modern designed big size lcd touch screen video invitation card brands

Simply select a design and order a sample. Once the order is placed you need to submit the wedding details. Once the sample is ready, we will take a video of the sample and send it to you and then mail the physical electronic wedding card to you. You can verify this sample with your customer or family and Once you are ok with the sample you can place an order for the bulk cards.

No printing is necessary for this card. All the details are customized in the animated video which is provided complimentary. Once you pay for the cards our animation team will get in touch with you to finalize the video. We will send the video by email/whatsapp and the electronic wedding cards by courier.

Video brochure took the marketing world by storm.  LCD video brochure  transformed the concept of video in print cover into the most innovative marketing tool of the last couple of years. A video brochure card is not only a marketing tool for companies with deep pockets. While popular with large companies, manufacturers, and national brands, they are also very popular with real estate agents, lawyers, wedding photographers, and other small business owners. Their high memory retention value makes them highly effective in our advertising over-saturated world.

The combination of print, sound, and video offers a unique, branded package that targets all aspects of a user’s experience. The print packaging is the main carrier of the company’s brand identity, and video and sound further reinforce the individually branded experience.

Video Brochures have many options and are highly customizable. The level of personalization may be rather confusing with the level of options and possibilities they offer. In the following summary, we would like to explain the marketing prospects of a video brochure and what this technology has to offer.

When you and your loved ones feel worlds apart, receiving a lovely picture or two can help you feel a little closer. With so many photos on our phones, hard drives, or in the cloud, printing them all out isn’t practical, and there’s never enough room to display them all on your wall. A digital frame can fix that, though: Prop one up on your desk or mantel, plug it in, install an app, and you can have a stream of photos or videos from your camera roll playing throughout the day. Many frames will even let your family or friends send pictures directly to your frame, so you can get surprises like a picture of your niece going to the zoo for the first time. To find the best digital frame for you, read on to find out what to look for and which frames we recommend.

Some digital picture frames have built-in storage, where photos are saved locally on the frame or accessed from a MicroSD card that you insert into the frame, and which you can expand using a larger MicroSD card or cloud storage. Others are exclusively cloud-based, and require you to upload photos through an app, or you can email photos to the specific frame using a unique email address and those images will be uploaded directly(though those frames may require a subscription to their cloud service, which costs about $5 per month).

Though some brands offer smaller digital frames, the most common screen size is around nine or ten inches. You can also find larger frames that measure around 15 inches if you want to display your photos in a larger space. For screen resolution, look for 720p or higher; anything lower and your photos may look grainy or blurry due to fewer pixels. Resolution measures pixels per inch (PPI), and the fewer pixels per inch, the grainier the image (this is especially important when gifting a frame and considering someone else’s vision). We’ve listed both the resolution and the diagonal screen measurement for each frame below; the device itself will be larger once you account for the frame around the screen.

Many frames are controlled using a dedicated app that allows you to manage when and how photos are displayed. Some frames also offer video playback and sound, or are compatible with Apple’s Live Photos. Frames that have motion or light sensors will allow the screen to go to sleep and wake up when someone passes by the frame or the lights are turned on in a room. Some frames also have touch controls that let you swipe between photos or change settings without accessing an app.

Photo sharing and storage: Unlimited cloud storage; no built-in storage, USB port, or MicroSD slot; Wi-Fi required | Screen size and resolution: 9-inch screen, 1200p resolution | Design and photo orientation: Landscape or portrait | Video and sound:Video: yes; Sound: yes

Within the app, there is also a scanning feature to add printed photos or artwork to your frame. Because the frame requires Wi-Fi and uses cloud storage, having the app allows you to upload photos remotely, and you can invite multiple people to add photos to the same frame, turning it into a potluck of photos from family and friends (there are even social features in the app, including comments and likes). It also supports video and Apple Live Photos (something no other frame we tested offered) and has a built-in speaker for sound. The frame itself is attractive and minimalist with a sculptural ridged design, and it’s available in two colors, graphite or white quartz.

The Mason can be displayed in landscape or portrait orientation; its nine-inch screen has a 4:3 aspect ratio that is perfectly proportioned for smartphone camera photos, and the frame will automatically adjust photos when you rotate it from one orientation to the other. There is a discreet touch bar on the edge of the frame that lets you swipe through photos and videos. The frame also has an ambient sensor that can adjust the brightness of the frame or let it go to sleep depending on the light level in the surrounding area. And if you’re planning to give the frame as a gift, Aura makes it super-simple to preload the frame with photos so that all your recipient has to do is plug in the frame and connect it to their Wi-Fi.

Photo sharing and storage: Unlimited cloud storage; no built-in storage, USB port, or MicroSD slot; Wi-Fi required | Screen size and resolution: 10.1-inch screen, 1200p resolution | Design and photo orientation: Landscape | Video and sound: Video: yes; Sound: yes

The Aura Carver Luxe’s specs, design, and functionality are similar to those of the Aura Mason, for about $20 less; the main differences are that the Carver has a slightly larger screen, a 16:10 aspect ratio (compared to the Mason’s 4:3, which better accommodates photos taken with a smartphone camera), and can only be displayed in the landscape orientation (an “intelligent pairing” feature can match up related vertical shots to display them side-by-side).

It’s well designed and available in two colors, gravel and sea salt. Trolio has gifted the Carver to multiple family members, and called it the best thing she bought last year, noting that “now that there are so many frames in my extended family, we can all add photos to one another’s frames, too — it’s almost like having a private mini social network that is blissfully Zuckerberg free.” As with the Mason, it’s very simple to preload the Carver Luxe with photos so that all your gift recipient has to do is plug it in and connect it to Wi-Fi (this is easiest to do if they have their own smartphone).

Photo sharing and storage: USB port and SD slot; no built-in storage or cloud storage; No Wi-Fi needed | Screen size and resolution: 10.1-inch screen, 1080p resolution | Design and photo orientation: Landscape | Video and sound: Video: yes; Sound: yes

The Atatat is a budget-friendly digital frame that is best suited for someone who doesn’t have easy access to an internet connection. You display photos or videos on the frame using an USB stick or MicroSD card; there is no built-in storage, and you can’t upload photos via email or online. (Atatat does sell a Wi-Fi-enabled version, if that is your preference.) One Amazon reviewer who uses the Atatat to display her children’s drawings after loading them onto a MicroSD card notes that “operating this digital photo frame is easy.”

