Canon – AIC Converter-Import AVCHD/MTS to FCP/FCE/iMovie

Editing Canon XF205 MXF Files in FCP6/7

Admin — Thu, 21 Aug 2014 07:27:09 +0000

If you want to transcode your Canon XF205 MXF footages to ProRes for FCP with keeping timecode for Final Cut Pro 6/7, you may prefer to follow this article because it will show you the way out.

The XF205 is a professional-grade camcorder for fast-paced productions. Yeah, not getting many referrals there! Enter the Canon XF205, a surprisingly low profile, high-feature professional HD camcorder that seems created for the rush of news, events and more. High bitrate HD footage is recordable in an MXF format to the CompactFlash cards.

However, MXF Video can’t be recognized by mostly video editing software, like Final Cut Pro. We will meet some troubles when we import Canon XF205 MXF redordings to FCP 6/7. The reason is the MXF format is not the FCP compatible video format.

In order to make Canon XF205 Camcorder MXF files editable in FCP 6/7, you just need to get help of PavtubeiMixMXF which can convert Canon XF205 MXF videos to FCP comptible Apple Prores codec for natively importing in Final Cut Pro on Mac and also the timecode is kept for FCP 6/7.

Why do you choose Pavtube iMixMXF?

Import/Retain/Mix multi-track MXF in MKV/MP4/MOV formats.

Output multi-track or single audio track Apple ProRes MOV for FCP (X).
Mix the MXF multiple track/channel audio into one or keep the multi tracks.
Add *.srt/*.ass/*.ssa subtitle files to MXF footage.
Support DVCPRO/HDV/Avid DNxHD/AIC/AVI/MPG/WMV/FLV output.
Convert Panasonic P2 MXF, Canon MXF, Sony XDCAM MXF to editable footage for editing, playing, or broadcasting.
Merge/split/trim/crop MXF footages.
Keep timecode for Final Cut Pro
Support Mac OS X 10.9 Mavericks.

Added 3D profiles in Format menu. (Side-by-Side, Top-Bottom, or Anaglyph 3D in MKV/MP4/MOV/WMV/AVI)

The following instruction will tell you how to transcode Canon XF205 MXF to Apple Prores for editing in FCP 6/7 on Mac. Now download and install the best Canon MXF Converter, and go to try those wonderful functions.

Step 1. Load MXF footages.

Run Pavtube iMixMXF on your Mac, click “+” button to load the MXF video files or load the MXF folder.

Note: “Merge into one file” can help you to convert several MXF videos into one video. Just select the tasks you need and then check “Merge into one file”, you will get one combination of those videos.

Step 2.Select Apple Prores 422 .mov format.

Click “Format” and choose Final Cut Pro > Apple ProRes 422 (*.mov) as the most compatible codec for FCP 6/7 editing.

Learn more Apple ProRes, please refer to Types of Apple ProRes Codecs

Tip: If you want to get multi-track audio in output video files, choose “Multi-track Video>Multi-track Apple ProRes 422 (*.mov)” for editing in FCP 6/7.

Step 3. Settings for Prores .mov video.

You can also click “Settings” right beside to set up outputting video bitrate, frame rate, codec and size all according to your needs.

Step 4. Start conversion.

Click “Convert” button to start to encode Canon XF205 MXF to Apple Prors .mov for FCP 6/7, after a while go to “Open” button to locate the generated .mov videos and imported to Final Cut Pro 6/7 for editing.

Tip:

1. Refer to the picture below to see how this cool mac mov converting tool keep the timecode for FCP.

2. For users don’t need to deal with multi-track thing, just simple want to convert XF205 MXF to other formats, theMXF Converter for Mac (only $29) is highly recommended.

3. Read Canon XF205 and FCP X workflow and XF205 MXF iMovie importing tips.

Import Canon HF G30 AVCHD/MP4 to Premiere Pro, Avid Media Composer for Editing

Admin — Tue, 12 Nov 2013 01:18:09 +0000

The Canon VIXIA HF G30 is a prosumer camera?that shoots 1920 x 1080 Full HD video in either AVCHD or web-friendly MP4 format. It also supports Native 24p Progressive Mode recording, which will give your footage a more cinematic look.?Videos are shot in AVCHD up to 35 Mbps and recorded in full HD 1080 60p, which is not supported by most editing programs. Hence it could be a problem when Mac users need to ingest the Canon Vixia HF G30 AVCHD/MP4 video in Adobe Premiere Pro, Avid Media Composer smoothly.

To edit Canon Vixia HF G30 AVCHD in Adobe Premiere Pro, Avid Media Composer on Mac, you are suggested to convert the AVCHD MTS to Adobe preferred H.264 MOV or DNxHD for Avid. To accomplish this, I recommend this Pavtube HD Video Converter for Mac, a professional, fast and easy-to-use AVCHD converting program which support outputting various videos formats for different usage.

Now follow these steps to quick convert Canon Vixia HF G30 AVCHD into DNxHD/AVC MOV.

Free download the best Canon AVCHD/MP4 to MOV Converter for Mac, get it installed.

