space engineers lcd panel camera pricelist

2023-01-03 12:32:11

But it will decrease the performance of the game - you need to have powerful GPU for that, as each screen is essentially another frame to render. Thus if your FPS is 40, with another camera-on-screen it might drop to 20 (if low FPS was caused by taxed GPU, not overloaded CPU). And it will incur some cost in CPU performance.

But it can be managed: in graphic settings there might be another slider: maximum of camera-to-screens, max distance of player to screen with screens nearer to player taking preference, plus if screen is LOD model it should be ignored.

Duke Nukem 3d had a camera view to screen feature in a game with user generated maps/layouts 22 years ago. Granted it wasn"t 1080p but I don"t think anyones expecting that from a Text panel. Unpossible!

glad to see this thread bumped i find it ridiculous that this isn"t already in the game. Surely you could implement this with some sort of anti-rastorization method where you just don"t render the parts of the ship eclipsed by the display just like if you gave dirt or whatever a transparent texture back in minceraft, that"s how rodina does it; and even without the fact that this method would be way more efficient, you would also end up with a better, more spacey, implementation "cause it would have perspective.

@zooltan no, the camera monitors would show a display of the camera view after you look through it. Its framerate was like 1Hz and it only lasted for so long but considering I was playing it on a x486 (I think)...

Rendering a scene to a dynamic camera is something video games have always struggled with, especially if it"s a scene from an area wwith no players anywhere near by, you"re asking the server to keep up with scenes that could be across the map, or atleast across max antenna range.

While the actual rendering is client side, the camera can be several subgrids - maybe kilometers - away and see a different part of the universe. A camera would be like an additional player, spawning in local asteroids and streaming grid data from the server to be rendered on the remote camera feed. Or cameras are 100% local and intended for cameras in close proximity only, with no load on the server and very low PCU amount. (Maybe have separate server/client PCU?)

Rendering performance impact could be made O(1) by updating a set amount of screens per frame at a preset resolution. I.e. A surveillance room with 10 camera feeds would update every screen at 6 FPS instead of 60, as in this example surveillance camera clip: https://www.youtube.com/watch?v=X2oNWHv0zSQ

Eventually all "extra rendering step" could be queued up so that only one extra rendering is done per frame. I.e. environment cube maps could be on every frame if the queue is unused, but reduce to every second frame if camera feeds are active:

(Effective frame rate of the three cameras would then be 10 FPS. Camera feeds should only update when the player is actually standing in front of and looking in their direction. Screens being "freshly" activated would take the next slot in the update queue for a max 1 frame delay, unless several screens activated in the same frame.)

It is possible, but that was never a simple mod; that entry on the Steam workshop was just to add the terminal controls, the actual code was in a plugin (Client Extender) that you had to install alongside the game.It allowed you to write frames to textures and had a priority queue system so it would never drain your FPS more than you allowed it, and you could give client-side priority to cameras; if you"re in a big battle with a bunch of different people who also use LCD feeds then, from your perspective, yours would be updated first and fastest regardless.

Glass cockpits aren’t worth it on large grids! The glass is far more fragile than heavy armor! I want cameras to be my window to the world and to be sheathed in armor, like ships in The Expanse!

I saw Camera, LCD, then it was obvious I could link a camera feed to one of cockpit LCD to have a view..... even at low resolution, and even with limitation numbers.

Furthermore the discontinued "Live Camera Feeds" mod in this page https://steamcommunity.com/sharedfiles/filedetails/?id=611332581 is filled with people requesting/expecting this feature to be in vanilla since 2016.

In short, as many people out there, I really believe that this should"ve been in the vanilla game since the LCD"s were introduced and also believe that it would elevate the game play so much.

Having the ability to view a camera image from an LCD in a basement - which is what I nearly always end up building in order to protect my gear from meteorites - would be a massive boon.

Also, displaying multiple camera images on LCDs means that a ship could have a decent bridge buried deep inside it and still have good visibility of the surrounding space, without needing to cycle through cameras while sitting in a control seat.

Having the ability to view a camera image from an LCD in a basement - which is what I nearly always end up building in order to protect my gear from meteorites - would be a massive boon.

The mod is smart about it and makes it so that the LCD can "share" frames instead. So it can update at 30 fps but it doubles the GPU Render Load, or all the way down to 1fps which divides evenly amongst other LCDs. So if you had the setting at 30fps they"d each run at 15fps, which would divide further as you added more.

I don"t know the limitations of this engine, but that what we ask for here, is used in many games like Portel or Prey (the old one) and is used, when some NPCs are in a monitor. For example, in Half Life 2, when Wallace Breen has his speeches on the monitors, the actual NPC is loaded in a separate room on the map, where the NPC gets recorded by a virtual camerajand is streamed directly to the ingame TVs and monitors, the player can see and they do it that way, because, according to the devs, tihs is much easier then make a actual video clip to play back on the screens. So it schouldn"t be wichcraft to make something like that. Except the engine really can"t cope with that.