Instead of touch controls or a touchscreen, the Atatat has a remote control for accessing the settings and photos; there are also physical buttons on the back of the frame with the same functions — including specifying how long each image is displayed and adjusting the brightness of the screen. Numerous reviewers have praised the remote, which makes it easy to browse photos from a distance. You can also add music to accompany your images. The frame has an internal speaker and a headphone jack. It can be displayed in landscape orientation only, with a simple stand to prop it up on a desk or shelf, or it can be mounted on a wall.

Photo sharing and storage: 8GB built-in storage plus 10GB cloud storage, expandable to 50GB cloud storage with paid subscription; no USB port or MicroSD slot; Wi-Fi required to upload photos | Screen size and resolution: 10-inch screen, 720p resolution | Design and photo orientation: Landscape or portrait | Video and sound: Video: yes; Sound: yes

Touchscreen capabilities help this 10-inch Nixplay frame stand out. It allows you to do things like pause slideshows, toggle settings, and even “like” photos that truly spark some joy, all without having to grab a remote or use your phone. You can flip the frame from landscape to portrait mode and easily swipe between your favorite photos or adjust the settings right on the screen. You’ll need Wi-Fi to upload photos using the Nixplay app or a web browser, or you can email photos to the frame’s unique address or import them from Google Photos, Dropbox, Facebook, or Instagram. You can also upload video clips, and the frame has internal speakers for audio playback.

The frame has 8GB of internal storage plus 10GB of cloud storage; you can upgrade to 50GB of cloud storage by subscribing to the Nixplay Plus service for $50 annually or $15 quarterly. Membership also extends the frame’s warranty and allows you to upload longer videos. That’s not as good a deal as Aura’s unlimited cloud storage, but the NixPlay is more versatile.

Photo sharing and storage: 8GB of built-in storage plus unlimited cloud storage; USB port and MicroSD slot; Wi-Fi enabled but not required | Screen size and resolution: 15-inch screen, 768p resolution | Design and photo orientation: Landscape | Video and sound: Video: yes; Sound: yes

The Pix-Star has a massive 15-inch screen. It’s about the size of a laptop screen and noticeably larger than the other frames on this list. The Pix-Star also has a motion sensor, 8GB of built-in storage, and a MicroSD slot and USB port for adding photos, or you can upload photos over Wi-Fi via the Pix-Star app, email, or the brand’s website. As with Aura’s frames, unlimited cloud storage is included, and you have the option to link the frame to Google Photos, Dropbox, Instagram, and more. Because there are multiple ways to upload photos and because the Pix-Star has both internal storage and cloud storage, it straddles the line between online and offline usage.

If you want to gift the Pix-Star to someone who doesn’t have easy access to Wi-Fi you can easily add more photos by plugging in a USB stick, or if your recipient does have Wi-Fi, you can remotely add photos whenever you like. The frame supports video playback and audio playback and has a few extra features like a time and weather display, and built-in web radio stations that can add a soundtrack to your photos. It can be freestanding or wall-mounted.

Photo sharing and storage: Unlimited cloud storage; no built-in storage or MicroSD slot; Wi-Fi required | Screen size and resolution: 10.1-inch screen, 1200p resolution | Design and photo orientation: Landscape | Video and sound: Video: yes; Sound: yes

The freestanding, landscape-only Aura Buddy frame is extremely similar to the Aura Carver Luxe. You still upload photos via the app, online, or through email and you still have unlimited online cloud storage. Like the Carver Luxe, the Buddy has a 10.1-inch screen with a 16:9 aspect ratio. But Aura has designed the Buddy as a showcase for pet photos by offering it in a neutral “biscuit” color and displaying “likes” as paw prints instead of the hearts seen on Aura’s other frames. It still has a touch bar, an ambient light sensor that can adjust brightness, and video and audio support.

Photo sharing and storage: Cloud storage; no built-in storage, USB port, or MicroSD slot; Wi-Fi required | Screen size and resolution: 7-inch screen, 600p resolution | Design and photo orientation: Landscape | Video and sound: Video: yes (but not in photo slideshow mode); Sound: yes

The Hub has a seven-inch display and comprehensive controls that can be accessed via touchscreen or voice. It also has an ambient light sensor that automatically adjusts its brightness and color temperature. But its greatest asset, says Seifert, is its “gorgeous” display that is “lovely to look at, never too bright, with pleasing saturation and colors.” He notes that “Unlike the crappy digital photo frames that were popular a decade ago,” it “actually does justice to your images.” Predictably, it’s easiest to link the Hub to a Google Photos account, though you may need to pay for additional storage in Google Drive to make room for all your photos.

And because it’s also a smart hub, you can use it watch videos from YouTube, check the weather, set timers, pull up your calendar, or control lights or other connected devices in your home. Jennifer Pattison Tuohy, smart home reviewer at the Verge, is also a fan. “There are many digital picture frames out there,” she writes in her guide to using the Hub to display photos, “but what sets Google’s apart is the auto-adjustment feature that makes your digital pictures look like a printed image in a frame rather than a digital image on a computer screen.”

Photo sharing and storage: Cloud storage; Wi-Fi or cellular required | Screen size and resolution: 10-inch screen, 800p resolution | Design and photo orientation: Landscape | Video and sound:Video: no; Sound: no

Setup is dead simple, too: Plug the frame in, scan a QR code in the company’s app, and you’re good to send photos to the frame within the app or via email. It’s a bit more manual than connecting to an existing photo library or dropping in a microSD card, but it also provides a more curated feed of images for the recipient and lets them easily add their own photos without much fuss. It’s not without its caveats, though: (It does require some form of a connection for transferring photos, and its landscape-only kickstand only props out at one angle.

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What’s the best digital photo frame for most people? We highly recommend the Aura Mason Luxe, which boasts a neat look, slick interface, and detailed display. Alternatively, if you want an option which also supports for video calls, Facebook’s Portal is worth considering. But, if you’re looking for a great value alternative on a tight budget, the 8-inch Nixplay Nix ticks a lot of boxes for not a lot of money.

From affordable frames to premium screens, here are the best digital photo frames available and ranked in the list below. Once you’ve found your favorite frame, you’ll find links beneath each entry that take you straight to the best deals available right now. Need some more in-depth advice? Also check out our guide on how to buy a digital photo frame.

The Aura Mason Luxe is a clear cut above most other photo frames. It’s stylish, has greater character to its design and, most important of all, the screen is excellent in most respects.

