After six years, it was time for my good old Fujifilm FinePix S9500 bridge camera to be replaced by a more recent model. It served me well during all the years and still works perfectly. However, it’s only equipped with a 1/1.7-inch sensor, which limited its usefulness to the range of ISO 80 to 400. Even my second camera, the compact FinePix F200EXR, fares a bit better in this respect, but that’s just because it’s a little bit newer (2009), not because it has a larger sensor.

During the DSLR boom of the recent years, I occasionally felt tempted to upgrade to a APS-C or at least Four-Thirds model, but I was always kept back because of the miserable handling: Not having an electronic viewfinder means that adjusting any parameter except exposure compensation and ISO requires to move the camera away from my head, look at the rear screen and put it back. Somehow most people don’t seem to mind that this is extremely awkward, but I do.

In 2010, however, Sony fixed that problem with its SLT technology that premiered in the A55. I was close to buying that camera, but then I read about its heat issues, so I wanted to wait for the next generation of SLT cameras instead. This has been introduced in fall 2011, but there has been no direct replacement for the A55. So I decided to go »all in« and buy the top-of-the-line model – the SLT-A77V, especially after its very positive reviews. Here’s what I think is particularly good and bad about that camera.
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There’s a wide variety of devices out there which are capable of video playback – computers, music players, mobile phones, game consoles, you name it. However, all of them support a different set of formats and there’s no combination to catch them all. So if you want to generate a video, you will always have to pick a format based on a selection of devices that are important to you. To make this a little bit easier, I prepared a little tool for you:

• The Video Format Decision Helper

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A few weeks ago, my father bought a shiny new Canon EOS 550D DSLR camera, not only for capturing photos, but for videos too. Why not – after all, the video functions are finally taken seriously by the camera manufacturers and video on a APS-C-sized sensor is a very cool thing – in theory. I had the chance to analyze a few 720p/50 sample videos made with the camera, and I have to say that I’m quite disappointed.
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There has been some buzz about HTML5 web video lately. I won’t retell the story here, because it’s almost completely political and not technical, while I’m only interested in the technical side of things. One thing that struck me, though, is that many people believe that the two contenders, H.264 and Ogg Theora, are comparative in quality and performance. As someone who implements video codecs for a living, this struck me as quite odd: How can a refined version of an old and crippled MPEG-4 derivate come anywhere close to a format that incorporates (almost) all of the the latest and greatest of video compression research? I decided to give it a try and compare H.264, Theora and a few other codecs myself.
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