website.
The Kogeto website described the Dot as a compact and durable iCONIC lens that works with the iPhone 4's HD video camera to capture full 360° video - all at once - without stitching frames together.
"Our unique catadioptric optical system is fully anti-reflective-coated for excellent color fidelity in all environments. Dot is a lightweight attachment that doesn't require batteries or external power," said the site.
Kogeto will soon roll out the Dot in stores and online, revealed Kogeto Chief Executive Jeff Glasse, according to the Los Angeles Times. It will retail for $79 each. The Looker app, however, is downloadable from the Kogeto website for free.
Glasse visited the Los Angeles Times recently to demo the Dot. The demo can be watched here: http://latimesblogs.latimes.com/technology/2011/09/kogeto-dot-iphone-4-camera-lens-attachment.html.
Kogeto raised more than $120,000 to develop the commercial version of the Dot prototype.

Tuesday, September 27, 2011

Yashica Auto Focus Motor II D Review.

I found this in the trash, complete with a blank roll of film, so how could I not want to go shoot it and see what happened?

Nikon 3.5cm (35mm) f/1.8 Review.

The world's first super-speed wide-angle lens, and still a great performer today. It has no relation to the cheap but excellent Chinese plastic Nikon 35mm DX.

Canon 5D Mark II Instant Rebate


The Canon 5D Mark II, the world's best DSLR for nature and landscape photography due to its combined light weight and superior resolution, has a $100 instant rebate (read price reduction)at Adorama and at B&H: it's now only $2,399. (Sorry, Nikon, theD3X is too heavy to be a contender for nature and landscape photography where you're in the field, and every other Nikon DSLR has much lower resolution than the 5D Mk II.)
At B&H, it also includes a free "Red Giant B&H Video Production Software Bundle ($494.95 Value)," although I have no idea what that is.
Note my use of weasel words in this sentence: "The Canon 5D Mark II is the world's best DSLR for nature and landscape photography." In this sentence, "DSLR" is the weasel word, excluding better cameras that are not DSLRs from the comparison.
If we remove "SLR" from the sentence, that leaves the LEICA M9-Pand LEICA M9 as the world's best digital cameras for nature and landscape photography.
If we remove the weasel word "digital," and open the field to every camera, then the world's best camera for serious nature and landscape photography is a lightweight 4x5" camera like theTachihara.

Monday, September 26, 2011



3G Remote Camera Interface System

Designed to handle news, sports, and other day-to-day remote interfacing needs with ease, the Live-Link 3G Remote Camera Interface System offers a comprehensive fiber-optic-connected solution for transporting digital video, audio, intercom, and data between a remote camera location and a truck or control room. The point-to-point system consists of a portable Camera End Unit and either a portable or rack-ready Control Room Unit. Both use industry-standard connectors that are clearly labeled for fast, intuitive setup.
Live-Link 3G provides two digital video paths in each direction that support the 3G/HD/SD-SDI SMPTE®-standards. In addition, the system provides connectivity for two mic/line level signals, talent cueing, 2-channel party-line intercom, GPI/GPO, RS-232/RS-422 asynchronous data, and 10/100 Ethernet. A full complement of status LEDs simplifies monitoring and troubleshooting. Live-Link 3G systems are suitable for remote production or permanent installation and can be powered by a DC supply or battery.
Live-Link 3G is a reliable and convenient way of linking a production camera crew to an ENG or OB van, SNG vehicle, or production trailer. The system's portability and ease-of-deployment make it an ideal infrastructure solution for studio complexes, arenas, and campus environments. Live-Link 3G units interconnect using four strands of single-mode fiber-optic cable and provide a transmission distance of at least 10 km (per SMPTE 297). Featuring the rugged opticalCON® DUO or QUAD fiber-optic connectors from Neutrik®, units can also be ordered with expanded beam or ST optical connectors.

S.P. DIGITAL STUDIO




Established in the year 1987,S.P. Studio is a professionally managed company engaged in providing a multitude of photography services that includes Portraits, Ambience, Candid, Happennings, Rituals and more. Our entire team is working round the clock to accomplish our mission of becoming a one-stop-shop solution provider in India. With the help of our high-definition technology, we are able to provide eye-catching images and videos that have exceptional quality, color and clarity.
It is a privilege to share with our clients some of the most important moments in their lives. Our images become part of their family history. Passion underlies all that we do and is evident through our compelling images, cutting edge technology and most importantly, through the personalized relationship we hold with each one of our clients.