Its 4:3 aspect display is perfect for not just adding some color to your room with your photos, but to actually get an up-close look at them. Pixel density is so high they look sharp and detailed even when you get your face right up to the screen. We found that color is natural-looking and well-saturated too, so you can be sure you’re seeing a fair representation of the photos you fling its way.

Nixplay’s 2K Smart Digital Photo Frame features one of the sharpest screens on the market. With a resolution of 2048 x 1536 pixels, the display offers detail for days – and it’s vibrant, too, with impressively deep blacks and more than enough brightness to beat the screen’s reflective coating.

Classier than most competitors, the Aura Carver stands out with an embossed border and angular, free-standing design. Its 10.1-inch display isn’t as sharp as the slightly pricier Carver Luxe, but we found its 1280x800 panel fine in testing, with pleasant colors and good viewing angles. It helps that the screen can adjust automatically to ambient conditions and go impressively bright, helped by a semi-matte finish.

We think Aura frames have the slickest software out there, and the Carver is no exception. It doesn’t have a touchscreen, but the subtle touch panel on top makes it easy to flick between photos. Other settings are found in the similarly streamlined smartphone app, although customisation options are limited. Friends and family can contribute to your slideshow, but there’s no support for albums.

With a generous border and glass facade, the Skylight Frame is one of the more attractive photo frames we’ve tested. It’s larger than most 10-inch models, but its white surround and classy design give it real presence on a shelf. In use, its responsive touchscreen feels quite a lot like a tablet: you can pinch to zoom and swipe to switch photos. It’s not sophisticated, but it works smoothly and makes it easy to find specific images.

We don’t think the Skylight Frame does a perfect job of representing images. Its compression software can add visible artifacts, soften images and make certain hues look unnatural. That said, its 1280x800 pixel LCD holds up well against similarly priced rivals, even if its 255-nit brightness is a long way below the Aura Carver.

While it"s primarily device for calling friends and family, Meta"s social screen does a side-gig as a slick digital photo frame. Styled like a floating box frame with neat lines and a quality finish, it’s an attractive fit for contemporary shelves – provided there’s space for the supporting leg. The stand can prop the Portal in portrait or landscape, but it sticks out by 12cm – and the power cable exits from its end, so it can’t sit flush against your wall.

Setup is straightforward and the slick touchscreen interface is matched by the polished partner app. which particularly impressed us. Photos can be sourced from Facebook, Instagram or your smart device, then sorted into albums which can be individually enabled.

The Nixplay Touch 10 passes for a traditional photo frame at arm’s length. Its back is heavily sculpted, but this will usually be hidden away from view. While its slot-in stand didn’t feel especially sturdy in testing, the frame itself isn’t heavy enough to make this a problem.

Its plastic display surface softens reflections, and photos generally look good. We liked the color temperature during our time with the Nixplay, finding that it could produce rich tones, even if its LCD panel lacks the depth of OLED. We were less impressed by its sharpening, which caused edges to appear pixellated.

The Nest Hub Max is both a hub for smart devices and a portal for accessing Google Assistant at home, but it also does well as a digital photo frame. Styled like a 10-inch tablet attached to a fabric-skinned speaker, it forms a neat free-standing package with a small shelf footprint – even if the screen’s plastic shell and bezels don’t feel particularly premium.

At 1280x800, the resolution of the touchscreen could be higher, but we found that there’s still good detail with no noticeable pixellation – and it makes controlling the Nest Hub Max a cinch. Swipe between photos or tap the pop-up controls to hide, star or share particular images, or do the same thing with voice commands.

The Nest Hub Max can display art backgrounds, a full-screen clock or a selection of snaps from your Google Photos account. It supports Live Albums, features the option to show portrait pics in split-screen and offers time, weather and image data overlays – but you can’t manually change the slideshow order. And because it only works with Google Photos, the Nest Hub Max makes sense mainly for those already invested in the company’s cloud backup service.How to pick the best digital photo frame for youWhere will you place it?Most digital photo frames include some kind of stand, but not all can be wall-mounted. Similarly, some only work in one orientation, while others can switch from portrait to landscape. It pays to consider placement, including how a frame’s finish will fit with your decor.

What screen size do you need?Screen size can vary substantially, from 8 to 13 inches. Frames with smaller displays can be easier to place and are sometimes sharper. Larger options offer more space for your snaps but won’t always have a higher resolution. The sweet spot is usually somewhere around a 9-inch Full HD display.

How will you add images?Many of the latest digital photo frames rely on cloud storage to host your slideshow, letting you add photos directly from different devices. Others feature social media integration. But if your images live on hard storage, consider something with a memory card or USB input.

How smart does it need to be?More than passive panels, several of the best digital photo frames in 2021 are actually fully fledged smart displays. That means voice control, media streaming and smart home integration. Whether you need this additional functionality will depend on the other devices already in your abode.What is the best size digital photo frame?Digital photo frames are available in a wide range of sizes. Which dimension is right for you will depend on your available space, as well as your own personal preference. Smaller digital photo frames are more compact and easier to place in your home, but offer less canvas space for your digital images. Larger photo frames give your treasured snaps room to shine, but require a larger footprint – and the biggest screens risk dominating a room.

While you can find digital photo frames with screens as small as 5 inches, we think the smallest you should realistically look at is 8 inches. A frame such as the Nixplay Nix Digital Photo Frame 8-inch benefits from a small footprint that’s easy to place almost anywhere, while still giving your images enough room on screen to be clearly visible. Any smaller and you risk having to squint to see your snaps.

We think the best size digital photo frame is between 9 inches and 10 inches. Models like the Google Nest Hub Max, Aura Carver and Facebook Portal all feature screens which measure in at around the 10-inch mark, while our favorite digital photo frame right now – the minimalist Aura Mason Luxe – has a 9.7-inch display. These hit the sweet spot for visibility and flexibility. A display at this size will also provide better pixel density than a much larger screen, improving clarity and sharpness (especially with Nixplay’s 2K frame, which features a high-resolution 9.7-inch screen).

We place each digital photo frame in a series of similar viewing scenarios to assess the sharpness and brightness of its display. This will usually include a dark environment, a daylit room and a bright spot in direct sunlight. Using an identical set of photos, we look at the accuracy of color reproduction, the clarity of each image and the viewing angles of the frame. We also take into account the proportions of the display and whether any cropping is likely to affect standard-sized digital images.

