New action cam model from Sony , AS100V

[padraigbrowne 0]

http://reviews.cnet.com/digital-camcorders/sony-hdr-as100v-action/4505-6500_7-35833787.html

LAS VEGAS -- Few, if any, action cam makers are in a better position than Sony to steal sizable market share from GoPro. And, with the new HDR-AS100V Action Cam announced at CES 2014, it looks set to do just that.

The slim, ultracompact design is the same as its past Action Cam models, though it's now lighter weight and white, and this one includes a tripod mount. That last bit is important since the camera's shape doesn't allow it to stand up on its own and, with the AS100V being splashproof, it means you can mount the camera without a housing and use it in the rain and snow (though it comes with a housing, too).

In front is a new premium ultrawide Zeiss Tessar lens that realizes 30 percent higher resolution with reduced aberrations (an issue with older models) and has a 170-degree viewing angle. Sony's also tweaked its image stabilization so that it automatically compensates for different movement such as when walking, biking, or driving.

Behind the lens is a new 18-megapixel Exmor R BSI CMOS sensor and a high-performance Sony Bionz X processor. The combo lets you record at 1080p at 60fps in MP4, but can also record in Sony's XAVC-S format for 1080p60 movies with bit rates up to 50Mbps. The AS100V also supports shooting at 1080p24 and high-speed 720p video at 120fps and 240fps shooting with sound.

For advanced users who want to do more than just point, shoot, and share, the camera has neutral and vivid color modes with the former allowing greater post-production flexibility. When recording in XAVC-S and working in Vegas Pro you'll be able see time code and user's bit data to make editing video from multiple cameras easier.

Like its linemate, the AS30V, the AS100V has built-in Wi-Fi accompanied by NFC for fast pairing with NFC-enabled smartphones and tablets. It has built-in GPS, too, which can be used with Sony's PlayMemories Home software to overlay location or speed information onto your videos. The software will also allow you to create a split-screen composite for viewing the video from multiple cameras in a single clip.


Sony's Live-View Remote (RM-LVR1), will also work with the AS100V and is being bundled with it as the HDR-AS100VR. The remote is basically a small waterproof color LCD that wirelessly connects to the camera. It can be used for setting up your shots as well as starting/stopping recordings and switching between photo/movie modes. It will also control up to five AS100Vs at the same time.

With the addition of the AS100V, Sony now has three models in its lineup, with the $199.99 entry-level AS15 and the $299.99 midrange AS30. You'll be able to pick up the AS100V for $299.99 as well when it shows up in March, but for $399.99 you can pick up the AS100VR bundled with the Live-View Remote, which is the same price as GoPro Hero3+ Black Edition.

[Maxx 1]

Sounds cool, I want to see some raw footage of it and how the picture quality is better than a GoPro3+. GoPro's 1080p60 mode has about 30 Mbit/s bitrate. So if the X-AVCS compression isn't total crap this should outperform the GoPro easily
BTW: Will the X-AVCS codec be supported by FCP or Premiere?

[ChuckMartin 0]

PP should have it already. Not sure about FCP, I don't use it so I don't follow its updates, but it is hard to imagine that it wont.

http://blogs.adobe.com/premierepro/2013/09/adobe-premiere-pro-cc-october-2013-release.html

[DSE 3]

XAVC and XAVC-s are both supported by Adobe CC products.
Apple will have support shortly (although they are the only major NLE that doesn't have support, as always).

The image quality plus stabilization of the new cam series is better than the GP, yes. I'll have a review shortly, and have an all-camera shootout scheduled for March 3-6.

[sunnyape 1]

The HDR-AS100V is revamp of the earlier AS-15 and AS-30, but it still has all the same flaws that make it of little use to filming RW and other skydiving.

