Hardware

Here with this hardcore amalgamation of metal, soft-touch plastic, and real-deal Gorilla Glass protection, you’ve got a camera that’s ready to be tossed around. Of course you’re going to want to treat this several hundred dollars worth of electronics with the care that such a price describes, but you should take rest in the fact that this device was indeed built to take a hit or two. The Drift HD Ghost is water proof to 3m (9.84ft) right out of the box, too – mind that correction in the hands-on video here:

The Drift HD Ghost works with what Drift notes is an “Enhanced 7 Element Lens Design”. In this case they note that with seven separate unique elements right up front, you’ll be able to capture high clarity video with “stunning” color no matter where you’re filming. You’ll be able to judge that for yourself in the set of images and video we’ve got below, should you care to take a look. This unit’s lens works at 170 degrees (or just 130 degrees at 60fps) and is fully rotate-friendly – and it’s so tightly connected you’ll never turn when you don’t want to!

In addition to being able to capture audio right from the built-in microphone on the device, you’ve also got a 3.5mm microphone connector coming out the back. This port is accessible with one of several in-box backs you can attach to the device, each of them with their own unique purpose. The back we’ve got on the device here also allows you to connect directly to your computer through the device’s mini-USB port. Under the back you’ve also got a mini-HDMI port (Type c) so you can play videos and videos you’ve captured straight through an HDTV!

Inside the box you’ve also got a goggle mount, curved and flat surface mounts, a universal camera clip, and a velcro strap. The battery you get with this camera is 1700mAh strong and has lasted us over a week at a time with regular use – it’s almost magical. And if you need more time away from civilization, Drift sells individual batteries you can swap in and out. Also in the box is a miniUSB cable, 3.5mm microphone extension cable, accessory travel case, and a simple guide (if you happen to need it).

Software

This device uses its own unique user interface and software as you’ll see plainly in the hands-on video above. It also connects easily with your iPhone right out of the box using wifi. All you’ll need to do is click in to the settings on the camera, turn on wifi, and connect to the camera as you would on your iPhone to any other wifi network – the HD Ghost is the projector of said wifi signal rather than the receiver. Control works then through your iPhone with the free Drift App straight from the iTunes app store – it’s just called “Drift App”.

This device also connects to an included two-way remote that works with a couple of buttons that make operating extremely simple. Turn it on, connect, and you’ll have only to press record from there. This “Drift Active Status Two-Way Remote” allows you to capture media from up to 30 feet (10 meters) away wirelessly in each of the device’s main capture modes: Video, Photo, Timelapse, and Photoburst.

In short – the software is surprisingly simple to use given the four-button control you’ll be using on the camera itself. Connecting remotely is even simpler than the basic on-device experience, too – anyone can do it. This control panel interface also works in 15 languages so the whole universe can have a try.

Video and Photos Examples

This device is able to capture 11 megapixel photos, but more than likely you’ll be working mainly with video capture at 1080p at 30fps. Our first example of video is captured from a shopping cart exiting a department store in the evening on an otherwise snow-covered clear day. Note that this capture was done with the straight out-of-box camera experience, no attachments or audio enhancements made – standard mic, that is.

The camera has thus far proven itself to be a generally generous video capturer, though not one we’d use outside of hardcore situations that require such protection for the unit itself. In other words, if we’re heading to a birthday party and where a gift opening needs to be filmed, it makes a bit more sense to simply use a smartphone. If we’re jumping off a cliff with a parachute, it’s time for the Drift HD Ghost. Below you’ll see a collection of photos captured with the device as well. Note that the wide-view angle is one of the stronger points of excellence on this device.

Wrap-up

The Drift HD Ghost is a strong device in its ability to attach to a variety of equipment and capture video and photos on-the-fly. It’s extremely easy to use, and outputs media that you’ll be more than pleased you captured. Drift Innovation is the sort of company you know will continue to support this device, also, into the future – so official accessories and replacement parts will be available to you for some time to come – they’re already several cameras deep!

Right this minute you’ll be able to pick up the Drift HD Ghost action camera for around $399.99 brand new. Again, it’s the highest-end solution offered by Drift and it’s a real contender in this space!

Have a peek at the Looxcie HD Explore as well as the ContourROAM reviews we’ve done in the past to see what else is available out there for you, and note that GoPro Hero series is also available to you as one of the high-end solutions in this space. Mobile connections are hot, hardcore action is a must, and right this minute the Drift HD Ghost is one of the top pacesetters for this type of device, without a doubt!

This machine is roughly the size of a harmonica, able to fit in your pocket quite easily with the included soft material drawstring bag. Also in the box is a Ball Cap Clip, a Helmet Mount, and a Bike Mount, the helmet mount including a couple of stickers and mounts so you can work with more than one helmet if you do so desire. Though the camera is not meant to be tossed down a flight of stairs, it is delivered in such a form as to be damage resistant – you wont have to worry too much about dropping this device out of your pocket onto a hard surface, essentially.