(Download a dmg file for Mac OS X 10.5 users)

Step 1: Connect your camcorder to Mac and Load recorded files.

Connect your camcorder to Mac, and you can see all recorded AVCHD/MP4 files as soon as this program has detected the device. Now, you can untick the files you don’t want, and then click the “Add” button to load the files you want to this AVCHD/MP4 to MOV Converter for Mac, or drag and drop your videos into it directly. Batch conversion is offered.

For Windows user: Connect an HD video camera/camcorders to your PC with a USB cable. Once connected and powered on, the camcorder should appear on the desktop as a new disk. It is desirable that you copy the videos to your PC’s hard-drive before converting or editing them.

Step 2. Choose proper video format.

Open the “Format” list then choose “MOV” under “Avid Media Composer” section as output format for editing Canon Vixia HF G30 AVCHD/MP4 files in Avid Media Composer.

choose “MOV”/”MPEG-2” under “Adobe Premiere/Sony Vegas” section or “Apple ProRes 422(*.mov)” under “Final Cut Pro” section as output format for editing Canon Vixia HF G30 AVCHD/MP4 files in Adobe Premiere Pro.

In fact, if you are about to play the AVCHD/MP4 video files on iPhone, iPod, iPad, Android, Windows 8 devices or edit in iMovie, Final Cut Pro X, FCE etc., you can choose the optimized preset for the device or app offered.

Step 3. Customize video size, bitrate, frame rate, and other settings.

Tips:

* For 1080 50p AVCHD files, you can set the video size as 1920*1080, and set the video frame rate as 25fps.
* For 1080 60p AVCHD videos, set the video size as 1920*1080; while, set the video frame rate as 30fps.

FYI: Tf you want to trim, crop the videos before transcoding, you can click Edit like this:

Pavtube AVCHD Converter for Mac also support deinterlacing, editing audio and adding sutitles.

(Note: If you want to add 3D effect (Side-by-Side, Top-Bottom, or Anaglyph 3D in MKV/MP4/MOV/WMV/AVI), you can try Video Converter Ultimate or Video Converter Ultimate for Mac, now is 20% off.

Step 4. Start conversion.

Click the “Convert” button to start converting Canon Vixia HF G30 AVCHD/MP4 to MOV for Avid MC, converting to MOV/MPEG-2/Apple ProRes for Adobe Premiere Pro.

After this Top HD Video Converter for Mac finishes the conversion process, you can click “Open Folder” to find out where you saved the converted files.

Now let’s click the “Convert” to start this conversion easily. Wait for a while and you can click the “Open” to locate the converted video easily.

You may want to read:

Breaking news: Pavtube has started the 2013 Thanksgiving Crazy Discount, if you get HD Video Converter for Mac, you can get DVD Creator for Mac free which can help you to burn Canon HF G30 AVCHD/MP4 footage to DVD on Mac with ease. In addition, you can also get more Discount at this promotion page. Take a look now and grasp this opportunity!

Learn more:

Source: Ingesting Canon Vixia HF G30 footage to Avid Media Composer/Premiere Pro

Encoding Canon EOS 100D/Rebel SL1 H.264 footage for editing on Mac (FCP, iMovie, Avid, Premiere Pro…)

Admin — Sun, 07 Apr 2013 05:26:07 +0000

How to edit Canon EOS 100D(Rebel SL1) H.264 Video on Mac? Best Canon Rebel SL1 Video Converter can help you to encode H.264 MOV clips from Canon EOS Rebel SL1 to FCP, FCE, iMovie, Premiere Pro, Avid Media Composer friendly codec and Edit/Split/Cut/Merge Canon Rebel SL1 MOV clips on Mac.

High-definition video capture has become commonplace in digital SLRs across the board, all the way from models aimed at amateurs and the budget-conscious to those intended for professional use. The precise feature set on offer varies widely, however, and along with this the utility of video capture for a variety of purposes.

Canon‘s latest release EOS Rebel SL1 is one of the top picks for the 2013 Spring. It gives the photographer plenty of control over both the video and audio portions of movie capture. The CMOS sensor records high definition video at a maximum resolution of 1,920 x 1,088 pixels with a 16:9 aspect ratio — approximating what’s sometimes referred to as “Full HD”, or 1080i/1080p, although it actually includes 8 extra rows of pixels beyond the standard 1,920 x 1,080. The full resolution can be downsampled in-camera to produce 1,280 x 720 (720p) resolution movies, with the NTSC mode using 59.94 frames/second, and the PAL mode offering 50 frames/second. Finally, a standard definition 4:3 aspect ratio mode captures 640×480 pixel (VGA) movies, again with 59.94 frames/second in NTSC or 50 frames/second in PAL.

Read More: Canon EOS Rebel SL1 Review

The Canon EOS Rebel SL1 records its movies as .MOV files using variable bitrate MPEG-4 AVC / H.264 compression, which is much more conservative of memory card space. H.264 .mov is very friendly to Mac users, as the format is well-supported by both QuickTime and iTunes. Mac based Editing software iMovie, Final Cut Express and Final Cut Pro also like the .mov format, but not in H.264 codec. Because of its high data rate (20-30mbps), the Canon EOS Rebel SL1 footage is quite demanding and it’s prone to freeze or crash if your Mac is not so up-to-date.