When it comes to ease of use, we start by adding a batch of images to each frame. We’ll do this in every way supported by a specific frame, so if there’s an app as well as memory card support, we’ll assess how simple it is to upload images using both techniques. We’ll also dive deep into settings menus to understand how straightforward a given frame is to operate, as well as which settings can be customized. We look first and foremost for commonly desired options, such as customizable slideshow intervals, sleep timers and color adjustment sliders.

We also review the physical design of each frame in a few ways. Unboxing a frame, we try each of its potential orientation and mounting options to assess how simple it is to assemble and switch between different positions. Then by placing each frame in a range of locations (usually including a shelf, desk and wall), we look at the footprint and dimensions of the frame, focusing specifically on whether its shape, size and stand angle make it easy to position and arrange as required.Round up of today"s best deals

Blackmagic Video Assist is a portable monitor, a professional recorder, a portable scope and a fantastic camera viewfinder solution! You can also add better quality record codecs and a larger monitor to any SDI or HDMI camera! The new design has innovations such as 4 built in scopes, enhanced focus assist features, a tally indicator and built in 3D LUTs. The 3G models support formats up to 1080p60 and the 12G HDR models up to 2160p60. The 12G HDR models have a brighter touchscreen for shooting HDR digital film and for outdoor shooting in sunlight. Plus the 12G HDR models support Blackmagic RAW recording from supported cameras! The new design also has L‑Series batteries for longer life. Blackmagic Video Assist really is 4 products in one!

Blackmagic Video Assist is so versatile it can be used for hundreds of tasks! Add it onto your camera rig to get a large screen viewfinder with modern record codecs, focus assist features and 3D LUTS! Video Assist is also an ultra portable scope that lets you test equipment in broadcast and live production to ensure your video levels are correct and all your gear is working correctly. If you"re doing live production then Video Assist is just like a large screen HyperDeck so it can be used as a mastering recorder, or as a clip player for inserting ads or promos into live programs. You can even use it as an ISO recorder with each camera having a dedicated monitor and recorder!

This model supports video formats up to 1080p60 and has a large 5" LCD with focus peaking, zebra and false color. Connections include 3G‑SDI and HDMI. This model includes a single SD Card recorder for ProRes recording. Other features include WFM, vector, histogram and RGB parade scopes plus 3D LUTs!

The larger 7" model includes all the features of the 5" model, but has a much larger screen. This model has 2 SD Card slots so recording can continue when a card becomes full. There are also 2 mini XLR audio inputs with phantom power so you can connect and record direct from microphones.

This model includes all of the 3G model features, but has faster 12G‑SDI and Ultra HD HDMI connections for all formats up to 2160p60. This model includes a bright wide gamut LCD for HDR as well as HDR scopes. Plus a locking power connector. This model also records to an SD card or USB‑C flash disks!

The 7" model has the same great features as the 5" 12G HDR, however supports a larger 7" HDR LCD screen. You also get 2 SD card recorders and recording to external USB‑C flash disks. Both Blackmagic Video Assist 12G models also record Blackmagic RAW from supported cameras.

All Video Assist models are dominated by a large touchscreen with all controls for recording, playback of clips, viewing scopes and setting focus assist features. Both 7" models are large enough to include analog inputs for audio and two SD card slots so you get continuous recording, with automatic recording to the second card. Both of the 12G models include 12G-SDI and Ultra HD HDMI connections and USB-C for recording direct to external flash media disks. All models include a rear tally light, a front panel speaker for clip playback and a headphone jack! Video Assist uses Sony L-Series batteries, and with 2 battery slots, you can change batteries without interrupting recording!

Traditional cameras are designed for shoulder mounted operation, so are a compromise. Hours spent leaning into a viewfinder for long tripod mounted shoots can be tough! Video Assist will transform your shooting style with an on-board rigged screen. It"s much more comfortable using a screen rigged to a position best suited for a shooting setup. Plus you get better situational awareness for the operator, assistant or director. With both 5" and 7" models, you choose the size of a rigged monitor that suits you best. Plus you"re also adding fantastic features such as focus zoom, focus peaking, zebras, histogram, false color, scopes, frame markers, frame guides, touchscreen and more!

With large and bright 5" and 7" touchscreens, Video Assist makes it incredibly easy to frame shots and accurately focus. The touchscreen displays critical information while you’re shooting including the timecode, transport control, audio meters and a histogram for exposure. You can also customize the LCD to add or remove overlays such as current filename, focus peaking, zebra, false color, frame guides, 3D LUTs and more. 3D LUTs support allows monitoring shots with the desired color and look, plus you can even "bake in" the LUT if you want to record it into the file. If you"re using Blackmagic RAW, the 3D LUT is only added into the metadata so it can be disabled in post production.

Video Assist uses commonly available SD card media, so you can record to flash memory cards that are easy to obtain. The files are small enough to allow long recordings on standard SD cards or the faster UHS-II cards. The larger Video Assist 7" models include 2 SD card slots so you can swap out any full cards even during recording, allowing infinite length recording. Standard SD cards or the faster UHS-II cards are perfect for broadcast because they are small, high speed and affordable.

Blackmagic Video Assist is an ideal upgrade for cameras, as its bright display is bigger than the tiny displays found on consumer cameras, plus you"re also adding professional focus assist features and better quality file formats. Video Assist is also a great solution for professional cameras because you can use it to upgrade older broadcast cameras to modern file formats used on the latest editing software. You get support for all editing software as you can record in Apple ProRes and Avid DNx. You can even use Blackmagic RAW on supported cameras. With both HDMI and SDI inputs you can connect it to any consumer camera, broadcast camera or even DSLR cameras.

The innovative touchscreen LCD user interface provides incredible control. On screen, there are dedicated buttons for play, stop and record, plus a mini timeline for scrolling through your recordings. You can even image swipe to jog! The LCD includes a heads up display of timecode, video standard, media status as well as audio meters. Scopes can be enabled via the touchscreen as well as focus and exposure assist. There"s also an extensive range of settings all controlled from the large LCD. Plus you can load and save 3D LUTs!

Video Assist features a wide range of video and audio connections such as multi-rate SDI for SD, HD on all models and Ultra HD on the 12G-SDI models. HDMI is included for HDMI cameras and monitoring to consumer televisions and video projectors. The 7" model features Mini XLR inputs which are provided for audio input from microphones and external audio mixers. The USB-C connection lets you plug in external flash disks or SSDs for recording, which means you can get extremely long record durations because flash disks are often much larger than the physically smaller SD Cards. Video Assist even includes a 12V DC power connection and the 12G models include a locking power connector.