The Mods we had, are more or less a collection of workarounds to make this feature somewhat functioning, but someone with unrestricted access to the source code, should be able to implement, at least the frame work, for such a function, without all too heavy performance impacts. Furthermore we are in an age, of ridiculously powerfull GPU like the Nvidia 30 Series and Space Engineers never was a casual game, requirement wise. And for those with a too weak system, we could make a tab in the world settings to disable this feature.

The examples you use, only have a few limited "Cameras" active at the same time, and several of those probably uses a different technique (Like a simple pre-rendered video for the speech)

The problem is, no matter the engine, rendering an extra camera will always cost a full extra render pass; which will scale for every camera you have active.

So the only way it can work, without tanking the FPS completely, would be to limit the number of cameras that can be active, to maybe 1-3, which I don"t thing is what the players want.

The examples you use, only have a few limited "Cameras" active at the same time, and several of those probably uses a different technique (Like a simple pre-rendered video for the speech)

The problem is, no matter the engine, rendering an extra camera will always cost a full extra render pass; which will scale for every camera you have active.

So the only way it can work, without tanking the FPS completely, would be to limit the number of cameras that can be active, to maybe 1-3, which I don"t thing is what the players want.

The rendering load could be alleviated by defaulting to a low-refresh camera mode where the camera only updates at, for example, 15 fps or lower and an optional high-performance mode where the camera updates like the player camera.

i would make lcd refresh rate based on distance to closest player, that is looking at that lcd - so game would crank up lcd fps only when someone is actually looking at it and "freeze" display when nobody is around or looking on something else ....

I also find it very strange that this is so hard to implement... Duke Nukem 3D dynamically rendered security cameras onto display screens just fine 25 years ago (before even basic 3d graphics cards were even in most gamer"s PCs) along with a few N64 games, like Goldeneye. Not to mention more recent games like Half Life 2. There are a lot of ways to keep it performant on modern systems. Here"s a few suggestions that little old me can think of to keep system performance from being too negatively impacted.

If a remote camera LCD isn"t in visible range to a player, then don"t gather render data from the camera nor render the camera onto the LCD. I do not believe this is something that a modder could do, since it would require access to a player"s rendering data and being able to detect if any remote camera LCDs are within what"s being rendered.

Any camera feeds are sampled at a lower resolution and also rendered to LCDs at a lower resolution than when a player views through the camera directly. With a lower resolution on both sampling and rendering I would expect GPU stress to be lower as well.

Nested camera LCDs (any LCD"s rendering a camera that are THEN viewed by a later camera and rendered to a later LCD) would be only rendered at 1fps and only when the player is looking at the later LCD, otherwise it is not rendered. Or just don"t render nested camera LCDs at all, though that might confuse some players if done without explanation.

Many games implement in-view screens of the game world. This isn"t new and not impossible just something Keen chose not to implement with their time. Other priorities. The LCD displays in the game and the cameras seem like a perfect match.

While it"s a cool idea that have it"s own merits, it"s a different goal from what desire (which is a seamless intergration of camera feed onto our ships on various screens.)

It"s not the overlay, it"s the feed - which doesn"t exist. Cameras cheat by moving the player"s POV to the camera, not be sending a camera feed back to the player. So this request is more work than it appears; each camera would need to be rendered. Would it be rendered by the server? Servers don"t render anything right now. A player? Which one? What if they log out? It"s complicated.

I was searching about the best camera for photography then I found an article on google which gave the best info about top cameras and lenses. The article was from

Cool idea but one feature at a time. Once we get (if we do, at all) camera footage on a screen, we can then consider the possibility of a multi-screen set up.

The troll face says it all. PC gamers also have low end hardware. There is a bit of psychology at work here though. If your PC can"t handle the camera-to-LCD feature you may chose to turn it off for now, maybe consider a GPU or RAM upgrade or just accept it for now. For cool screenshots you can always turn it back on temporarily. You feel like it"s all in your hands. On a console on the other hand, graphics and complexity are often locked down, like the number of planets or asteroids. You can"t upgrade a hardware component or decide for yourself if camera-to-LCD is worth the performance hit. Others decide what your console can handle. You begin to feel disenfranchised compared to a PC gamer with comparable hardware.

As can be seen in this YouTube Video (https://www.youtube.com/watch?v=cWpFZbjtSQg) implementing a camera feed to the LCD screens shouldn"t be thatdifficult. Now one difference would be the need to dynamically alter the position of the projection but even as an inexperienced programmer that is not an issue. If the devs have some competence (which I would assume given they developed this game) it should not be a problem to implement at all, except of course the issue with consoles other users mentioned. Drawing a second camera is expensive for the render engine but if not done at full resolution, unless the player is accessing the camera directly, I fail to see any issues except poor performance on low end pc"s and console, which imo is already the case so that would be a drop of water in an ocean.