In order to process Canon EOS Rebel SL1 footage fast and seamless on Mac, it requires that the H.264 .mov videos to be transcoded into an editing friendly format before importing the Rebel SL1 video to non-linear editing apps. This is usually done with a Mac Video Converter.

Recommended Tool:

Pavtube HD Video Converter for Mac – A top Canon MOV to Mac Converter for Mac

The Mac App can transcode Canon EOS Rebel SL1 H.264 shootings to Apple ProRes/AIC/DVCPRO/HDV/Avid DNxHD/AVI/WMV/MOV/MP4 and creates stunning high definition footage up to 1080p on Mac(Mac Mountain Lion 10.8 included).

How to convert Canon EOS Rebel SL1 H.264 MOV footage for editing on Mac (FCP, FCE, iMovie, Avid, Premiere…)

A. Convert Canon EOS Rebel SL1 H.264 video to AIC MOV

In attempting of importing Rebel SL1 H.264 video to iMovie or Final Cut Express for smooth editing, you are suggested to transocde H.264 video to AIC (Apple Intermediate Codec), the favorite editing codec of iMovie in advance. The Apple Intermediate Codec (AIC) does not use temporal compression, so every frame can be decoded and displayed immediately without first decoding other frames. The drawback of this codec is that it requires much more bandwidth and hard drive storage space.

How to edit Canon PowerShot N footages on Mac (FCP, iMovie, FCE)?

Admin — Thu, 21 Feb 2013 09:52:23 +0000

Introduction

Canon has expanded its PowerShot line at CES 2013, with the 12.1-megapixel Canon PowerShot N unveiled as an ultra-compact snapper that features a new, unusually boxy design that is a combination of enjoyable and frustrating to use in equal measures.

Switching up conventional controls between an increasingly popular touchscreen and the rather unusual pairing of lens-mounted rings, one for zoom, one for the shutter, the Wi-Fi capable Canon PowerShot N is, on first impressions at least, a device that is designed for the Facebook ages, quick, quirky and extremely compact.

Key specifications

12.1-megapixel CMOS sensor
8x optical zoom lens
28mm to 224mm (35mm equivalent) zoom range
461k-dot, 2.8-inch tilting touchscreen
Wi-Fi connectivity
ISO 80 to 6,400
1080p full-HD video recording
174g

Full HD 1080p Video

A dedicated movie button makes it easy to switch directly to video mode. With one touch of the button you are able to capture video in Full HD 1080p video at 24 frames per second. Video is also available in lower resolutions and in miniature effect mode and Super Slow Motion mode. Short Movie “Digests” can be created at 1280 x 720 resolution.

How to Import Canon PowerShot N footages to Mac (FCP, iMovie, FCE)?

The Canon PowerShot N recorded videos are H.264 codec MOV format, which supports 1080p full HD recording, many people use Canon PowerShot N record vivid high-definition videos and images. The Canon PowerShot N recorded file format is H.264 MOV, this format is supported by many editing software, but it can’t be supported perfectly, take FCP, iMovie, FCE for example. Final Cut Pro supported best video format is Apple ProRes 422 Codec MOV format, and imovie/FCE best supported video format is AIC codec MOV format. You can edit video with these formats FCP, iMovie, FCE smoothly. So it’s great choice to change Canon Powershot N H.264 MOV to Apple ProRes 422 codec MOV format, or to AIC codec MOV format, then you can edit video well on Mac. You can follow the steps below to convert Canon PowerShot N footages for FCP, iMovie, FCE.

Step 1. Download and install Pavtube Canon MOV Converter for Mac. It’s can convert videos between rich video formats, such as convert media from Canon PowerShot N to ProRes 422/AIC for FCP, iMovie, FCE.

Step 2. Drag and drop the Canon powershot N recorded H.264 MOV video to this Mac Canon MOV Converter.

Tip: If you have multiple MOV files, you can select the “Merge into one” box to join your MOV files into one single file.

Step 3. Click “Format” column to choose the best output format for editing in FCP, iMovie, FCE.

For FCP or FCP X users, choose Final Cut Pro -> Apple ProRes 422 (*.mov)
For iMovie or FCE 4 users, choose “iMovie and Final Cut Express” > “Apple InterMediate Codec (AIC) (*.mov)”

Step 4. Click the “Settings” button and customize proper video/ audio parameters if necessary. E.g. set video resolution(1920×1080/1440×1080/1280×720/720×480), bitrate (from 1Mbps to 20Mbps), frame rate (24p/30p). You may skip this step as well.

Step 5. Hit “3D” icon, set deinterlace, denoise, mute, volume up, trim, crop, etc. You may skip this step as well.

Step 6. Convert Canon Powershot N H.264 MOV for editing on Mac.