Video Assist records using standard open file formats so you don’t have to waste time transcoding media. Files are compatible with all post production software so you can work with the software of your choice, including DaVinci Resolve Studio. Recording works in industry standard 10-bit ProRes or DNx files in all formats and from all HDMI or SDI cameras, as well as 12-bit Blackmagic RAW on the 12G-SDI HDR models when connected to supported cameras. Blackmagic RAW is the fastest growing RAW format and developers can download and use the free Blackmagic RAW SDK to add support to their applications. Best of all media files work on all operating systems!

Blackmagic RAW is a revolutionary format designed to capture the quality of sensor data from cameras. Video Assist supports Blackmagic RAW recording from Leica, Panasonic, Fujifilm, Nikon, Canon and Sigma cameras. Popular camera formats such as H.264 are highly compressed resulting in noise and processing artifacts. Blackmagic RAW eliminates these problems so you get incredible detail and color throughout the production pipeline from camera to edit, color and mastering. It also saves camera settings in metadata so you can set ISO, white balance and exposure, then override them later while editing. Only Blackmagic RAW gives you the highest quality, smallest files and fastest performance!

The Blackmagic Video Assist 12G models even include a USB-C expansion port so you can plug in an external flash disk for recording. USB‑C flash disks have massive capacity as they don"t suffer from any size constraint. Plus, it"s possible to record to the same disk you are using or editing, so you don"t need to waste time copying files before starting post production. Flash disks are so fast, they can record high data rate formats such as high frame rate Ultra HD. Imagine adding a Blackmagic MultiDock 10G for easy SSD compatibility so you can record across multiple disks as each disk fills. You even get on screen menus for managing external disks using the touch screen!

Now you can live stream using both Blackmagic Video Assist 3G and 12G HDR models with new webcam support added to the USB connection! That means you can plug into a computer and get live video into any video software. The software is tricked into thinking video assist is a common webcam! Plus you get full HD resolution 1080p quality! Choose any software you like, such as Open Broadcaster for live broadcast streaming, or you can Skype call your client with live video of your shoot! Blackmagic Video Assist works with all major software and platforms such as Open Broadcaster, XSplit Broadcaster, YouTube Live, Facebook Live, Skype, Zoom, Twitch, Periscope, Livestream, Wirecast and more!

Video Assist features scopes for accurate exposure on cameras and compliance to broadcast standards. That means it’s also a great portable waveform monitoring solution! The waveform display provides a traditional luminance (brightness) level view of the video inputs or the playback signal. The vectorscope allows you to see the intensity of color at 100% SDI reference levels. You also get a RGB parade display which is ideal for color correction. Histogram shows the distribution of white to black detail in your images and highlights or shadows clipping. The built in scopes can even be overlaid on live video, or as a small picture in picture view at the top right of the scope!

On the Video Assist 12G models you"ll be ready for the latest HDR workflows as they support the latest HDR standards and include an extremely bright screen with a wide color gamut. Plus the high brightness screen makes shooting outdoors in sunlight easy! The built in scopes even support HDR when required. Files are tagged with the correct HDR information which means SDI and HDMI inputs will also automatically detect HDR video standards. Static metadata PQ and HLG formats are handled according to the ST2084 standard. The bright LCD has a wider color gamut so it can handle both Rec. 2020 and Rec. 709 colorspaces. The Video Assist LCD color gamut can even handle 100% of the DCI‑P3 format.

Some cameras can output logarithmic colorspace to preserve the dynamic range, which is great for later post production, however when these files are viewed on a monitor they can look flat and washed out. 3D LUTs solve this problem because they allow you to apply a "look" to the monitor so you get an idea of how the finished images will look like when editing. LUTs can be applied temporarily for monitoring only, or they can be burned into files for use in editing when capturing Blackmagic RAW. Video Assist works with industry standard 17 and 33 point 3D LUT files, or you can work with the built in LUTs such as Extended Video, Film to Video and more.

The advanced digital slate and metadata features make it extremely fast to add metadata to any shot! Simply swipe left or right from the edge of the screen to bring up the digital slate. You can even select for take numbers to be automatically incremented when you start and stop recording, so you don’t have to enter them manually for each shot! You can also set reel numbers to increment each time you format a card. All metadata is saved with the files and available in post production with software such as DaVinci Resolve!

You get full support for the most popular video standards. The SDI and HDMI connections are multi-rate, so all models handle SD and HD television standards plus the 12G models add extra support for Ultra HD standards. Standard definition formats include NTSC and PAL. 720p HD standards include 720p50 and 59.94p. 1080i HD interlaced formats include 1080i50 and 59.94. 1080p HD formats include 1080p23.98, 24, 25, 29.97, 30, 50, 59.94 and 60p. Plus you can even work in 1080 PsF formats. On the Blackmagic Video Assist 12G models you also get support for Ultra HD formats up to 2160p59.94. On these 12G models you can even record 2K and 4K DCI rates up to 25p for digital film work!

Blackmagic Video Assist includes a built in professional audio recorder that’s much better quality than the audio found in most cameras, eliminating the need to carry around extra audio equipment. When working in SDI formats, you can record 2, 4, 8 or 16 channels of audio. For connecting microphones the 7" models have 2 XLR analog audio inputs with phantom power and high definition audio sample rates of 192 kHz at 16 and 24 bit per sample. The audio meters can even be changed between VU or PPM ballistics. Blackmagic Video Assist 12G features the latest audio technology to ensure low noise floor and very low distortion so you can use it for digital cinema and broadcast work.

Multiple languages are fully supported so you don"t need to learn another language to use it! Support is included for English, Chinese, Japanese, Korean, Spanish, German, French, Russian, Italian, Portuguese and Turkish. At first start, Video Assist will display a menu for selecting a language, plus you can switch languages in the menus. When a language is selected, the on screen text overlays will change to the selected language, as well as overlays on the video outputs when enabled. All this means Video Assist is perfect for doing international location work with different crews because you can just go into the menu and change the language any time you need!