This machine connects to your smartphone via wi-fi this time around, working with a variety of apps like the “Looxcie Mobile app” as well as the Facebook app and LooxcieDesktop. Each of these apps works with iPhone and Android, Facebook, or Windows and Mac, so you’ll be compatible almost no matter what. You’ll be able to control what quality video you’re recording on the camera from your smartphone, turn on streaming (and collect video at the same time if you like), and connect to Facebook – where the stream will be streaming.

You’ll be connecting to your computer to move video to your machine with a microUSB slot that sits at the back of the device, the back being covered by a “water resistant” cover included in the box. The battery that attaches to this unit is a 1200mAh in capacity, this being able to stay alive for several hours (we’ve not run out yet) of video at a time. You’ll be collecting video on a microSD card that you’ll have to supply yourself, the slot under the battery inside the device able to hold up to 32GB class 10 microSD/microSDHC cards for lots and lots of video storage.

The camera’s sensor is able to capture up to 1080p HD, but you’ll be able to switch between that and 720, 480, or 320p resolution if you like. You’ve got a 650 mV/lux-sec low light-friendly sensor working here with automatic light correction (hooray!) for indoor/outdoor operation – you’ll see this in action in the hands-on video above. Each video clip is saved to MP4 format – that being iTunes friendly, they make sure to note – and is easily uploaded to any number of online services without conversion.

There’s a variety of additional accessories you can buy for this machine including a windshield mount and a carrying case, and the folks at Looxcie have been around long enough now that you can bet they’ll be keeping the ecosystem strong for some time. This machine will cost you a grand total of $329 USD if you pick it up online right this minute, and it’s available on the market now.

Hardware

This camera measures in at 113 x 65.4 x 48mm (without protrusions) and weighs 346g (including battery and memory card), coming with an exchangable grip that’ll be provided with accessories sooner than later and a lovely removable clip up top for your microphone, bright lamp, or whatever else you want to jam into it. There’s also a pop-up flash light that you can trigger with a physical switch or allow you pop up automatically when it’s needed.

The lens that this camera works with is a lovely Olympus i.ZUIKO DIGITAL 4x wide optical zoom ed at 6-24mm focal length and 1:1.8-2.5 aperture. Focal length equivalency to 35mm here is 28-112mm, and it’s entirely non-replaceable. The majority of the camera’s body is made of black metal and, in addition to the traditional buttons up top and on the back, you’ve got a hot-key switch and button up front that you can tell to do basically anything – quite handy!

This little monster keeps both its SD card slot and battery compartment in one place so you’re not messing with several different doors. There’s a plastic door on the right of the device that holds your micro-HDMI port (type D) and your USB 2.0 port – and that’s combined V and USB output, mind you, and the whole beast is able to work with Eye-Fi cards as well as FlashAir for wireless connectivity.

The LI-90B lithium-ion battery will last you several photo sessions at least, though working with video for hours will leave you with that – the display’s to blame for such a thing here. Unfortunately you do have to use the display to see what you’re taking photos or video of, as there is no option to turn it off entirely. You can work with the device’s Sleep Mode, on the other hand, which turns the whole thing off after 1, 3, or 5 minutes of inactivity.

The touchscreen is ready for full-on tilt action for your down-low and up-high photography needs galore. Pull it out and tilt it up if you need to take a photo under your desk, or pull it out and tilt it down to take a photo over the fence into your neighbor’s yard – once you’ve had such a display, you’ll never be able to go back to a flat, unmovable dinosaur. Your ability to touch the display to take photos and make adjustments remains regardless of the angle of the display – if you were wondering.

Software

The user interface you’ve got here works with a combination of physical keys and the touchscreen, but you do not need to use the touchscreen at all if you do not want. On the other hand, you do need to press the physical “on” button to be able to even begin using the touchscreen – after that though, feel free to just tap away.

While some options are buried rather deep in the menu, the most-used items are right up near the top where you need them, and essentially anyone is going to be able to make the basics happen. Make no mistake, though, this device is not for beginners. You certainly can just switch the whole machine over to Auto and have at it, but making precise adjustments here isn’t a “dummy-proof” situation.

That said, we’ve had little to no trouble getting to each of the featured items we wanted to try out, and the most common shooting modes and environmental changes were extremely easy to access.

Video and Photo Samples

First what you’re going to see is a simple showing of the camera’s video-capture abilities in a rather simple situation with both light and dark, far and near subject matter. Pay attention to how quickly the device focuses on the objects at hand and the adjustments to lighting conditions for a basic idea of how high quality your average video is going to be.

Then have a peek at a collection of shots of the same object showing off the effects and special abilities of camera. Note that these are all of the same metal door we had a look at in the basement and in the dark back in our camera comparison between the Nokia Lumia 920 and the Samsung Galaxy S III – this is also a good opportunity to see how well this Olympus camera handles low light in many different modes – and with odd effects turning the whole party upside-down.

Then have a peek at a set of shots in many different sorts of environments with high-quality HD output. Note that in the most basic sense, this camera has shown itself to be every bit the beast that Olympus claims it is, taking high quality photos and video with great ease. Colors appear to be as accurate as any of the highest-quality cameras we’ve tested at the price range and size we’re working with here, and no abnormalities have been discovered in any way.