Press “Convert” icon, let this smart Canon MOV Converter for Mac to help you convert Canon Powershot N H.264 MOV to ProRes 422 MOV for FCP (X) or encode Canon Powershot N H.264 MOV to AIC MOV for iMovie/FCE importing and editing! This Mac Canon MOV Converter is specifically designed for Mac users (including Mac Mountain Lion 10.8, Mac OS X Lion 10.7, Mac OS X 10.6 Snow Leopard, Mac OS X 10.5 Leopard). The video and audio quality are best guaranteed.

When the conversion task ends up, click “Open” button to get the generated ProRes 422 or AIC codec MOV files for using in Final Cut Pro or iMovie/FCE.

PS. You can also follow these Mac Importing Tutorial to import converted Canon Powershot N H.264 MOV files to the Mac Editing Software.

More about Video Files Importing Ways, pls reference File Importing Page.

Remux/Repack Canon 1080i h.264 M2TS to MKV container without recoding

Admin — Mon, 18 Feb 2013 10:06:03 +0000

“Can any MTS/M2TS Converter repack (remux) Canon 1080i 50 Hz h.264 M2TS-container file to h.264 MKV-container (or MP4-container) file with no recoding (no conversation) – saving the original video stream? The M2TS file format is a real pain. It is touted as HDTV Friendly, but in fact my HDTV will play just about any video file format (directly from an SDHC memory card) except M2TS!! I’ve tried a few MTS/M2TS Converter software, all of them take long time (some files even hours) to convert Canon M2TS, and export MKV video with image loss! I want fast packing and the original quality. Anyone know a best app to remux Canon M2TS to MKV? If possible, I’d like to join some M2TS clips as well….”

You surely want to convert camera video files with no image loss. Then, what you should do is “rewrap” files with Pavtube Media Magician. AVCHD MTS and M2TS files can simply be remixed using this app. I’ve remuxed tons of 1080i Canon MTS files just fine to MKV. And here’s a short guide of how I did.

Guide: Repack h.264 M2TS to MKV container without recoding

1. Import M2TS from Canon Camera or local archive.

Connect the Canon camera with your PC and run Pavtube Media Magician. This camcorder companion tool will detect your camera automatically and ask “Camcorder is connected. Are you ready to launch wizard now?” Click “Yes” to confirm. In the mean time, you are allowed to backup MTS footage directly from camera to local computer. Also, you can import Canon 1080i h.264 M2TS from local archive as well.

2. Drag and drop Canon M2TS video to timeline for organizing/merging/joining.

In timeline you can remove unwanted .M2TS clips, trim out unwanted frames from specific clip by frame-accurate, and put them into the right order for merging M2TS file while remuxing M2TS to MKV.

3. Set lossless remux mode for exporting M2TS video

Choose “Output” in the main interface.

Then switch to “Lossless” > “original” or “Lossless” > “MKV” so as to set Media Magician to remux M2TS to MKV without encoding.

4. Remux M2TS videos to MKV with no conversion Finally press the “+” sign to add the task and click the triangle sign to begin repacking MTS/M2TS/TOD/MOD to MKV with no recoding/recompression

If you’re working on Mac, download Media Magician for Mac instead. There’s another good feature for Mac users – when you have pain importing MTS/M2TS/TOD/MOD/MXF video to iMovie or Final Cut Pro, you can use the app to export Apple Intermediate Codec or Apple ProRes 422 video for natural editing.

Canon EOS-1D X Firmware 1.2.1 Download

Admin — Thu, 31 Jan 2013 07:09:34 +0000

Update! Canon EOS 1D X firmware v1.2.1 is now available for download here.

Release of New Firmware Version 1.2.1, firmware incorporating disablement (operational error prevention) of the Image Size selection button

We are releasing firmware version 1.2.1 for EOS -1D X for service prior to the Web announcement. We are planning to make this firmware available on the Web for download in mid-January 2013.

Read More: Tips for Canon Cameras Video Converting, Importing, Editing, Burning and Sharing at Canon Column.

This firmware update is to improve operational function in response from several professional photographers that the Image Selection button was pressed without realizing and the image size had been changed. Also, this firmware incorporates quality issue fixes that have been reported from the market.

1. Details of Functional Improvements and Fixes

1-1. The function to disable the Image Size selection button is added.

1-2. Fixes Err 70 and Err 80 which may occur depending on the camera settings, shooting scenes, or the timing of releases. Also, some complained camera freeze when Err 80 occurred.

The above mentioned (1-2) phenomenon occur in very rare instances. In addition with the firmware update for 1-1, the fixes for these phenomena have been incorporated.

a) Err 70

In customization of operational buttons, there were errors in operational program for the exposure level display in the viewfinder when the Main Dial is set to change the aperture value in Manual mode, and may cause Err 70.

b) Err 80

Err 80 may occur depending on the distance to the subject, shooting scenes, or the timing of metering.

This phenomenon occurs in very rare instances due to the error in operational program for metering when shooting a subject at a distance with telephoto lenses with focal lengths of 300 mm or 400 mm.