The files from Blackmagic Video Assist are common and are compatible with all operating systems or in most video software. Media can be formatted using ExFAT or HFS+ so you can easily access the media on computers and access the files like regular disks. DaVinci Resolve is perfect for using with Video Assist as it features editing, color correction, audio post production and visual effects all in one software application. Plus you can download DaVinci Resolve free of charge for Mac, Windows and Linux! You can also use recorded files in other popular software such as Premiere Pro and Final Cut Pro X. With Video Assist, your media is common so your files will remain readable in the future.

The Fujifilm X-E4 is a lightweight, rangefinder-styled camera built around a 26MP APS-C sized sensor that uses the company"s X-mount lineup of lenses. Billed as a fun-to-use and compact photographic companion, the X-E4 is the smallest X-mount camera on the market, encouraging you to keep it around wherever you go.

With Fujifilm"s latest sensor and processor combo, the X-E4 inherits a lot of the goodies from the most recent Fujifilm cameras, including updated autofocus, solid video specs and really impressive burst shooting rates. And if you"re a JPEG shooter, you now have eighteen of Fujifilm"s excellent film simulations to choose from.

We"ve been fans of Fujifilm"s X-E series going back to the original Fujifilm X-E1. We enjoy the size, controls, and styling – and of course, the image quality. But since the release of the X-T3, the first Fujifilm camera to use the newer 26MP sensor, the X-E series has lagged behind the updates in other areas of Fujifilm"s lineup, so we were glad to see the X-E4 announced with the latest tech.

The quad-core processor keeps everything moving pretty swiftly, and though you"ll want the fastest memory card you can afford for those bursts, you won"t gain any benefits from faster UHS-II compatible cards with the camera"s UHS-I slot (it"s still a good investment to get the fastest UHS-I card you can, though). The X-E4 also comes loaded with Fujifilm"s latest film simulations, including Eterna, which is a favorite for video recording, as well as Classic Neg. And being able to re-process Raw files in-camera to try out the different film simulations is a fun way to find what looks you like best.

The video on the X-E4 is a match for the X-S10, meaning it"s really solid. You"re getting DCI 4K/30p footage without a crop, F-Log recording (8-bit internally, 10-bit to an external recorder), impressive slow-motion in Full HD, and capture aids like zebra warnings. You also get both headphone and microphone ports, using the included USB-C to headphone adapter. But that lack of in-body image stabilization will mean that, for handheld footage, you"re going to want to make sure you pick up a stabilized lens to keep your shots steady.

As you can see, the X-E4 really offers a lot of bang for your buck in this market segment, coming in with at least competitive specs in every category (battery life is especially notable). It"s worth mentioning, though, that for another $150 USD, you can get into Fujifilm"s X-S10; that camera has very similar core features to the X-E4, but adds in-body image stabilization and a bigger grip. The tradeoff is that of course it"s a larger camera, and the ergonomics and handling are strikingly different.

Just as the X-E3 saw a slight diminishing of size and control points relative to the X-E2S, so does the X-E4 relative to the X-E3. You get a slightly smaller (though a touch heavier) camera body than the outgoing model. This is ostensibly for the purpose of being more pocket-friendly (though such a claim is obviously going to be pretty lens-dependent). With the new XF 27mm F2.8 R WR lens attached, the X-E4 is lighter than Fujifilm"s own fixed-lens X100V.

But really, the X-E4 is a very attractive little camera. The faux leatherette looks and feels nice, the magnesium-alloy top plate is lovely and the camera body feels solid. The fold-flush rear screen is a real joy, and makes the X-E4 much easier to work with at high and low angles than its predecessor. A threaded shutter button is always a nice touch, and the dials have just the right amount of resistance.

The viewfinder is par for the course for this class of cameras, though not outstanding. The bigger issue is that, even though you"ll want to press the Drive/Delete button with your left thumb, you"ll almost certainly trigger the eye sensor to switch from the rear screen to using the EVF. It"s a pain. And while the camera doesn"t automatically switch to the EVF when you trigger the sensor with the screen tilted out, it does rotate the screen 180 degrees; the info display is flipped to seemingly prepare you for taking a selfie.

Basically, we"re wondering whether Fujifilm went a little too minimalist on the X-E4. It took us a while to get it set up to where we could easily access all of the settings we want (and there are lots of things to assign to buttons, just not lots of buttons). In the end, we enabled the touch-swipe for custom functions to get a little more control, meaning you can swipe up, down, left or right on the rear screen to trigger a function. It works pretty well.

The X-E4 uses SD cards for storage; they"re inexpensive and ubiquitous, but the X-E4 only supports UHS-I speeds. You can of course use UHS-II cards in the camera, you just won"t see any performance benefit beyond a certain point.

Informal testing with a SanDisk Extreme Pro UHS-I U3 card shows that you can shoot losslessly compressed Raw and Fine JPEG images for between 1 and 1.5 seconds of burst shooting at 20fps, and wait then a little under 10 seconds for the buffer to clear. Shooting JPEG-only gets you around 2.5 seconds of shooting before the buffer fills, and then it clears after around 8 seconds.

Our test scene is designed to simulate a variety of textures, colors and detail types you"ll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.

The X-E4 offers excellent Raw dynamic range for its sensor size, providing ample processing latitude for post-work. It uses the same dual gain style sensor as the flagship X-T4 which switches its gain "mode" when the ISO hits 800.

The X-E4 may not be an obvious choice for video work, given its rangefinder-style body, but it is actually quite capable. In terms of output, it can shoot oversampled DCI and UHD 4K video in 24 or 30 fps (30-minute cap on continuous capture). Full HD video can be captured at up to a whopping 240 fps.

AF modes are limited when shooting video, compared to stills. While you still get face and eye-detection for human subjects, the standard autofocus subject tracking mode – where you place an AF box over your subject and initiate AF to lock-on – is absent. Face and eye detect work ok, but can occasionally the camera will lose the subject, leading to a focus rack.

There"s no dedicated video record button, though one of the three custom buttons can be assigned to this function. To capture video out-of-the-box, you"ll need to switch to video mode via the "drive" button and hit the shutter release. The body has a full-size microphone port and an included USB-C-to-audio jack provides support for audio monitoring; you can adjust audio levels and add wind or low cut filters from within the camera"s menus.

It"s worth reiterating that, unlike the its oh-so-similar SLR-style sibling,the X-S10, the X-E4 has no in-body image stabilization to aid in hand-held shooting (nor is there any form of digital IS). So if you"re already tempted by the X-E4, but like shooting video, the X-S10 may be a better choice for you.