As can be seen in this YouTube VideoYes, but SE"s gameworlds aren"t exactly just some five polygons like in that video"s test world. I have no doubt the R&D to find out how to optimise this before even going about optimising this, and a ton of other considerations in the ecosystem of the whole game around such a camera feature, is weighing a lot heavier than just spending an afternoon or so to get the code written.

To have a real time camera update a LCD pane, you basically have to render the game twice doubling the recourses it takes to play the game. Hence why VR games are so much more intensive to render.

It can be sort of work around (as the mod did) to make pictures periodically. But there is a reason the mod is no longer working. Getting it to run stable and with unlimited camera"s and viewports you need a super computer that doesn"t exist yet

To have a real time camera update a LCD pane, you basically have to render the game twice doubling the recourses it takes to play the game. Hence why VR games are so much more intensive to render.

I do understand that this is not an easy thing to do, I still want it, but I have the programmer training to know you are basically adding a player for each camera feeding to an LCD, (For other programmers I know this is a vast over simplification but not everyone has the knowledge we do) VRage chokes enough at 12 players much less the higher numbers some servers can represent if it is add there would also need to be a server setting toggle to disable it or some troll can crash the server by setting up a dozen or two Camera/LCD pairs.

Less frame rate would, but you"re still essentially stealing a frame or two per camera, assuming your camera is only 1 or 2 fps. The higher you push that framerate, the more you"re "stealing" per camera.

Lol so I understand the technical restrictions of Space Engineers and the amount of work that this kind of feature implementation would require. Do I want it? Yes. Do we all want it? I"m gonna" go out on a limb and assume yes. Do I understand why it isn"t and why it may never be? Also yes.

space engineers lcd panel camera pricelist

OverviewThis mod allows LCDs to display feeds from cameras. This is a rather large change to the underlying game, so an extra download is required (as a plugin). Once the plugin is installed properly, you will then be allowed to select cameras as textures for your LCDs. When you select it, the LCD will update automatically with the feed.

In order for you to use this mod, Space Engineers must be launched with the plugin provided. The installer creates a shortcut for you to launch the game, which enables this plugin. It"s a very simple install process.

If you"d like to have the plugin always launch when you run Space Engineers, all you have to do is go to your steam library, right click on Space Engineers and click Properties. Then go down to the bottom and in "Set Launc Options.." type in -plugin SEClientExtender.dll

DetailsThis mod and associated plugin modify the game"s renderer to allow rendering of what a camera sees to a texture, which can then be placed in the display of an LCD (any LCD, included modded ones!). The game does not have this function built in, so I had to create the ability to do so. (That is why a plugin is required). This will use very little memory, and only one texture exists in memory at a time for each feed. Multiple LCDs displaying the same feed still only use memory of that single feed.

PerformanceThe process of rendering the scene to a texture can take 5-10ms. This will eat into your overall FPS, but I have balanced that by allowing you to set how much effort your GPU uses to do this rendering. In the Options -> Game Options screen you"ll see a "Camera Processing" slider, that allows you to raise or lower the amount of processing required by the camera feeds. The higher you set it, the more it eats into your FPS, but the smoother the displays become. If you lower it down to 0, the process is turned off completely.

Every camera feed created takes processing time from a common "pool" of processing time. So the setting above allows you to control the maximum time spent on the pool, but each addition feed only takes from that pool, and not from the game itself. Therefore you can add 100 feeds, but they will just update very slow instead of slowing your game down.

You may set priorities on cameras that allow them to update more often. Cameras will have a new setting in the terminal for them called "Priority". This allows you to raise or lower the amount of processing time each individual camera feed has. This allows you to create a "main screen" that updates more often, while having security cameras that update much slower.

OptionsIn the game options menu, I have added a special slider to the "Game Options" screen. It defaults at 15%, but you may lower or raise it to increase or decrease the amount of processing time spent on cameras.

Also in the terminal screen, if you select a camera, you have the option to increase it"s priority with a slider from 1x to 10x. The higher the priority, the faster it updates compared to other cameras. This allows you to create a "main view" while having slower updates on other cameras.

MultiplayerThe plugin itself is client side. Once you have the plugin installed, and launch with it, you can join a MP without this mod, and still use cameras in LCDs. The only issue is that it will not persist (so if you log out and back in, the LCD will not longer show the camera until you set it again). If other players have this plugin, they will also see the camera view (it syncs for all players online). This mod is required on the server if you want the camera view to persist on the LCD (not working yet). If a user does not have this mod installed, they will see a blank LCD.

Known BugsCamera views "slide" a bit. This manifests in the camera not being exactly where it should be. I"m trying to locate this issue, but it"s a tough one.

Currently feeds do not persist in multiplayer. This means that if you relog, your camera selection will be gone. This will be fixed by the use of this mod on the server itself (doesn"t require plugin on server).

CrashesIf you think this mod has caused SE to crash. Please go into your %appdata%/SpaceEngineers/SpaceEngineers.log file, open it up, and copy it"s contents to pastebin.com or paste.ee. Then post a link in the Crash discussions thread. I will look them over and try to solve your issue.