Canon 1D X Available at Amazon | Adorama | B&H

Canon Announced PowerShot ELPH 330 HS, ELPH 115 IS and A2500

Admin — Thu, 31 Jan 2013 06:40:24 +0000

LAKE SUCCESS, N.Y., January 28, 2013 – Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the addition of three stylish, feature-packed PowerShot Digital Cameras: the PowerShot ELPH 330 HS, ELPH 115 IS and A2500. These new models are ideal for photography enthusiasts of all levels looking for great photo quality and excellent video performance in compact, powerful point-and-shoot designs.

The new PowerShot ELPH 330 HS digital camera provides advanced wireless connectivity for easy sharing. Providing great performance in dimly lit situations, the ELPH 330 HS digital camera includes the Company’s HS SYSTEM that delivers clear images with minimal noise and maximum detail even when shooting in low-light. The new cameras offer great features such as Canon’s Smart AUTO, enabling even novice users to get optimal camera performance automatically, so whether photographing a running child or a solo recital on stage the cameras deliver spectacular images with ease. Smart AUTO allows the cameras to detect up to 58 scenes for the PowerShot ELPH 330 HS digital camera and up to 32 scenes for the PowerShot ELPH 115 IS digital camera and PowerShot A2500 digital camera. All three models also feature ECO Mode, an advanced new method that manages power consumption and extends battery life by approximately 30 percent, when enabled, allowing you to shoot more photos for a longer amount of time.

“With the introduction of these sleek, new models to our family of PowerShot digital cameras, we are able to provide our customers with a range of imaging options including more models with wireless connectivity to upload and share their amazing creative images,”said Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies and Communications Group, Canon U.S.A.

PowerShot ELPH 330 HS Digital Camera

Photography today is as much about image quality as it is about sharing, whether through prints or online communities. With this in mind, the PowerShot ELPH 330 HS digital camera builds upon the success of the PowerShot line with built-in advanced wireless capabilities to easily share high-quality images captured with an impressive 10x optical zoom lens and 12.1-megapixel High-Sensitivity CMOS image sensor. After an initial one-time set-up, the camera can connect to both iOS® or Android™ smartphones and tabletsi for quick and easy sharing. Users launch Canon’s free CameraWindow applicationii, available on both the iOS® and Android™ operating systemsi, to wirelessly transfer photos and videos from the camera to their device. Frequently used devices and accounts are conveniently stored in the camera’s wireless history menu for quick one-touch access.

With these enhanced wireless capabilities, users now have the ability to comment on their uploaded photos directly from the camera – so being part of conversations taking place on social networking sites is easy and convenient. In addition, individuals can control the destination of Facebook uploads – choosing to share content with everyone, or post photos only to selected Facebook groups. Users can also instantly upload images wirelessly from the camera to Canon iMAGE GATEWAYiii, and automatically upload them to a computer remotely. Photos can also be printed wirelessly using Wireless PictBridgeiv on select Canon wireless inkjet printers, including the new PIXMA MG6320 Photo All-In-One printer, so special moments can be preserved and cherished.

A fantastic multipurpose lens: the PowerShot ELPH 330 HS digital camera provides a 10x optical zoom lens taking images from 24mm wide, up to 240mm at the telephoto end, able to capture that group shot, or zoom in for a dynamic close-up. Great even in low light, the camera’s 12.1-megapixel High-Sensitivity CMOS image sensor and DIGIC 5 image processor combine and deliver on Canon’s HS SYSTEM helping ensure detail is captured even in dark or shadowed areas at a maximum ISO speed of up to 6400. For capturing memorable moments on video, at the touch of a dedicated movie-record button, the PowerShot ELPH 330 HS digital camera shoots beautiful 1080p Full HD video and includes a built-in stereo microphone for great sound. Helping document vacations with your own personal highlight reel, the camera’s new Hybrid AUTO mode utilizes a combination of Smart AUTO and Intelligent IS to create a beautiful and steady HD video clip (up to approximately 4 seconds) in Movie Digest mode every time you shoot a still image. Helping ensure you don’t miss those magic moments, the camera features both High Speed AF for fast focusing speed and High-Speed Burst for continuous capture at up to 6.2 frames per second while maintaining superb image quality. The combination of features, including wireless connectivity, Canon’s Intelligent IS system and ECO Mode, help make the PowerShot ELPH 330 HS digital camera a great imaging companion for vacations, all-day sporting events, or family parties.

Expected to hit store shelves in March, the PowerShot ELPH 330 HS digital camera will be available in three modern colors: black, silver and pink for an estimated retail price of $229.99.

PowerShot ELPH 115 IS Digital Camera

The new pocket-able PowerShot ELPH 115 IS digital camera features an 8x optical zoom lens (28-224mm), which provides a focal range to capture most any situation. The PowerShot ELPH 115 IS digital camera includes a 16-megapixel image sensor and DIGIC 4 image processor for exceptional image quality. For those photographers who “shoot it all” and seamlessly move from scene to scene, the PowerShot ELPH 115 IS digital camera provides Canon’s Smart AUTO mode that intelligently selects the proper camera settings based on up to 32 predefined shooting situations for capturing spectacular images in a variety of settings with ease. For creative video capture, users can record HD video with a built-in microphone for great sound. The PowerShot ELPH 115 IS digital camera also includes Canon’s unique Intelligent IS system technology, matching the lens movement with one of six stabilization modes for smooth video and sharp still images. The camera also includes Canon’s new ECO Mode allowing you to shoot more photos for a longer amount of time.