Video quality from the X-E4 is identical to that of its siblings, the X-S10 and X-T30; which is to say, quite good. Full HD footage offers nice detail, though it is somewhat prone to moiré. 4K footage looks excellent – whether shooting UHD or DCI – offering significantly more detail than the Canon EOS M6 II, a bit more detail than the Nikon Z50, and similar amounts to Sony a6000-series cameras.

The X-E4 does get a lot of things right, in terms of design. The 3" tilting touchscreen is highly responsive and enjoyable to use, especially for street photography. And the 2.36M-dot EVF, while not jaw-dropping in resolution, should offer plenty of detail for most users. The camera is also quite handsome, not to mention compact, even if we found it rather slippery without its $90 accessory grip or $70 thumbrest. The paring down of control points left us frustrated, though. We wish Fujifilm hadn"t removed the front focus mode selector and rear dial found on its predecessor. We also wish it had more than just three physical custom buttons.

Video-wise, the X-E4 is also highly capable with nicely detailed 4K output, including 8-bit Log capture internally and 10-bit Log capture to a dedicated capture device (via Micro-HDMI). Full HD video can be captured at up 240 fps, for all your super-slow motion needs. And you can plug in a microphone and headphones (the latter via USB-C to audio dongle). Arguably, the only important video-centric feature absent from the X-E4 is in-body image stabilization for hand-held shooting.

We suspect the X-E4 is going to make a lot of photographers happy, especially those craving a near-pocket-size X-mount body with Fujifilm"s latest IQ performance

Ultimately, the X-E4 is a camera with a lot to offer and we suspect it is going to make a lot of photographers happy, especially those craving a near-pocket-size X-mount body with Fujifilm"s latest IQ performance. For those upgrading from other Fujifilm bodies, the lack of buttons will likely take some getting used to, but don"t let that be a deal-breaker. This is a camera anyone on staff at DPReview would be happy to grab for an afternoon of street photography or take on a long vacation – once that"s a thing again.

The X-E4"s nearest competitor is the Sony a6400, a camera with very similar specs but offering a very different shooting experience: Where the X-E4 is more hands-on, the a6400 encourages a more set-it-and-forget-it mindset. Both cameras are rangefinder-style in design, and while we prefer the touchscreen and control points of the X-E4, we find the autofocus system of the a6400 far more capable. Both cameras offer good image and video quality, and you"ll get great Raw files from both, but we find Fujifilm"s JPEGs more pleasing.

The Canon EOS M6 Mark II is also a natural competitor to the X-E4, sporting similar specs. The most notable difference: the Canon doesn"t have a built-in EVF, but it does offer an accessory unit for the hotshoe making it more expensive. Both are highly capable in the image quality department, though the Canon does offer more resolution. But on the video side, we much prefer the X-E4"s output and feature set. We think the Fufjilm is a better looking camera than the Canon, but appreciate that latter"s hardy grip and ample control points. But there"s a lot more native glass available for the X-E4 than the M6 II, and the X-E4 offers superior battery life.

The X-E4 is a stylish camera capable of excellent image quality and packed with useful features. It"s the brand"s smallest X-mount offering and a good choice for street, travel, and generalist photographers. It"s also capable of strong video performance, though there"s no in-body stabilization for hand-held shooting. The only thing the X-E4 doesn"t excel at is AF tracking; you"ll find quite a few of its competitors offer better tracking and face/eye detection.

The Aura Carver combines attractive hardware and simple software to create a digital photo frame that is the easiest to set up and operate, and at a great price. We found the quality of its screen to be on a par with that of pricier frames. You go through the setup process on your Android or iOS device, no clunky remote required. If you’re primarily a phone photographer, you should be able to have your pictures up on this frame in a relatively short amount of time.

The setup was the simplest of the frames we tested. Once you download the Aura app, pair your phone to the frame, and connect it to your Wi-Fi network settings using your phone, you’re all set. (I did have to wait for the frame to power up and download a recent update, but it hasn’t needed any other software updates since, and I was still able to get the frame up and running in about five minutes.) One of the few steps between turning on the device and adding photos is the option to send invitations to family members and friends via text so they can upload their own pictures (you can also set up the Carver as a gift for someone else; more on that below). In addition, you won’t have to do anything on the frame itself with a remote control because there isn’t one. Aura frames have touch bars on top of the device that let you control basic functions, while setup and other controls are found in Aura’s smartphone app. And the Carver frame’s slim top makes it easier to find the touch bar compared with the Aura Mason.

The Carver’s resolution is a little lower than the Mason’s—1280×800 versus 1600×1200, respectively—but I didn’t see an obvious drop in image quality. It still looks sharp, has excellent contrast, and displays colors well. From older digital-camera pictures to professional wedding photos, the images looked as great as we’ve ever seen them on a digital screen, without the typical blue undertone that you’ll find on a tablet or other digital frames we’ve tried. The Carver has a 16:10 aspect ratio, but I found that the wider ratio meant the entirety of my wedding photos always fit on the screen, so no guests were cut out. It also meant that when two vertical photos were displayed, they had a 4:5 aspect ratio. The automatic light sensor worked well in our trial runs, cranking up the screen’s brightness to combat sunlight. It also tended to pick up light from a different room better than the Mason’s sensor; when these frames were in my dining room, for example, the Carver stayed on with light spilling in from the kitchen, but the Mason did not.

Compared with a lot of other products in this category, with their plastic frames and borders that often look closer to a tablet than a decorative photo frame, the Carver has an aesthetic that combines form and function quite well. The frame has nifty features, such as touch-sensitive strips that let you mark favorite photos and go forward and backward with a swipe. (The strips take a little patience to work—we recommend moving slowly when using them.) Yet the grooved, textured plastic makes the Carver look like a nice frame you might buy for a print photo. Instead of relying on a flimsy stand to prop itself up, its thicker base makes it more stable, and there’s nothing to assemble beyond plugging in the power cord.

Once the Carver is up and running, you have many display options to choose from. Working with its default settings, you get behavior that’s more suggestive of a real picture frame than a digital one—the only giveaway is when it switches to side-by-side mode. You’ll find no cheesy animations between photos like on other frames we’ve dismissed, only simple fades and swipes. The Carver does a remarkably better job than competitors at automatically cropping photos to fit on the screen, ensuring the subjects are nicely centered. It’s also easy to re-crop an image within the app if it doesn’t automatically focus on your favorite part (but based on my experience, you will need to do this very rarely). Its “Photo Match” mode—which places two portrait-orientation photos next to each other to fill the landscape-oriented screen—did a fairly good job at pairing together photos of my infant son or from my wedding. Other times the pairing was a little more random, but I didn’t find that too bothersome.