You have no way to know if it's on apart from turn it on during jump run, then lock the switch at the back, so you end up with lots of wasted battery and excess footage. You can top mount it using the tripod screw, but that process covers all the ports to charge it or get the video out via USB. The video modes are very limited and 720p in 60 or 120fps is still in a forced slow motion with no audio. Get a GoPro Hero 3+ in a skeleton case, or stick with a Sony CX series with a lens if you need anti-shake capabilities.

PS. I make a little powered circuit that I use to relay the flashing LEDs of my GoPro to a LED on my ring sight. Works like a charm.

[DSE 3]

sunnyape

The HDR-AS100V is revamp of the earlier AS-15 and AS-30, but it still has all the same flaws that make it of little use to filming RW and other skydiving.

Curiously enough, dozens of DZs, hundreds of skydivers use the AS series without problems. It's a standard camera on at least 5 DZ's I'm aware of.
Moreover, the color is better, compression more intelligent, stabilization the best there is without resorting to a gyro.
Audio is useless in a skydive anyway, so the slo-mo modes really don't matter.
On any pro/field shoot, there are two go-to cameras; Sony or RePlay (only these two offer T/C).
YMMV

[sunnyape 1]

OK, DSE, I understand your response and logic, but...

You say 'standard on at least 5 DZs'. Standard for what? Filming Tandems and AFF? Sure... they don't care about lens flare or fringing, which the plastic lens cover of the ActionCam's case will happily provide. RW teams and formation skydivers are not so tolerant.

You say 'Audio is useless in a skydive' - of course, who wants to listen to wind noise.... but when was the last time you were asked to film a skydive in slow motion only? Being able to record 720p at 60 or 120fps on a GoPro or Sony CX series means the playback speed is normal BUT you have the excess frame rate available to use video editing or the playback application to turn it into slow-mo at 30fps AS WELL. You choose instead of have Sony choose for you.

You say 'the color is better'... better than what? If you like having a noticeable blue tint, a lack of shadow detail and no choice of spot or averaged metering, then it I guess that might constitute better than a CX 115, 125 or GoPro 3.

Also, here some more dumb things about it:
- When using the menu, if you change a setting, it takes you out of the menu and you have to re-enter it again to make another change.
- When taking it in and out of the case, you have to pull it out by the lens and it's impossible not to get finger prints on the lens.
- It can't stand up by itself because it has a curved base. You can only lie it on its side once out of the case and you want to plug in cables.
- Can only erase the whole card, not the choice of whole or last video / picture.

Sure, AS100V version is a big step forward since the AS10V (which I have) and AS30V, but since then, the competition has made just as many improvements and added features. Take a look at Toshiba's new Camileo X-Sports. For the same form factor as a GoPro and the same price range as the AS100V, it has:
- Image stabilisation
- A built-in LCD screen
- Digital zoom capabilities
- Lots of mounts supplied
- Comes with a remote control
- Has a LED bright enough for relay

It comes down to what you've used before. I've used a range of Sony cameras down through the years in a range of cases and mounting scenarios, living with each combination's idosyncracies. Their ActionCams come across as product that they don't seem to have made much effort testing or comparing to the competition in the same price range. Or, if they have, the features they've come up with don't do me any favours.

[DSE 3]

Quote

but when was the last time you were asked to film a skydive in slow motion only?

Last week, and again next week. It's actually exceptionally common, and if the client can't afford one of my higher end cameras, it's going to be the Replay or the AS or a GoPro.

It's pretty clear you like GoPro. Perhaps you're even sponsored by them. Good for you, glad you're happy. But to claim that other cameras are "useless" in a skydive...that's a broad claim.
When you suggest that teams are tolerant of GP's flare or fringing but not that of the Sony, it suggests you have a different agenda (such as selling a cable?)
As far as the Toshiba (or most any other POV camera) I own approximately 70 POV cams (there is a photo here somewhere) and am familiar with most of them. I've shot for professional and casual application with all of them. Clients chose their camera based on color chart and example reels, and most every time, clients choose the Sony cameras over the GoPro cameras. For me, I honestly don't care much, I get paid either way. Sony and RePlay mean less work in post, but even with GoPro, it simply means pulling yellow and pushing blue a bit.
With others, it means pulling blue by a few degrees. The AS100 has a neutral setting (which neither you nor I have seen), which supposedly removes the saturation curves that every one of the POV cameras out there (excepting Replay) have as a stock setting.