Wrap-up

This device presents a collection of abilities that make it a camera worth picking up if you’re a photo enthusiast who wants to get into the big leagues without paying monster amounts of cash for high-quality photo gear. At £479.99 / $599.99 and available in any color just so long as its black, this is just the little beast you’re going to want to toss in your backpack or purse.

The touchscreen interface is simple and there when you want it, but you’ve got all the physical buttons and controls you could possibly want or need if you’re not all about the touch. The user interface is simple the understand, adjustments are simple, and the output is great in the end – and best of all, it’s an major name-brand camera so you know they’ll stick with it as far as accessories go – latch on!

Hardware

Looking down on the camera you’ll see a “main dial” to the right of the main hump, then another sub-dial to the right of that around the shutter release. On the left of the hump you’ve got an exposure mode dial as well. The right-side dials are made to be accessed by your thumb and your index finger, while the one on the left is made to be accessed by your thumb on your left hand. Each of these dials are extremely easy to work with.

The three buttons up top of the device are also easy to use, one for your shutter, one for video recording, and a third labeled Fn2. This third button is programmable and can be tied to a set of operations such as auto exposure lock, ISO, and white balance.

As far as that big hump in the middle; you’ll be using it if you’re not interested in working with the giant display on the back for a viewfinder, but the main bulk of the bump is made to house your accessories to attach to. So it’s an Electronic Viewfinder (EVF), accessory port, and hot shoe all in one. You can plug in a bluetooth module, a microphone adapter, or a lovely gigantic lamp, all of which will fit snug.

There’s a rubbery thumb-grip up on the back right and of the device, otherwise you’re working with hard plastic. Olympus does offer a HLD-6 grip and battery extender, this accessory made not only for those of you who plan on being in the filed for an extended time, but for a better grip for the large-handed and sweaty-palmed. Those of you that’ve got giant hands or trouble gripping small cameras, you’ll want to seriously consider this $300 accessory. This could be a bit of a bummer for those of you looking to stay in the $1300 range (that being the price of the kit that includes the lens we’ve tested as well,) but it’ll be worth it in the end.

The lens we’ve got is the M.Zuiko Digital ED 12-50mm 1:3.5-6.3 zoom lens, and it’s a fabulous little number other than the quick-release for the mechanical zoom. You can either set it to auto or manual zoom by loosening the ring in the center – it’s a bit too easy to do for my taste. That said, it is nice to be able to do this on the fly, just so long as you’re not tossing the thing around and getting sand in the gears (never a good idea anyway!)

Another item that this reviewer isn’t that fond of is the sensor that detects when you raise the camera to your eye. This sensor works fine for those that are willing to take the time to get used to it, but if you’re switching from camera to camera when those other cameras don’t have the sensor in place, you’ll be just a bit annoyed when your screen is flipping on and off. I’ve had similar feelings about recent Android phones that do similar things as well – I’m certainly more of a manual sort of guy.

You can also decide to use the display or the EVF interchangeably outdoors – with the display being OK in the shade but not so perfect for the brightest of brights in the middle of the day.

You’ve got multiple exposure capabilities in this device, Art Filters and effects that you might never use, and the ability to preview these effects before you shoot. When you’ve gotten past the fun bits, you’ll find that the Olympus OM-D E-M5 is one heck of a high quality photo shooter. Compared to other micro four thirds cameras we’ve seen and tested, this device is right near the top if not the best overall.

You can shoot photos at 9fps, you’ve got 5-axis stabilization (that’s the sound you’re hearing when you’re focusing in), and the ability to shoot photos with your shutter release or by tapping the touch-screen right up front and center. As you may have realized already; this camera may look retro, but its abilities are anything but.

The software you’ll be able to use with this camera for processing Raw files is just a bit more limited than some might like. Though Adobe Lightroom and Corel AfterShot Pro, and of course Photoshop will work fine, Apple’s products are less lucky. Both iPhoto and Aperture have no ability to support this camera’s Raw files. Don’t worry though, the JPEG shots this device shoots are more than high quality enough for everyone other than the most hardcore photographer.

Photo and Video Quality

Have a peek at an example of some shots taken with the camera to get an idea of how powerful this shooter is. Below the gallery you’ll also see an example of some basic video footage taken with the camera as well.

The video below is taken at full resolution on a bright, sunny day. Pay special attention to the on-the-spot focusing and light changes as well as the subtle sounds of summer.

Wrap-Up

With such knock-out features like 5-axis stabilization in such a tiny body as this, you’ve got one heck of a mobile-minded shooter on your hands. This device is great for those of you out there looking to amp up your game with your old OM, and with Olympus dedicated to the future of this line, as they always are, you can rest easy knowing you’ll be able to pick up accessories galore along the way. This camera certainly isn’t made for rough-and-tumble photographers as its display on the back being on hinges, but you’re a careful shooter, right – go for it!

You can pick this device up for $1000 with the body only or for $1300 as a kit with the 12-50mm 1:3.5-6.3 zoom lens, that being the setup you’re seeing above (with all photos being taken with that lens as well. Grab if from your favorite retailer today!