With anticipated in-store availability in March, the PowerShot ELPH 115 IS digital camera will available in four sleek colors: blue, silver, black and pink at an estimated retail price of $169.99.

PowerShot A2500 Digital Camera

Rounding out Canon’s new PowerShot lineup is the PowerShot A2500 digital camera, which includes a 16-megapixel image sensor and DIGIC 4 Image Processor, as well as a 28mm wide-angle lens with 5x optical zoom that can extend out to 140mm at the telephoto end. The camera also features Canon’s Smart AUTO mode that analyzes each scene to intelligently select camera settings based on 32 predefined shooting scenarios to help capture stunning images with ease. The PowerShot A2500 digital camera can also capture great video, recording HD through a dedicated movie button. Helping ensure crisp images, Canon’s Digital IS reduces the effect of camera shake and subject movement. For travelers and those on the go, Canon’s new ECO Mode conserves battery life, allowing you to shoot more photos over a longer period of time. For those photographers looking to be a little more creative, the camera also features various Scene Modes such as Fisheye Effect, Toy Camera Effect and Monochrome to help provide additional creative freedom when capturing your photos. And for those just learning the art of photography, a Help Button will provide simple explanations of camera settings and functions.

Expected for sale in April, the PowerShot A2500 digital camera will be available in silver, red and black for an estimated retail price of $129.99.

Canon PowerShot SX500 IS Review | 2013

Admin — Tue, 29 Jan 2013 06:49:16 +0000

PROs

Size
Zoom range
Low-light AF performance
Manual exposure

CONs

Lens quality
Video mode

Super-zoom cameras have traditionally occupied a position in the market in between compact cameras and more advanced cameras such as DSLRs and CSCs, but with advances in lens technology over the past few years, compact cameras have been getting ever more powerful zoom lenses, while CSCs and their zoom lenses have become smaller. This has left traditional super-zoom cameras such as the Nikon P510, Panasonic FZ48 or Canon PowerShot SX50 HS looking a bit bloated.

The Canon PowerShot SX500 IS is a pocket-sized super-zoom camera with a 30x optical range. Announced in August 2012, Canon claims it’s the World’s smallest 30x optical zoom camera, with a range that extends from 24-720mm with Intelligent image stabilisation to iron-out the wobbles. The sensor is a 16 Megapixel CCD paired up with the Digic 4 processor to provide features like scene detection and Face detect AF.

The SX500 IS has a 3in fixed LCD screen with 461k pixel resolution and a pop-up flash, along with full PASM exposure modes in addition to Smart Auto, a range of scene modes and Creative filters which can be used for both stills and movies. The PowerShot SX500 IS can also shoot HD movie footage at resolutions up to 1280 x 720 at 25 frames per second encoding files using either the H.264 codec or the more edit-friendly Apple iFrame format.

Then this feller turned up! Not as long a zoom. Sure! But smaller! And cheaper!

The 30X PowerShot SX500 IS, I figure, is today’s camera for today’s crowd: go anywhere, shoot anything.

Whilst the video res is still 1280×720, the still capture can catch a maximum image size of 4608×3456 pixels or 39x29cm as a print.

Canon Powershot SX500 IS Features

While still not strictly pocketable, the camera is sure small, sitting easily within a male hand.

External controls are minimal: auto, Program AE, shutter and aperture priority is available on the mode dial, along with scene modes (portrait, low light, snow, fireworks), effects (fish eye, miniature, toy camera, mono, super vivid, poster). There is also direct access to image brightness, colour balance and saturation.

From the latter feature I got the feeling that Canon is addressing the user who just wants to get his or her hands wet in fine tuning image capture without the need to dive into techy land and deal with white balance and brightness/contrast adjustments!

Next to the mode dial is the shutter button and for’ard of this is the prominent zoom lever. Ergonomically, a good setup.

Rear controls are again minimal: the four way dial gives access to ISO settings, macro, self timer and flash options. Added to this is an exposure compensation button, replay, display choices, menu and a button set functions.

One button I think I’ve never seen before is a framing assist control which, no matter where your zoom is set, will throw the screen image back into full wide so you can determine where you are! This helpful button is set into the left side of the zoom.

Canon Powershot SX500 IS Startup

Within two seconds of startup I was able to shoot my first shot; succeeding shots came in at about two second intervals. Not the fastest baby on the block.

Distortion

I found a small amount of barrel distortion at the zoom’s wide end, along with a small degree of pincushion distortion at the tele end.

ISO Settings

OK until you reach ISO 800; at ISO 1600 noise and lack of definition intrude but possibly OK for the right subject.

Canon Powershot SX500 IS Verdict

Quality: about average.

Why you would buy it: a long zoom snapshot camera – nothing more!
Why you wouldn’t: your expertise level would not be satisfied.

IMHO, this camera will appeal to many, starved of a decent zoom.