Image quality is the most important reason to augment your smartphone photography with a camera like this, and the LX10 delivers. Straight out of the box, it produces crisp JPEG images that aren’t overly sharpened or cartoonishly saturated, unlike some rivals. The zoom lens covers a useful (24–72mm equivalent) range that starts wider than that of most smartphone cameras, zooms in tight enough for portraits, and allows for smoothly blurred backgrounds when you’re shooting close-up. The Leica-branded lens is sharp at all focal lengths and aperture settings, and it can focus down to 3 centimeters—closer than the Sony RX100 VI and Canon G9 X Mark II—for impressive macro images. It’s also optically stabilized, which helps you get clear shots even at slow shutter speeds.

Since the LX10 delivers JPEGs with less contrast and saturation than you get from some other cameras when you’re using the Standard photo style, you have to edit the photos to get them to pop on Instagram or Facebook. We actually prefer it that way: The more editing a camera does, the less latitude you have to edit your photos to suit your taste. But if you’d prefer more-stylized results right out of the camera, you can choose from other “photo styles” (Panasonic’s term for JPEG presets), including Vivid, Monochrome, and Scenery, that provide more- or less-punchy results. You can edit these presets, or you can create your own custom photo style with specific contrast, sharpness, noise-reduction, and saturation settings. Alternatively, if you want to handle all of the processing yourself, you can shoot in raw mode and develop your photos using digital-darkroom software such as Adobe Lightroom; it’s the best way to get the most out of your camera, but it adds significant time to the process.

Although the LX10 is not the smallest camera we tested, it is quite compact. When it’s turned off, the lens protrudes about half an inch from the front; there’s a shorter hand grip off to the side.

The LX10 offers plenty of physical controls, so you can easily adjust settings without diving into the menu system. The coolest is a dedicated aperture ring with click-stops that lets you directly control the f-stop when shooting in aperture-priority or manual mode. In front of that is a smoothly rotating secondary dial, and atop the camera you’ll find a third control wheel; you can customize both of these to control a huge range of camera settings. Around back, a four-way directional pad provides direct access to exposure compensation, white balance, drive mode/self-timer, and focus mode options. You also get dedicated buttons for Panasonic-exclusive features such as 4K Photo mode and Post Focus, which we’ll discuss later.

The touchscreen is most useful for autofocus. With the AF system set to single- or multi-point mode, you can simply tap to focus. It’s fast, reliable, and easy. It also offers a huge advantage over the system on the Sony RX100 IV and all other RX100 models up to the recently released RX100 VI, which lack touchscreens and take a lot more fiddling to focus. The LX10’s tap-to-focus feature is an even bigger deal for videographers, since it lets them “pull focus” to a subject located anywhere in the frame with a single tap. In our testing, the transition to a new focal point was pleasingly slow and cinematic, not jumpy—something Panasonic says its engineers expressly focused on.

Like other recent Lumix cameras, the LX10 uses Panasonic’s DFD (Depth from Defocus) autofocus technology. We’ll skip the geeky details of how it works (here’s a good overview if you’re interested), but when a subject is out of focus, DFD allows the camera to make a good guess as to exactly how far out of focus it is. The result is very fast focus that (in good light) avoids the wobble you see in traditional contrast-detection AF systems as the lens hunts back and forth while trying to lock focus. DFD tech also helps keep your subject in focus when you’re using tracking AF, particularly when your subject is moving toward or away from the camera.

The LX10 captures 4K video at 30 frames per second and 1080p at 60 fps (or 120 fps with lens stabilization and autofocus disabled). At either resolution, the wide-angle field of view is cropped from the 24mm equivalent you get in stills—down to 36mm equivalent in 4K and 30mm equivalent in 1080p with all assists (stabilization and auto-level) turned on. Turning these assists off widens the field of view, but you never get the full 24mm wide-angle look. This crop not only reduces wide-angle possibilities but also hurts low-light performance, since it means the camera is using a smaller sensor area to record video and is therefore taking in less light. But such a crop is fairly normal for these types of cameras.

In our testing, the LX10’s 4K video looked nearly as good as what we got from the Sony RX100 VI (our runner-up pick). And in contrast to the RX100 VI, which limits you to five minutes of continuous 4K shooting (due to heat buildup), the LX10 can capture up to 15 minutes at a time. Unfortunately, the LX10 doesn’t provide uncompressed (or “clean”) live HDMI video output—you can use HDMI only to replay videos you’ve already recorded—which means that it’s not as good for Twitch and YouTube live streamers as the RX100 VI, which can output video as you’re recording it. (Neither camera has a 3.5 mm jack for an external microphone, though.)

space engineers lcd panel camera pricelist

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space engineers lcd panel camera pricelist

At Casual Photophile, we love film cameras for many reasons; notably their historical significance, their ability to make world-class images, and their low cost compared to their digital counterparts. But I think most of the writers here appreciate and maybe even prefer film cameras for one very specific reason – they feel incredible. Film cameras are creations from a time when physical mechanisms drove the world, and it’s rare to find such haptic joy in the modern era in which consumer goods are often thought of as disposable, or at least inevitably replaceable.