Hardware

Dropcam’s is rightly proud of the HD: its first-gen hardware, the Echo, was designed externally, but the company brought development in-house for this new model. The end result is something that looks far more consumer-friendly than the blocky white Echo. The Dropcam HD itself is a small glossy black puck that slots into a detachable metal stand with a posable base: together, they’re 4.5-inches high and about 3.15-inches across.

The hinged base is stiff enough to stay at whatever angle you set it to, and you can tilt the Dropcam HD itself in the stand to fine-tune things. Power is courtesy of a compact AC brick with a long microUSB cable up to the camera itself; unlike the previous Dropcam models, there’s no ethernet option, only WiFi b/g/n, though that’s no great loss for the consumer market. A rubber foot for the stand has a clip to keep the power cable in place.

Setup requires plugging the Dropcam HD into your computer via USB, creating an account through Dropcam’s site and punching in your WiFi network credentials. After that, it automatically logs on overtime it’s powered up. There’s a 12-LED infrared light array around the lens, for nighttime use, along with a speaker and a microphone.

Service

Part of the easy setup of the Dropcam Echo is the absence of any local software to install: everything is accessed – and stored – in the cloud. The company offer several tiers of service: the free “Basic” package allows you to log in and view live streaming video, either through the regular browser or the iOS app, but no recording functionality. There are also email and mobile (iPhone-only) alerts triggered by the sound and motion sensors. For $9.95 per month and the “Plus” package you get live streaming together with seven days of archive access (and the ability to download select clips or photos to your own computer).

Finally, the “Pro” plan offers 30 days of online recording for $29.95. It’s worth noting that the subscription fees increase per camera you add: $4.95 per extra for the Plus plan or $14.95 per month for the Pro plan. If you have, say, three cameras and want a month’s historic access to the footage each records, you’re looking at almost $60 per month. The Android and iPhone apps themselves are free and work with all tiers of service, though there’s no iPad-specific version. If you have a device with Flash support in the browser, you can log into the Dropcam site and stream video that way instead.

Performance

Where the original Dropcam was limited to QVGA 320 x 240 resolution video, and only offered streaming two-way audio on a more expensive model, the Dropcam HD promises both 720p HD footage and sound as standard.

Unfortunately video quality is only average, suffering particularly in low-light, though it’s reasonably smooth thanks to the 30fps refresh rate. Audio quality is fair, and the microphone is actually quite sensitive, though we noticed a significant amount of crackling both through the desktop UI and the mobile apps. The speaker – used for two-way audio – is small and subsequently suffers very low volume, and there’s no audio output for plugging in a more vocal system. With observed a roughly 2-3 second delay on audio.

Desktop

iPhone 4S

Galaxy Nexus

Motion and audio detection are both very sensitive, and lack controls to adjust exactly what they’ll respond to. Each will mark the online timeline (in the Plus and Pro subscription packages) to indicate when noise or movement was spotted; both packages, plus the Free plan, can optionally send out an alert to let you know something has happened. Their effectiveness is generally down to where the camera is positioned, and if you have pets you can expect plenty of false alarms.

Still, the automatic flagging makes reviewing footage a lot more straightforward than scrubbing through the entire timeline, and you can request a download clip of any section that comes through in MP4 format with audio.

Wrap-Up

Setup, convenience and – if you opt for a subscription – functionality can’t be criticized in the Dropcam HD. The camera is compact, discrete and easy to place, especially if you use only the puck central section, which blends reasonably well into the shadows, and the desktop UI and mobile apps are straightforward to use.

Although the subscription-free option is welcome, we can’t really recommend it for any but the most casual of users. Even with the real-time movement alerts, you’ll probably struggle to access the webcam feed quickly enough to see what has been happening; that’s when the online DVR feature comes in most useful.

That said, the $149 starting price for the Dropcam HD is just that: a starting figure after which you have to take into account subscription fees. Dropcam offers a year’s access to the Plus plan for $99.95 if you pay upfront; still, scale up to a few cameras spread about the house, as many home surveillance enthusiasts would prefer, and you’re looking at a few hundred dollars each year. Contrast that with Logitech’s Alert camera system, which offers local DVR-style storage on your home network (and premium remote access to recordings for $80 per year, per system).

The Dropcam service is certainly easy to use, and there are handy sharing features, which allow you to send clips and images to others – great for showing grandparents what the baby is up to – but it’s an expensive way of doing things. In the end, you pay for the privilege of Dropcam’s simplicity.
-dropcam HD

Hardware

With an RRP of $269/£190 (street price closer to $213/£156) the TL-SC4171G is certainly not the cheapest IP camera around. Still, you do get a few extras: integrated WiFi b/g for a start, alongside the regular 10/100 ethernet, as well as pan/tilt support for remotely controlling the view. 4.4-inches tall, the lens assembly resembles a glossy white plastic tennis ball; TP-LINK throw a wall mounting kit in the box, or you can simply stand the camera on a window-ledge.