And a word of caution: don’t think for one moment that you can shoot at the tele end of the zoom with a handheld camera; for one thing it is extremely difficult to aim accurately, for another, your shot will probably be blurred.

Video and long tele? Use a tripod!

Canon Powershot SX500 IS Specifications

Image Sensor: 16.0 million effective pixels.
Sensor Size: 11mm CCD.
Lens: f3.4-5.8/4.3-129mm (24-720mm as 35 SLR equivalent).
Metering: Evaluative, centre-weighted averaging, spot.
Exposure Modes: Program AE, shutter and aperture priority, manual.
Shutter Speed: 15 to 1/1600 second.
Continuous Shooting: 0.5/0.6/0.8/2.8 fps.
Memory: SD/SDHC/SDXC cards.
Image Sizes (pixels): Stills: 4608×3456 to 640×480.
Movies: 1280×720 at 24fps, 1280×720 and 640×480 at 25/30fps.
Viewfinder: 7.6cm LCD screen (461,000 pixels).
File Formats: JPEG, MPEG4.
Colour Space: sRGB.
ISO Sensitivity: Auto, 100 to 6400.
Interface: USB 2.0, HDMI mini, analog audio and video output.
Power: Rechargeable lithium ion battery, DC input.
Dimensions: 104×69.5×80.2 WHDmm.
Weight: 342 g (inc card and battery).
Price: Get a price on the Canon PowerShot SX500 IS at Amazon.

PS. If you want to deal Canon SX500 IS shootings with Mac, pls view the tutorial.

Canon Announces Two More Cinema EOS Prime Lenses

Admin — Mon, 28 Jan 2013 09:28:23 +0000

Company Now Offers Five Primes and Four Zooms Designed to Capture 4K for EOS Cinema Camera Line

Canon went wide and long with the announcement this week of two more EF-mount prime lenses for its Cinema EOS System. The new CN-E14mm T3.1 L F and CN-E135mm T2.2 L F lenses will extend the line-up on both ends of the focal spectrum, augmenting the already released 24mm, 50mm, and 85mm primes. The 14mm lens is expected to ship in April for an estimated retail price (ERP) of $5,500, with the 135mm model to follow in May for an ERP of $5200.

The new lenses will be fully compatible with Canon’s EOS C500, EOS C300, EOS C100, and EOS-1D C cameras, the company said, with f-stop display in the viewifnder, recording of focus and zoom positions and f number, and — with forthcoming camera firmware upgrades — peripheral light compensation image-processing.

Read More: Canon Column

Canon has so far released four zoom lenses for the Cinema EOS system in both EF- and PL-mount versions: two “top-end” zoom lenses (the CN-E14.5-60mm T2.6 wide-angle zoom and the CN-E30-300mm T2.95-3.7 telephoto zoom) and two compact zooms (the CN-E15.5-47mm T2.8 wide-angle zoom and the CN-E30-105mm T2.8 telephoto zoom). The five primes have been designed to match the zooms in color tone and balance, all of the cinema lenses have 11-blade aperture diaphragms, and all of the lens elements are designed to be appropriate for 4K cinematography, Canon said.

Shooters can always use still-photography EF-mount lenses with Canon’s digital cinema cameras, but the Cinema EOS lenses have been designed for motion-picture work with 300-degree focus-ring rotation and engraved focus scales for precision focus control during a shoot. They’re also compatible with industry standard accessories like matte boxes and follow-focus gear.

For more information: www.usa.canon.com/cusa/professional/products/lenses/cinema_lenses

Learn More: Canon EOS FAQ: HD Videos converting, importing, editing and burning on Mac

Cameras in 2013: what we can expect

Admin — Mon, 17 Dec 2012 09:01:25 +0000

During 2012, compact system cameras (CSCs) have been going from strength to strength and touchscreens are becoming more responsive and increasingly commonplace across a wider range of digital devices.

Innovative camera apps designed to streamline the process of editing, uploading and sharing your files are being continually enhanced and updated, plus there have been improvements to aspects such as Wi-Fi connectivity, remote camera control from smart devices and the debut of cameras running on Android.

With all this innovation, we can’t help but begin to speculate as to what 2013 could bring to the photography arena.

Read on for some of our ideas about what we might expect to see in the New Year, and add your own thoughts in the Comments section below.

Ultra HD and 3D image capture

With speculation surrounding the appearance of Ultra HD (previously known as 4K) displays, and further developments in the dissemination of 3D imagery in the future, it’s logical to expect more cameras that are capable of capturing the stills and movies to complement these technologies.

With 3D image capture becoming a de rigueur feature among many of the latest camera launches’ specifications, it’s possible that we’ll see the likes of Fujifilm continuing to build on its pioneering Real 3D-series. And recent adopters of 3D capture from other brands may perhaps expand upon the functionality currently offered by their own ranges.

In order for 3D technology to take hold, however, we ideally need to see advancements in the facilities available for printing 3D stills (how about an affordable device for the home user?), as well as a greater number of lenticular displays capable of showcasing 3D images and footage without the need for 3D glasses.