All of that said, there’s no denying that we also love certain digital cameras. While many digital cameras seem bland and, as stated, disposable, there does exist a handful of really phenomenal digital cameras that not only make amazing images, but also feel like the classic mechanical cameras that we love so dearly. It’s also hard to argue against the speed and efficiency of the digital workflow (there’s a reason all of the product shots here and in my camera shop are made with digital machines, after all).

The writers and I decided to sit down and brainstorm which five digital cameras currently selling today are best for those of us who love film cameras. Here they are.

When the original Fujifilm X100 debuted at Photokina in late 2010, it made a massive splash. In an early 2011 writeup, DPReview described the X100 as “…a firm favorite in the dpreview offices.” Adding that “Its drop-dead gorgeous looks and excellent build make it a camera that begs you to pick it up and take it out with you,” and later describing the image quality of its 12.3 MP APS-C sized CMOS sensor as “…nothing short of superb.”

The original X100 and subsequent models in the series are such great cameras for people who love film because they’re all characterized by some very “film camera-like” features. They all look and handle like the classic compact or rangefinder cameras that film-shooting street photographers lust over (think Canon’s Canonet or even Leica’s M series). They feature a traditional optical viewfinder (with a decidedly trick hybrid electronic viewfinder system), they have classic physical controls for shutter speed, aperture, and more, just like film cameras of the past, and they all feature a number of “Film Simulation” modes which reproduce the look of classic Fujifilm emulsions.

Since the release of the original X100 (actually called the FinePix X100 – all later cameras dropped the FinePix nomenclature) Fuji has released three additional X100 models. The X100S refined the user interface and ergonomics while replacing the original X100’s excellent 12.3 MP CMOS sensor with a 16.3 MP Fuji X-Trans CMOS II. The third model, the X100T, retain the sensor, lens, and core functionality of the previous model, but improve on the X100S in incremental ways. Most interesting to film lovers might be the addition of the “Classic Chrome” film simulation.

The fourth and latest X100 is the X100F. This camera is naturally the most advanced X100 yet, packing a 24 MP X-Trans CMOS III sensor into the traditionally compact X100 series body, as well as introducing a veritable cornucopia of new improvements. These include a new image processor, built-in ISO dial (a friendly addition for us film camera fans), a larger battery, an improved 91-point autofocus system, a 60 frames per second electronic viewfinder refresh rate, and a Fuji Acros film simulation mode. This last addition is especially interesting considering that Fujifilm discontinued production of their Acros film last year, and just recently announced plans to introduce a new Acros film after hearing the public outcry from film photographers.

The X100F has been the recipient of numerous awards in the photography press, and has successfully convinced the world that the X100 is a true professional photographer’s camera.

Which X100 camera should you buy? Well, the thing about the Fuji X100 series is that every single model in the series is fantastic. My advice is to first decide on your budget and then buy the newest X100 you can afford. Even if that ends up being the original X100 with the 12.3 MP sensor, you’ll be getting an incredible machine that will make phenomenal images. Anything more than that is just a bonus.

At around $1,200 the X100F is one of the more expensive cameras on the list. But for those of us looking to save money, the original X100 can be bought on eBay for an astoundingly low price – around $300.

The Ricoh GRIII is an obvious choice for any film shooter whose preferred film camera is a compact point-and-shoot. It’s a strong digital stand-in for the premium point-and-shoots from Contax, or the ever-popular compact cameras from Olympus and Yashica. And of course the Ricoh GRIII is the perfect digital camera for anyone who lives and dies by the earlier Ricoh GR1 film cameras.

We’ve written about the reasons the GR1 series of film cameras are such incredible point-and-shoots in our article earlier this year, and many of the core superlatives that characterize those film machines are carried over to their counterparts in the digital GR series. In his video review of the new GRIII, Kai Wong called the Ricoh GRII one of his “…favorite cameras of all time,” and went on to describe the GRIII as “..something truly great.”

Kai’s not wrong. The Ricoh GRIII was released just a few months ago and it offers everything you’d expect from a brand-new, world-class digital compact while retaining the core concept that has made the GR series a camera loved by street photographers and snap-shooters for decades. It’s incredibly small and well-made, features one of the best 28mm (equivalent) lenses in the photographic world, has in-body image stabilization, excellent high-ISO capability, and an incredibly quick start-up time for capturing snapshots at a moment’s notice.

It’s an especially great camera for those of us who love compact film cameras because while it offers everything we’ve mentioned plus countless modern conveniences, it’s really a simple camera like the compact film machines we all love. It’s as “point-and-shoot” as it gets, without sacrificing anything in terms of image quality or tech. Oh, and it’s got some pretty fantastic film simulation modes too, if you’re into that (and we are).