Aside from networking, connectivity includes a 3.5mm input for an external microphone or line-in audio, a 3.5mm output for external audio, and a terminal block for wiring up an optional alarm input and an optional output. The 0.3-megapixel (640 x 480) f2.0 CMOS sensor has a 48-degree horizontal, 36-degree vertical lens and is surrounded by a ring of twelve infrared LEDs that automatically turn on in low-light situations. There’s also an integrated microphone.

As for the pan/tilt base, the TL-SC4171G can rotate 354-degrees and tilt 125-degrees. There’s no optical zoom, but a 10x digital zoom is supported in the browser-based viewer; still, when you’re dealing with 640 x 480 resolution to begin with, blowing that picture up has an obvious loss of detail.

Performance

Setup is straightforward: plug in the AC adapter and the supplied ethernet cable to your router. PowerLine networking would be a neat addition, but WiFi is probably of more use to most. TP-LINK supplies an “Intelligent IP Installer” app on CD to locate the camera on the network, but you can also check what IP address your router has assigned and punch that into a browser instead. The web-based settings page isn’t exactly the height of UI design, but it’s functional: getting WiFi working is a simple matter of scanning for your network and then punching in the access code.

From then on, accessing the webcam from within your home network is straightforward. You can set up user accounts or simply use the main admin account, and your first view in the browser is a live feed from the camera. Unfortunately not all browsers support audio, in fact you’ll likely need Internet Explorer which leaves Mac users in the cold. The bundled Windows IP camera surveillance software can bypass that restriction, however, and supports views from up to 16 cameras.

Motion control is via a cluster of directional buttons; you can also set a default view that’s automatically returned to with a click of the center button. Multiple preset views can also be set, as well as a “patrol” pattern, where the camera sweeps its gaze through a preconfigured route. There are also various warning options, including automatic video recording either on a set schedule or when movement is observed, and can fire off an email to a preset address when that happens.

Setting up remote access proved trickier, requiring some tweaking with our router and the IP and port settings in the camera itself. Once we’d managed that, however, we could log in from our smartphone remotely and stream audio and video across a 3G connection. Smoothness obviously depends on the speed of your connection, but we had no problems. Alternatively there are various third-party IP camera apps available for most big smartphone platforms.

Image quality is limited to VGA because of the sensor, using either MPEG4 30fps or H.264 15fps codecs. Still, reasonable detail if you avoid using the digital zoom. Colors are muted in natural lighting. The IR array can be set to automatically turn on in low-light conditions or triggered manually: TP-LINK say it has a 10m range, though we found the usable range was more like half that. There’s also an audible click as the low-light system turns on, which can be distracting if you’re near the camera.

Wrap-Up

Webcams are cheap, and so it’s easy to dismiss the TP-LINK TL-SC4171G as too expensive. For a wirelessly-enabled, motorized IP camera, however, it’s something of a bargain. The low resolution means this isn’t the webcam you’d choose to stream your next video webcast, but the range of monitoring tools, motion alerts, remote access and other surveillance-centric abilities make it a capable addition to a home or office security setup.

Hardware

Like previous models, the ContourROAM design follows function more than form. A simple barrel design, with the lens at the front, controls have been slimmed down to just an Instant Record Switch, which automatically powers on the camera and starts recording. A flip down panel at the back reveals a microSD card slot, reset and format buttons, and a microUSB port for charging and syncing.

There’s no preview display, but the wide-angle 170-degree, f2.8 lens can be rotated around 270-degrees, and has an integrated laser line to help make sure it’s pointed at the right target. Mounting is either via a standard tripod or one of Contour’s Trail mounts, allowing you to slap the ContourROAM onto a safety helmet, roll cage or handlebars.

The main changes between this and other Contours is that it’s waterproof to 1m (for up to 30 minutes), and has a lens that’s flush to the front of the camera; however, it also lacks GPS. It’s easier to use, thanks to that single Instant Record Switch, though the ContourROAM does lack the two preset video quality settings as on the Contour+. In fact, if you want to change the bitrate or resolution, you need to plug the ContourROAM into your computer and run the configuration app.

Performance

Though it’s not the first camera you might reach for to document a family vacation, the ContourROAM fits its brief very well. We’ve left it to rattle around unprotected – bar a lens cap – in a gadget bag, with no resulting scratches or damage, and its survived dunks into water too. The simple control system helps bypass any “it wasn’t turned on” missed moments.

Framing a shot takes a little getting used to, though the laser sight helps. Since there’s no preview display there’s some guesswork involved, particularly when you realize that the field of view changes depending on the quality settings. If you’re recording Full HD 1080p, it’s 111-degrees (either wide or tall, depending on the angle you’ve twisted the lens to) whereas in Tall HD 960p mode it broadens out to 135-degrees. Maximum width possible is 170-degrees.

As you can see in our video samples, the end result is surprisingly good. Full HD is crisp and, while vibrations and knocks can certainly travel through depending on what you’ve attached the ContourROAM to, with a steady mount it’s capable of very watchable footage. Even underwater clips are successful. On the downside, audio recording isn’t great and there’s no way to plug in a separate microphone. We’d love it if Contour added Bluetooth to the camera and allowed us to use a wireless mic.