Wonderful Wi-Fi and GPS

The increasing availability of fast Wi-Fi services broadens the appeal of devices that are capable of taking advantage of this – cameras included. Similarly, built-in GPS connectivity has appeared in recent models’ feature-sets with increasing frequency.

While we have seen improvements in the speed at which these GPS systems acquire a positive lock (and their ability to hold it as the photographer moves around) we’re still waiting for the level of power these features consume to be reduced.

Likewise, the current drain on the battery that using built-in Wi-Fi results in has led to many models essentially touting a feature that’s impractical to use with any real frequency. As the availability of Wi-Fi expands, we expect to see a corresponding rise in the number of models sporting more effective – and less power-hungry – systems.

Android cameras

We’re intrigued by Nikon and Samsung’s initial attempts to integrate the popular Android operating system with a camera, in the shape of the Nikon CoolPix S800c and Samsung Galaxy Camera.

Neither manufacturer has managed to produce a flawless product – as is usually the case when pioneering anything new – but the potential offered by the combination of these two technologies is certainly promising.

We suspect the other big names in the camera world haven’t let this prospect pass them by, so it’s likely we’ll see further developments along these lines in the near future. With compact cameras being the logical starting point for the growth of this new idea, it will be interesting to see how successfully the OS can be married with the functionality of a camera in the future.

There could be further scope for expansion into the CSC and perhaps even DSLR sectors further down the line.

Voice control

We’ve seen an increasing number of phones adopting voice commands to access key features, so could we see this technology infiltrating the camera market too? If we did, it could offer the ultimate in hands-free photography and remote control over your device’s settings.

It wouldn’t take much of a leap of imagination for someone to integrate this functionality into the already pretty sophisticated apps and gadgets that enable us to adjust our camera settings and fire the shutter remotely. It might do this either using a dedicated piece of hardware or a software-based solution.

As well as extending the possibilities of remote camera control in a general sense, this could also be a useful advancement to aid visually impaired users and photographers with physical disabilities.

Touchscreen displays

The screens adorning the backs of our cameras have come on in leaps and bounds over the past year, firstly in terms of resolution and size, then we started to see improvements in the responsiveness of touch-sensitive devices.

Then touchscreens began to trickle out of the compact camera market to infiltrate the CSC sector, with the first-of-its-kind touchscreen finally making its debut on a DSLR with the recent launch of the Canon EOS 650D.

With the enhancements we’ve seen in the usability and responsiveness of capacitive touchscreens of late, we don’t think it will be long before we start seeing more of these on subsequent DSLR launches in 2013.

Wearable cameras

With the introduction of devices such as the Memoto wearable camera – designed to automatically capture snapshots of your daily life – we could see more products following along these lines.

With the continuing boom of social networking and file sharing websites – plus Wi-Fi innovations such as Cloud storage – and their influence on the way in which we all share key events in our lives, perhaps we’ll start to see more devices capable of capturing and wirelessly uploading content from small cameras worn every day.

The result could be a constantly updating record of your life – complete with GPS location data – with additional scope for users to tag and caption their shots, plus potential for integration of face recognition software and more besides.

New cameras in 2013

In addition to some of the more fanciful predictions we could make about the future of camera technology, there are a few things that are more certain: the fact that – barring global catastrophe – manufacturers are going to keep replacing old camera models with new ones.

Among the possible newcomers we’re hoping to see are a Nikon D400, Nikon D8000, Nikon D4x and a replacement for the popular Nikon D90 and Nikon D300s models.

Plus we’re expecting a Canon EOS 7D Mark II/Canon EOS 8D to replace the Canon EOS 7D, and a Canon EOS 60D substitute.

Olympus is also expected to continue to develop its superb range of petite-yet-powerful cameras, with advancements to its PEN series range on the cards. We know that the Olympus Pen P3 is ripe for replacement.

Panasonic too is about due to update its excellent G-series cameras, with hopes high for a Panasonic GX2 and a Panasonic GF6 in particular.

With the rise in popularity of more manageable bodied full frame DSLRs, we may also see the technology filtering down through the DSLR hierarchy and becoming more commonplace among the more affordable areas of the market. However, the latter isn’t likely to occur with any immediacy, due to current manufacturing costs.

Sony’s NEX range of CSCs and its pioneering DSLT cameras have both seen a real boost in terms of the level of versatility each system offers and their resulting overall popularity. We expect this success to continue for Sony in 2013, provided it continues to evolve the technologies it’s already grabbed our attention with in 2012.

Could we start to see CSCs and DSLT cameras finally truly matching DSLRs for their functionality and image quality, or even integrating full frame sensors? Time will tell…

Future or fiction?

A lot’s happened in the digital camera market over the past year, and it’s easy to get carried away with ideas about what the New Year might herald.

As well as the ideas already mentioned, we can see scope for further developments in EVF technology, bringing these closer into line with their optical rivals. We also see potential for wackier ideas, such as hybrid devices that integrate the functionality of a digital camera with that of a tablet running Android, and featuring a removable, wirelessly connected touchscreen interface.

Whether or not we see some – or any – of the above developments becoming reality remains to be seen: roll on 2013!