[Friend of the site and former president of Pentax USA, Ned Bunnell has been shooting the GRIII since it released earlier this year and he’s been posting his images and experiences with the new camera on Instagram. He’s also been posting a collection of film simulation shots made with the camera, which you can see via the hashtags #NedsGR3bw

I’ll admit that some of the allure of classic film cameras, for me, is just how gorgeous these old machines look. There’s something about the proportions, something about the finish of satin metal contrasting against black or brown leatherette or vulcanite; film cameras are beautiful objects. It’s especially intoxicating when these gorgeous machines also happen to be extremely capable image-making devices. Which brings us to our third pick, and it comes from a legendary camera maker – Olympus.

Olympus is celebrating their centennial this year, and like they’ve done for many of the last hundred years, it seems Olympus is content to get down to the business of quietly making exceptional cameras and lenses. Without a lot of fanfare or marketing hullaballoo, Olympus has recently released a truly impressive digital compact in the form of the Pen-F Digital.

Like its earlier film ancestor, the Pen-F digital is uncommonly small. The Maitani-designed Pen F film camera was a half-frame camera, while the newest Pen-F Digital is a micro 4/3rds machine. This makes it well-suited for travelers and lifestyle shooters, or for event photographers looking for a pocketable camera for candids.

The tiny camera is packed full of incredible features – a 20 MP sensor (with 50 MP high-res shot mode), five-axis image stabilization, 10 FPS sequential shooting mode, an exceptional OLED electronic viewfinder, 81 point autofocus, and… a tilty-flippy screen. If you can’t get the shot with the Pen-F, it’s probably not the camera’s fault.

Interchangeable lenses from Olympus’ famed Zuiko line complete an imaging ecosystem that can compete with much larger (and more expensive) cameras. When we see the images that Olympus’ micro 4/3rds cameras can make it becomes obvious that the lesser-celebrated brand is still a powerhouse in optics – they’ve been doing this for a hundred years, after all. Oh, and the Pen-F Digital is (in my opinion) just about the prettiest camera on the market today. That counts for something.

The Nikon Df was released in 2013, and marketed by Nikon as a return to the purity of their earlier F series film cameras. With a full-frame sensor, dedicated physical dials to control the most important aspects of photography, a full metal construction including top plate and metal controls, and removal of the video mode often found on DSLRs, the Df does indeed seem like a perfect film-like interpretation of the DSLR.

The top plate is packed with big metal control dials for exposure compensation, ISO, shutter speed, shooting modes, and more. And in this way it truly does look and feel like one of Nikon’s modern classic SLRS, the F4 or the F5. But the rest of the camera is decidedly a digital machine. The back has everything you’d find in one of Nikon’s contemporary to the Df DSLRs, the D610 or the D750 for example. Which is good, but also somewhat confusing.

Is shooting the Nikon Df like shooting a film camera? Not really. Sure, it’s got physical controls, but it’s really quite a massive camera with very DSLR-like ergonomics. It’s the least pleasant camera on this list to shoot for those of us who just don’t get excited by DSLRs. And on this site, that will include a lot of readers as well.

Where the Nikon Df might become the perfect digital camera for the film shooter is when we discuss Nikon specifically. If you’re already shooting a bunch of Nikon cameras, say an original F, an F4, and even a Nikon DSLR, the Nikon Df could be a great fit. That’s because it’s the only Nikon DSLR that can mount and shoot every Nikon lens that’s been made since the original F mount was introduced in 1959. That’s pretty incredible. But then again, the new Nikon mirrorless Z6 and Z7 can do that too (with adapters). Decisions.

For many film photographers, the Leica M series is the perfect combination of all the things that make film cameras special. A beautiful, timeless design encapsulating nothing but gears and levers and steel and brass, the early M cameras especially are mechanical masterpieces (see our guides to the Leica rangefinders and their SLRs). Even today, Leica still makes two mechanical film cameras, the meter-free M-A and the light meter-equipped M-P.

With this pedigree and continued ability to create what could be the best film camera in the world right now, it’s no surprise that Leica should make some truly impressive digital cameras. While the brand seemed to struggle to find its footing in the digital age, their latest releases, the Leica CL, the Leica Q and Q2, and their newest M, the M10, are all grand slams.

Each of these cameras feels like a classic film camera in the hands. The dials and controls are simple and straightforward. The mechanisms actuate with incredible precision. The ergonomics and methodology are simplified down to the basics of ISO, shutter speed, and aperture. In many ways, shooting a CL or a Q2 or an M10 feels like shooting a Leica M3 from 1954 or a CL from the 1970s. And that’s a good thing.

The M10-D is a recent release, and it’s the purest expression of the film camera ethos in a digital machine. The M10-D is essentially a Leica M10 that recalls the look and feel of the original M series camera. It loses the Leica Red Dot logo and replaces it with the more film-traditional Leica Script engraving. There’s a thumb rest on the top of the machine that flips out, looking and actuating almost exactly the same way that the film advance lever of the M3 does. The on/off switch is a ring surrounding an exposure compensation wheel that’s a clear reference to the film speed reminder of the oldest M film cameras (or the ISO selector on later M film cameras). This on/off and exposure compensation dial sits on the rear of the camera, exactly where most digital cameras would show their LCD display (this space is available because the M10-D simply doesn’t have an LCD display). This is the M10-D’s boldest move.