Wrap-Up

At $199 the ContourROAM isn’t the cheapest rugged camera around, but you’re getting more for your money than just a tough, waterproof housing. The convenience factor of the single control makes it just as useful as a second eye when you’re manually operating a primary camera as it is for sports recording when you don’t want to be messing with a panel full of buttons. Best of all there’s no sacrifice of quality in the name of durability.

It’s definitely a niche product – this isn’t the point & shoot camcorder for your mom, unless perhaps she’s a snowboarder as well – but if you need ease of use, rugged construction and the ability to shoot up to Full HD video without worrying about the occasional water mishap, the ContourROAM ticks all the boxes.

Related video: Test drive Contour+ & GoPro: Lotus EVORA S and Infiniti Hardtop Convertible G37

First Impressions

When I was first taking a peek at this device, I wasn’t sure if it was a projector, a Bluetooth headset, a laser pistol – or what. This immediately drew me in. I love oddities though, and I’m not entirely sure of my fashion sense – so trust me when I say that you’ll have to make sure you’re comfortable wearing this bit a headgear for yourself. I’ll get a bit further on how it’s going to fit you in a moment, but for now, keep in mind that this isn’t an invisible piece of equipment.

That said, it’s a completely lovely looking piece of industrial design, and I do consider myself to be a bit better than a novice at judging that. The placement of the buttons, the fact that there’s a total of 4 buttons, two lights, one earpiece, one miniUSB, and one camera all on this little J, that’s amazing. It all seems as one, as it should. White and charcoal coloring with accents of red – that’s also tops.

All you’ve got to do is charge this device by plugging it in by the base, let it sit, and press the earpiece button to turn it on. That’s it. Once you’re there, you can either choose to record using the record button, OR – and this is what we’ve done in this entire review – you can use your mobile device to control the camera. Spoiler: it works very, very well, and is totally slick.

Ear Placement

When you first bust this device out, you’re going to wonder how you’re going to make it fit around your ear. As it turns out, the area between the earpiece and the back bit is not rigid, it’s maneuverable. Once you’ve pulled it open, you can place it on your hear and sort of clamp it tight again so it wont go anywhere once you’re wailing your head from side to side (don’t do this, but know that you can.) There’s certainly ways to apply this device to your head that will make you have an earache by the end of the day, but it’s just as easy or easier to make it fit the correct way, the way that’ll have you forgetting that it’s there 5 minutes after you’ve put it on.

Activation

When I use the title “Activation” I don’t mean with your wireless company – this isn’t the sort of device where you’ve got to pay for it by the month, it’s a one-time purchase and that’s it. What I mean is that you’ve got to turn the thing on. This can get a little confusing if you just take it out of the box and start pressing things since there’s no screen to tell you if you’re doing things right or wrong. What you’ve got to do first is make sure the thing is charged up. Press the bottom button or the earpiece button to see. Once you see the tiny green light blink from the bottom of the device, you’re pretty much ready to go – at least for power.

Next what you’ve got to do is hold the bottom button, the top button, and the back button all at once until the green light is blinking slowly. This means that your device is sending out a discoverable Bluetooth signal. You won’t have to do this if you don’t plan on using the device with your mobile phone. We did though, so this is the process. The Looxcie device popped up immediately inside our Bluetooth options screen on the HTC ThunderBolt, our device of choice, and connection occurred basically instantly. Once it was connected, it’s placed upon the ear and left for a few moments while you download one or two Looxcie apps for free.

There’s LooxcieMoments and LooxcieCam App. To start, you’ll probably want the camcorder as it allows you sort of a “live viewer” so you can adjust the camera on your head so that it’s straight. Once you’ve got the app open, it’ll take just a moment to connect, again, to the device. Once it’s connected, you wont have to connect again at all unless you shut one of two devices off. Looking into your screen on your phone now will show you exactly what your Looxcie device is seeing. More than likely you’ll have to adjust a tiny bit (left or right, twisting the camera as it’s still attached to your ear) to make sure it’s level.

Then you’re ready to go!

Recording

You’ve got two options for recording, the first being LooxcieCam App, which records at your full size options, we’ll get back to this in a moment, or LooxcieMoments, which records slightly smaller and at a smaller frame rate, the videos is produces supposedly better optimized for sharing via the social networks it can easily connect to like Facebook or YouTube. Note: Facebook was a little bit spotty with us because we kept wanting to record giant videos, but YouTube never gave an error at all. LooxcieMoments is fun for if you’d like to show people moments of your life that you’re not going to really want to keep for later reference. It might also be a very viable option for if you just NEED some head-based video and audio and you’re running low on space in the device.

Also note: you can use the device as a Bluetooth headset – aka you can answer calls and make calls. Handy!