[Hellis 0]

I agree that the sony is useless because of it's slow motion.
But not useless in skydiving because the sound is most of the times not needed, but for every other use than freefall fotage.

If I want to video skydiving during the day and use 120 fps and then during the evening want to video something else the video becomes useless if I forget to change to 30 fps.

As posted before, let the user set the fps while editing.
I can't see any use of video without sound. Barely useable in skydiving.

Apart from that, ok camera.
But because of this big drawback I no longer have it.

[DSE 3]

it is entirely impossible to get quality slow motion from 25p, 30p, 50i, or 60i framerate cameras. Even with tools like Twixtor, it cannot be done well, and certainly not with the quality bracket that we're discussing here.

Although it's not uncommon to forget to change a setting, this is a user error, not a shortcoming of the product.

Me...I'd prefer to use a camera that dedicates all of its bits to great footage, than to be using any of its bits for audio. In the pro world, none of the professional slow motion cameras record audio. i can see how non-pro users might think they want these features, but it does come down to right tool/job.

[Hellis 0]

DSE

it is entirely impossible to get quality slow motion from 25p, 30p, 50i, or 60i framerate cameras.

Agree, but with a camera that record in 50, 60, or 120 p it's possible.
And as far as I know, that is what this camera is competing with.
Other cameras in the same size and function that can handle the framerates mentioned above in "p" with sound and with "normal" playback.

I agree that it CAN be a user error, but in my opinion it's not.
It's a crappy setting in the first place that makes the user have to choose a lower framerate just to get a video worth having.

[DSE 3]

I'll reiterate why there is no audio.
In the bitrate, bits can be allocated for audio AND video, or video only. Since no one would use the audio from slow motion-acquisition content, it makes the most sense (from most perspectives) to allocate as many bits as possible to the video stream for the best image possible. If you want audio and don't care about mis-flagged video and don't mind some video quality loss, then the GoPro is the camera for you. If you want the very best slow motion that a POV camera can offer, then there currently is only the Sony. Toshiba has the framerates, but the compression is crap.

[Hellis 0]

DSE

I'll reiterate why there is no audio.
In the bitrate, bits can be allocated for audio AND video, or video only. Since no one would use the audio from slow motion-acquisition content, it makes the most sense (from most perspectives) to allocate as many bits as possible to the video stream for the best image possible. If you want audio and don't care about mis-flagged video and don't mind some video quality loss, then the GoPro is the camera for you. If you want the very best slow motion that a POV camera can offer, then there currently is only the Sony. Toshiba has the framerates, but the compression is crap.

Still don't get it?...

In slow motion, the audio does not matter.
But we are not talking about slow motion, we are talking about higher frame rate played back in normal speed.

Also regarding bitrate.
Sony has a bitrate of 12 Mbps at slow, and 24 at sslow. Not very impressiv in my opinion.
As far as I know GoPro has a bitrate of 30-45 depending on setting.
So your argument is not valid.

[dirtbox 0]

but isn't this thread for the new one due in March with a 50mbs and a Carl Zeis lens which address the lens quality issue? Or am I reading a different thread :S

[DSE 3]

yes, we're talking about the AS 100.
And apparently we're talking exclusively about the GoPro 3 with ProTune enabled.

Bitrate is only a small portion of the conversation. The compression method makes more of an impact on quality.

Yes, Hellis, I get it. Somewhere the topic became obscured, I suppose.

[Hellis 0]

dirtbox

but isn't this thread for the new one due in March with a 50mbs and a Carl Zeis lens which address the lens quality issue? Or am I reading a different thread :S

It really doesn't matter. Even at 50 Mbps recording bitrate it's still only 25 Mbps when you play it (60 fps video played at 30).
In my opinion, if you have the power in the camera to record at 50 Mbps, play it at the same rate too.