For a digital camera in 2019 to not have an LCD screen is weird and, some would say, silly. And it’s an easy thing to poke fun of when we’re talking about the extremely pricey products that Leica creates. In case you’re not keeping track, I’ll tell you – the M10-D costs approximately $1,500 more than the M10. Why would anybody spend more money for a digital camera with fewer features than the camera from which it’s derived? There’s something to be said for staying in the moment and eliminating distractions, sure, but is that worth $8,000?

It’s a question that I won’t answer in a definitive way. Different strokes for different folks. But if you’re looking for the closest experience to shooting an incredible film camera but want those digital files and digital workflow, the M10-D might be the pinnacle of modern machines. (Even if I’d never buy one).

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A digital camera is a camera that captures photographs in digital memory. Most cameras produced today are digital,photographic film. Digital cameras are now widely incorporated into mobile devices like smartphones with the same or more capabilities and features of dedicated cameras (which are still available).

Digital and digital movie cameras share an optical system, typically using a lens with a variable diaphragm to focus light onto an image pickup device.shutter admit a controlled amount of light to the image, just as with film, but the image pickup device is electronic rather than chemical. However, unlike film cameras, digital cameras can display images on a screen immediately after being recorded, and store and delete images from memory. Many digital cameras can also record moving videos with sound. Some digital cameras can crop and stitch pictures and perform other elementary image editing.

In the 1960s, Eugene F. Lally of the Jet Propulsion Laboratory was thinking about how to use a mosaic photosensor to capture digital images. His idea was to take pictures of the planets and stars while travelling through space to give information about the astronauts" position.Texas Instruments employee Willis Adcock"s film-less camera (US patent 4,057,830) in 1972,

The Cromemco Cyclops was an all-digital camera introduced as a commercial product in 1975. Its design was published as a hobbyist construction project in the February 1975 issue of RAM (DRAM) memory chip.

Steven Sasson, an engineer at Eastman Kodak, invented and built a self-contained electronic camera that used a CCD image sensor in 1975.Fujifilm began developing CCD technology in the 1970s.

Nikon has been interested in digital photography since the mid-1980s. In 1986, while presenting to Photokina, Nikon introduced an operational prototype of the first SLR-type electronic camera (Still Video Camera), manufactured by Panasonic.pixels. Storage media, a magnetic floppy disk inside the camera allows recording 25 or 50 B&W images, depending on the definition.

At Photokina 1988, Fujifilm introduced the FUJIX DS-1P, the first fully digital camera, capable of saving data to a semiconductor memory card. The camera"s memory card had a capacity of 2 MB of SRAM (static random-access memory), and could hold up to ten photographs. In 1989, Fujifilm released the FUJIX DS-X, the first fully digital camera to be commercially released.Toshiba"s 40 MB flash memory card was adopted for several digital cameras.

The first commercial camera phone was the Kyocera Visual Phone VP-210, released in Japan in May 1999.pixel front-facing camera.digital images, which could be sent over e-mail, or the phone could send up to two images per second over Japan"s Personal Handy-phone System (PHS) cellular network.Samsung SCH-V200, released in South Korea in June 2000, was also one of the first phones with a built-in camera. It had a TFT liquid-crystal display (LCD) and stored up to 20 digital photos at 350,000-pixel resolution. However, it could not send the resulting image over the telephone function, but required a computer connection to access photos.J-SH04, a Sharp J-Phone model sold in Japan in November 2000.cell phones had an integrated digital camera and by the early 2010s, almost all smartphones had an integrated digital camera.

The two major types of digital image sensor are CCD and CMOS. A CCD sensor has one amplifier for all the pixels, while each pixel in a CMOS active-pixel sensor has its own amplifier.back-side-illuminated CMOS (BSI-CMOS) sensor. The image processing capabilities of the camera determine the outcome of the final image quality much more than the sensor type.

Depending on the physical structure of the sensor, a color filter array may be used, which requires demosaicing to recreate a full-color image. The number of pixels in the sensor determines the camera"s "pixel count".

A lower resolution extends the number of remaining photos in free space, postponing the exhaustion of space storage, which is of use where no further data storage device is available, and for captures of lower significance, where the benefit from less space storage consumption outweighs the disadvantage from reduced detail.

An image sharpness is presented through the crisp detail, defined lines, and its depicted contrast. Sharpness is a factor of multiple systems throughout the DSLR camera by its ISO, resolution, lens and the lens settings, the environment of the image and its post processing. Images have a possibility of being too sharp but it can never be too in focus.