Information Storage

When you’re using your device strictly with the LooxcieMoments taking videos at HVGA, 15 fps, 800 kbps, the folks at Looxcie say you’ll be able to grab up to 5 hours of video on your 2 GB device. This 2 GB is inside the camera, but you’ll also be able to access these clips on your smartphone device. With LooxcieCam App or with the camera used by itself with no app assistance, you’ll be able to record 1 hour. This is all INSIDE the device itself. When you’re using your phone, you’ll be able to access your videos and watch or share them, but only if you’re connected via Bluetooth to the device. If you’d like these videos on your computer, all you need to do is download the free desktop app that’ll transfer all the videos over. Otherwise what you’ll be doing is moving them to your YouTube or Facebook with the data plan on your phone.

Apps User Interface

The two apps you’ll be using on your mobile device (the phone, in this instance,) are exceedingly simple and basically impossible to not understand. You’ll be recording, viewing, and even editing in no time! Editing is limited to clipping bits out of videos, for example if you’ve got a few moments of prep time after you’ve pressed record but before you’ve started speaking, but what more could you ask for? The only limit we can see here is that once Looxcie gets working on tablet computers, they’re going to have to make it simpler to transfer video from the Looxcie device to the tablet itself – people WILL be wanting to use things like iMovie and Video Editor to work further with the clips they’ve made.

See a few of the interface bits here:

The two main differences between the apps is your ability to view what your camera is seeing outside record mode, this feature only available on the LooxcieCam App, and the video size. This will change soon, as they’re activating the large size clips on LooxcieMoments soon.

Video Quality

Have a peek here at several different environments and instances of use you might encounter or try out when you’ve got the camera in your possession:

A couple of notes: I have hair that reaches down to my shoulders in all three of these videos – keep an eye out for whooshes of beautiful brown flowing wafts. Second, the dog you see in one of the videos is Susi, your humble narrator’s friend – her name means “wolf” in Finnish. Finally, each of these videos were filmed at 480p at 30fps and transferred onto the computer via USB directly from the Looxcie device – aka this is the highest quality video options and transfer.

Wrap-Up and Final Verdict

This device costs $200. While I would judge the perfect price point for this device to be right around $150, the full $200 is fair, especially since the Looxcie group appears to be sending out pretty regular updates / bug fixes / etc for free. The device is heavy-duty enough that you wont have to worry about handing it over to your child to play with. Not that you’d let a tiny child use technological doodads without supervision, but it’s comforting to know that this isn’t like a smartphone where they’re almost certainly going to bash the screen in the first chance they get.

It doesn’t have the best video quality I’ve ever seen on a device this size, in fact one of its taglines is “It’s not HD, it’s ASAP,” but depending on what you plan on using the camera for, it could be very, very useful and eventually essential. Think of all the sweet spy stuff you could accomplish! You’d have to tape over the red record light, of course… But speaking from experience, having used this camera over a period of a couple weeks, noone thinks you’re recording them – or if they do, they certainly don’t act as though they do. The two aunts of mine you see in the Verizon store in the video above had very different reactions to the camera when they first saw it on my head, but neither of them acted odd when I had it recording. One said nothing of it, the other said “what in the heck do you have on your head now?!”

Be brave! Pick one of these little things up. They allow you to record things in a way you’d only otherwise be able to by holding a big fat camera up to your face, and this is much lighter and less obtrusive. And it comes with a little black bag you can use when people realize that the device isn’t implanted into your head. It’s all the headcam action you could want, in a cute little package!

Hardware

Side by side with the GF1 and it’s clear that the new GF2 is an evolutionary design. The family resemblance is obvious, but Panasonic has also followed the trend in Micro Four Thirds cameras to shrink down the chassis: in fact, the GF2 is supposedly 19-percent smaller and 7-percent lighter, while still accommodating the 12.1-megapixel 17.3 x 13 mm sensor.

The innovative dual-hinge pop-up flash is still in place, triggered by a button on the rear panel, and there’s a hot-shoe with a port for the optional electronic viewfinder accessory (the same model as for the GF1). Storage is via SD/SDHC/SDXC card, while ports include mini HDMI and either USB 2.0 or AV Out via included adapter cables. A stereo microphone is on the top panel, just to the right of the hot-shoe, but there’s no external microphone input and the GF1′s remote release socket has been removed.

We’ll go into controls in the next section, but most obvious is the new 3-inch touchscreen on the rear of the GF2, which is used for operating the bulk of the camera’s functionality. It’s fixed, rather than angle-adjustable as on Sony’s NEX range, but has a new anti-reflective coating which makes for easier outdoor viewing than the screen of the GF1.

Inside there’s a new version of Panasonic’s Venus Engine FHD for image processing, together with an extended ISO range that now tops out at ISO 6400. Video recording has been boosted, with the GF1′s 720p 60fps mode joined by a new 1080i 60fps mode. The older camera only recorded mono sound, as well, which has been upgraded to stereo on the GF2, and the recording volume itself can be adjusted in the settings.

Two GF2 SKUs are available, following the example of the GF1, with the camera body paired with either a 14-42mm lens or a 14mm prime lens. Also carried over is the lack of in-body optical image stabilization, which is instead offered by certain lenses in Panasonic’s range. The 14-42mm lens supports it, but the much smaller pancake lens does not.