All Aura frames, including the Carver, can play videos, and you can upload them the same way you add photos (you can’t, however, use auto upload from a Google Photos folder; you can only add videos manually). The Carver puts vertical videos into Photo Match mode, placing them side by side with another video or a portrait-orientation photo. I noticed the frame often paired two vertical videos from my wedding, or a video of my son next to a portrait-oriented image of him. The Carver includes a built-in speaker to allow you to hear sound from your videos (if you choose to turn sound on), and the speaker was solid enough in our tests that we could hear both voices and background sound or music. You turn on sound manually for each video by tapping on the touch-sensitive strip, versus there being an on or off sound setting overall. If you don’t intervene, the video will play once silently and then freeze for the rest of its time on screen, unless you tap the touch-sensitive strip to replay it with sound on. All replays will include sound, but the next video the Carver shows will return to the muted auto-play setting. Aura will remember the volume level you selected, though volume can also be controlled on screen or from the app when a video plays.

With other video-capable frames I tested, a common flaw was that if you left the sound on, the frame would occasionally burst into sound and video when you were least expecting it—but this doesn’t happen with Aura’s frames. If there are two videos side by side, the Carver will silently play the one on the left first, followed by the one on the right, and then leave both as still frames for the rest of the time on screen.

A nice surprise about Aura’s frames: Unlike every other brand of frame we tested, the Carver and other frames in the Aura family are compatible with Apple’s Live Photo feature. So you’ll see such images come to life for an instant when they first appear on the display, similar to the video experience.

Unlike the Aura Mason, the Carver’s aspect ratio isn’t our preferred 4:3, but we found that both landscape and portrait photos still fit nicely on screen.

Megapixels:26.1Sensor Size:23.5mm×15.6mm (APS-C) X-Trans CMOS 4Dimensions:(W) 128.0mm × (H) 74.8mm × (D) 53.3mm /(W) 5.04in × (H) 2.94in × (D) 2.10inWeight:478g / 16.9oz

Another nice update is the LCD tilting touch screen, which allows you to compose low angle shots without bending down, and take over-head shots with ease.

The tilting touchscreen implementation is excellent and much better than any Sony cyber-shot camera that exists. You can flick through photos during playback, pinch/double-tap to zoom, and even focus and shoot using any of the AF modes.

Using face/eye-detect, there’s really no need to use the new joystick AF point selector at all – you simply point the camera at your scene, and let it recognise any people, or just tap on the screen wherever you want it to focus and/or shoot.

A key change in this model is the movie performance as it now supports 4k video at 30p. While this will never be a video camera, it does have a surprisingly good output which is more than enough for capturing your holidays.

In fact, it now shoots 4k video in both DCI (4,096 x 2,160) and Ultra HD (3,840 x 2,160) resolutions at 24 or 30fps, with a bit rate of 200 megabits per second. It can even output 10-bit 4:2:2 video over HDMI into an external recorder!

With the Canon Powershot G7X Mark II, Canon has made a big improvement over the first iteration, with a host of great features, and still managed to keep the price nice and low – that’s why it’s still our choice as the best budget compact camera of the year.

The LCD screen can now also be articulated downward by a full 45 degrees, allowing you to hold the camera above your head and compose for an interesting viewpoint.

The screen still faces the front and does so in one quick and simple action which you can perform with one hand. Face detection does a fine job for the all-important selfie!

The touchscreen itself is a joy to use – responsive, fast and full-featured – far better than the crippled Sony touchscreen offering. Being able to tap any menu item seems logical in 2023, and is an enjoyable way to navigate the camera.

Autofocus performance is good, with face-tracking working ok during testing. Don’t underestimate the importance of this feature – trying to chase a subject around the screen with a single AF point is a painful experience!

Overall, I found the G7X Mark II enjoyable and intuitive to shoot, with the biggest pluses for me being its overall responsiveness and the impressive image quality.

As such, it’s a camera you can slip into a coat pocket that offers unrivalled image quality – beautifully creamy shallow depth of field, great dynamic range for expanded latitude when post-processing, great high ISO performance… basically amazing image quality that’s superior to 99% of other cameras in its size class.

You do pay a pretty price for the Sony RX1 RII, though. Squeezing a big sensor into a small camera body evidently still costs a lot for manufacturers, and due to the nature of the sensor size, the lens needs to be a certain size to accommodate – while small, this isn’t a camera for your jeans pocket.

The Sony RX1 RII offers most of the functions of a high-end Sony camera that you’d expect – tilting LCD screen (though no touchscreen), good WiFi/NFC connectivity, decent electronic viewfinder (that retracts into the body when not in use), customisable dials/buttons and a dedicated exposure compensation dial.

I love being able to control the aperture on the lens ring like a rangefinder, and the macro mode is similarly located. The lens in general just feels great – the movement of the rings is reassuring and fun to operate. I’d go as far to say that this is the first Sony I’ve ever used that doesn’t feel like a mini-computer, and for that, I love it! It feels like an old-fashioned camera body, despite housing some incredible, modern technology.

The Sony RX1 RII doesn’t make much sense on paper, nor when you try and explain it to your peers after splurging so much on something when there are many better value options… but it’s still an endearing camera that will bring you joy every time you pick it up, not to mention whenever you view the gorgeous high-resolution files on your computer screen.

I also love the fact that LCD displays the optical zoom focal length as you’re zooming, so you can set it to 35mm for example, and leave it there if that’s your preference when shooting primes – this is what I found myself doing since I rarely shoot at 24mm.

The Sony RX100 VII offers a tilting touchscreen, albeit a limited one. You’re able to touch to change AF points, focus, and then shoot – is a really handy feature for capturing candid travel moments, especially when combined with the tilting display. On the VI the tilt is 90 degrees down and 180 degrees up, making it perfect for vlogging.

The VII also offers fast AF, a new 4K video HDR mode, 4 -stop image stabilisation, Active Steady Shot for video recording and a larger buffer – 233 vs the V’s already impressive 150.

I’m not even a big fan of zoom lenses, preferring normally to ‘zoom with my feet, but I found myself constantly zooming in and out with this fun little camera, often just to see ‘how far I could see’! It’s conve