A digital camera resolution is determined by a digital sensor. The digital sensor indicates a high level of sharpness can be produced through the amount of noise and grain that is tolerated through the lens of the camera. Resolution within the field of digital still and digital movie is indicated through the camera"s ability to determine detail based on the distance which is then measured by frame size, pixel type, number, and organization although some DSLR cameras have resolutions limited it almost impossible to not have the proper sharpness for an image. The ISO choice when taking a photo effects the quality of the image as high ISO settings equates to an image that is less sharp due to increased amount of noise allowed into the image along with too little noise can also produce an image that is not sharp.

Digital camera, partially disassembled. The lens assembly (bottom right) is partially removed, but the sensor (top right) still captures an image, as seen on the LCD screen (bottom left).

Single-shot capture systems use either one sensor chip with a Bayer filter mosaic, or three separate image sensors (one each for the primary additive colors red, green, and blue) which are exposed to the same image via a beam splitter (see Three-CCD camera).

The third method is called scanning because the sensor moves across the focal plane much like the sensor of an image scanner. The linear or tri-linear sensors in scanning cameras utilize only a single line of photosensors, or three lines for the three colors. Scanning may be accomplished by moving the sensor (for example, when using color co-site sampling) or by rotating the whole camera. A digital rotating line camera offers images consisting of a total resolution that is very high.

Improvements in single-shot cameras and image file processing at the beginning of the 21st century made single shot cameras almost completely dominant, even in high-end commercial photography.

Cameras that use a beam-splitter single-shot 3CCD approach, three-filter multi-shot approach, color co-site sampling or Foveon X3 sensor do not use anti-aliasing filters, nor demosaicing.

Firmware in the camera, or a software in a raw converter program such as Adobe Camera Raw, interprets the raw data from the sensor to obtain a full color image, because the RGB color model requires three intensity values for each pixel: one each for the red, green, and blue (other color models, when used, also require three or more values per pixel).

Cameras with digital image sensors that are smaller than the typical 35 mm film size have a smaller field or angle of view when used with a lens of the same focal length. This is because angle of view is a function of both focal length and the sensor or film size used.

The crop factor is relative to the 35mm film format. If a smaller sensor is used, as in most digicams, the field of view is cropped by the sensor to smaller than the 35 mm full-frame format"s field of view. This narrowing of the field of view may be described as crop factor, a factor by which a longer focal length lens would be needed to get the same field of view on a 35 mm film camera. Full-frame digital SLRs utilize a sensor of the same size as a frame of 35 mm film.

Common values for field of view crop in DSLRs using active pixel sensors include 1.3x for some Canon (APS-H) sensors, 1.5x for Sony APS-C sensors used by Nikon, Pentax and Konica Minolta and for Fujifilm sensors, 1.6 (APS-C) for most Canon sensors, ~1.7x for Sigma"s Foveon sensors and 2x for Kodak and Panasonic 4/3-inch sensors currently used by Olympus and Panasonic. Crop factors for non-SLR consumer compact and bridge cameras are larger, frequently 4x or more.

The resolution of a digital camera is often limited by the image sensor that turns light into discrete signals. The brighter the image at a given point on the sensor, the larger the value that is read for that pixel. Depending on the physical structure of the sensor, a color filter array may be used, which requires demosaicing to recreate a full-color image. The number of pixels in the sensor determines the camera"s "pixel count". In a typical sensor, the pixel count is the product of the number of rows and the number of columns. Pixels are square and is often equal to 1, for example, a 1,000 by 1,000 pixel sensor would have 1,000,000 pixels, or 1 megapixel. On full-frame sensors (i.e., 24 mm 36 mm), some cameras propose images with 20–25 million pixels that were captured by 7.5–m photosites, or a surface that is 50 times larger.

Digital cameras come in a wide range of sizes, prices and capabilities. In addition to general purpose digital cameras, specialized cameras including multispectral imaging equipment and astrographs are used for scientific, military, medical and other special purposes.

Compact cameras are usually designed to be easy to use. Almost all include an automatic mode, or "auto mode", which automatically makes all camera settings for the user. Some also have manual controls. Compact digital cameras typically contain a small sensor which trades-off picture quality for compactness and simplicity; images can usually only be stored using lossy compression (JPEG). Most have a built-in flash usually of low power, sufficient for nearby subjects. A few high end compact digital cameras have a hotshoe for connecting to an external flash. Live preview is almost always used to frame the photo on an integrated LCD. In addition to being able to take still photographs almost all compact cameras have the ability to record video.

Compacts often have macro capability and zoom lenses, but the zoom range (up to 30x) is generally enough for candid photography but less than is available on bridge cameras (more than 60x), or the interchangeable lenses of DSLR cameras available at a much higher cost.Autofocus systems in compact digital cameras generally are based on a contrast-detection methodology using the image data from the live preview feed of the main imager. Some compact digital cameras use a hybrid autofocus system similar to what is commonly available on DSLRs.

Typically, compact digital cameras incorporate a nearly silent leaf shutter into the lens but play a simulated ca

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