DSE

yes, we're talking about the AS 100.
And apparently we're talking exclusively about the GoPro 3 with ProTune enabled.

Bitrate is only a small portion of the conversation. The compression method makes more of an impact on quality.

Yes, Hellis, I get it. Somewhere the topic became obscured, I suppose.

Sigh... as always with you.
Why do you think we are taking about Protune?


The recording and playback bitrate is the same on GoPro

[Maxx 1]

Am I getting it right, that the AS100 is always recording in 60p and you can't record in 30p @ 50mbps?

So then the only option so say which is better is to have some raw footage of both at the same setting and then we can compare it. Is there any raw footage of the AS100 already available?

[DSE 3]

Yes, the bitrate is the same between the two models, yet the codec is not.

The codec is the _most_ important aspect when talking about compression/bitrate. The codec is how (for example) GoPro claims "up to 45Mbps." They're using Cineform's codec to make that happen.

[FastRodriguez 0]

Does anyone have an idea on how to mount this camera on a G3? I had the As30V with the cookie sleeve but sold it today and I never really felt "confortable" with the side mount anyway. I was thinking about mounting it on top but the Sony sticky tape doesnt "feel" as strong as the go pro sticky mount.
Thanks!

"I don´t stop when I am tired. I stop when I am done"

[DSE 3]

If you don't like the Sony tape (which does hold well), then buy a sheet of VHB (same as what GoPro uses).
IMO, the side mount is preferable.

[Skydivesg 6]

FastRodriguez

Does anyone have an idea on how to mount this camera on a G3? I had the As30V with the cookie sleeve but sold it today and I never really felt "confortable" with the side mount anyway. I was thinking about mounting it on top but the Sony sticky tape doesnt "feel" as strong as the go pro sticky mount.
Thanks!

I just bought the AS 100 and put it in the old AS 30 side plate mount on my G2/G3. The camera is a lot smaller but the tripod screw that holds the waterproof box in place is more than sturdy enough to hold the camera in place.

I much prefer the side mount as I like to get my flip up lens all the way open while I'm flying my canopy. It's also less likely to get knocked off. I do some very tight exits with head jams etc.

And with the help from DSE I've been learning more and more about the settings. Thanks Spot.

Be the canopy pilot you want that other guy to be.

[FastRodriguez 0]

Thanks for the replies.

I did jump the side plate. But to be honest, I have read so many threads about snag hazards that it makes me feel a bit paranoid and so im not "confortable" jumping it.
The sticky mount has a bigger chance of being "torn" I guess if something should happen.
I will get a fuel or something similar with a cutaway soon but for now, for my peace of mind I feel a little better with the sticky mount.
Also, when I jumped the AS30V side mounted you could see my helmet on the side of the video and pics (see pic).

Thanks!

P.S. If you know of a side mount other than the cookie Sleeve id love to hear about it though, thanks! :)

"I don´t stop when I am tired. I stop when I am done"

[FastRodriguez 0]

Hey!
Thanks for the advice, but dont you get a chunk of your helmet in the pic/video?

Thanks!

"I don´t stop when I am tired. I stop when I am done"

[Skydivesg 6]

FastRodriguez

Hey!
Thanks for the advice, but dont you get a chunk of your helmet in the pic/video?

Thanks!

Not with my current setting because I've been using the 120 degree setting. I am changing though to the 170 setting for some one on one coaching.

But I don't care if is has some helmet as I'm only using it as a debrief tool.

Be the canopy pilot you want that other guy to be.

[chris74 0]

Hello Birds,
My season started 2 weeks ago and for my handycam videos, my new combo is a cookie universal hand mount & AS100 recording 170 deg 1080p 50i and that's a blast !
Blue sky
Taz
PS : I am a DZO