While we’re generally in favor of size-reduction, one unfortunate consequence is that the GF2′s battery is smaller than that of the GF1. That means fewer photos per full charge, Panasonic estimating 300 to 320 shots depending on which lens you’re using. We can’t argue with the GF2′s speed, however. Start-up is less than a second, auto-focus is one of the fastest we’ve seen on a Micro Four Thirds camera, and back-to-back shots are possible in around 1 second intervals. Alternatively there’s a burst mode for 3.2 frames/sec; it will grab up to 7 frames if you’re trying to save RAW files, or can shoot JPEGs indefinitely.

Controls

The biggest change is the new 3-inch touchscreen on the back of the GF2, a 460k dot 3:2 aspect TFT LCD which, while requiring a reasonably firm press, is responsive and straightforward. Physical control lovers may find the new LUMIX a step backward, however, since Panasonic has used the touchscreen to retire several of the hardware controls that stud the GF1.

Most notable is the mode dial, previously to be found up next to the shutter release, and the functionality of which has been subsumed into the touchscreen menus. Only a single function shortcut remains, a one-press button to toggle the GF2 into Intelligent Auto (iAuto) mode, which is backlit in blue when active. The power switch and video record button are still present, but the new stereo microphone is where the burst/timer shot switch used to be.

Rear panel controls have also slimmed down. The thumb-dial is still present – though we’d still prefer it to be slightly easier to turn and to protrude from the chassis a little more – as is the four-way control, playback button and quick-menu/function button, but others have been lost in the refresh. The AF/MF toggle and AF/AE Lock buttons are particularly missed.

Panasonic’s menu UI isn’t the most intuitive we’ve used, though after a while we grew familiar with its nuances. It’s possible to pull out shortcuts to the most commonly used controls and pin them to the quick menu for more straightforward access; you can also flick through the menus using the directional controls rather than reaching over to swipe at the touchscreen.

We’re left in two minds about the GF2′s controls. Coming from a GF1 there’s an obvious learning hurdle to get past, and as touchscreen smartphones have shown us, there’s a lot of flexibility on offer when you make buttons virtual rather than physical. Nonetheless, it’s arguably more immediate to twist a mode dial or quickly thumb a manual focus button when you’re in the midst of shooting frames, an immediacy that’s somewhat lost when you have to stab through various layers of menus. The touchscreen will probably make things easier for first-time users, but perhaps also encourage them to leave the GF2 in iAuto mode rather than experiment with the various manual modes on offer.

Image Quality

That reluctance to experiment would be a shame, because the GF2 is capable of some highly impressive photos and a fair degree of manual control. Obviously there’s RAW as well as JPEG output – as well as a hybrid mode which stores both formats – but the Panasonic’s JPEG system does a decent job on its own.

Given the GF1 struggled with visible noise at ISO 800 and above, the GF2′s new ISO 6400 mode is only really useful to impress on the spec sheet. In the more normal range of ISO 100 to 400, however, the LUMIX does far better, especially if you take the extra time to tweak the RAW files in post-production. The pop-up flash isn’t going to win any awards for strength – it’s rated at 6m at ISO 100 – but there’s little in the way of red eye.

As for more out of the ordinary shots, the GF2 supports a maximum shutter speed of 60 seconds, and there are various My Color Modes for tweaking the final picture. As well as eight presets – which work for stills and in movie mode – including Expressive, Retro, Pure, Elegant, Cinema, Monochrome, Dynamic Art and Silhouette, there’s a custom mode for your own balance of color, brightness, saturation and contrast.

The GF2′s contrast AF system offers face detection, AF tracking, 1-area and 23-area focusing modes, as well as touch-to-focus using the touchscreen. You can set the Fn button to lock the auto-focus, though that does then mean you lose the Q.Menu shortcut. As for AE, that uses a 144-zone system with a range of automatic or manual settings; the GF2 showed a tendency to over-expose frames, but you can easily notch that down with the thumb-dial.

Video Quality

Though there are plenty of arguments over whether 720p HD is in fact preferable to 1080i, and while we’d have liked to have seen 1080p on offer, in the end the GF2 offers a choice between the progressive and interlaced modes and users can take their pick. Footage is recorded in AVCHD format or Motion JPEG, and can be played back on a display from the LUMIX itself thanks to the HDMI output; you’ll need to supply your own HDMI cable, however, since that’s no longer bundled.

One of the benefits of Micro Four Thirds cameras over traditional DSLRs is the flexibility available during video recording, and the GF2 is no different. As in the still mode, there’s tap to focus support using the touchscreen, and while they’re not the quickest transitions we’ve seen the overall affect can be quite visually pleasing. There’s also less focus hunting than on some rivals.

Actual footage is crisp and sharp, though with the pancake lens it can be jumpy at times thanks to the absence of optical image stabilization. Mount the GF2 onto a tripod, however, and it’s far more successful. Audio can be hit and miss, however, and with no microphone input there’s no way around that. We’re hoping Panasonic release a microphone adapter for the hot-shoe for some extra flexibility.

Wrap-Up

The GF1 didn’t just count the SlashGear team among its admirers; in fact it was one of the most loved Micro Four Thirds models around. That leaves the LUMIX GF2 with plenty to live up to. Panasonic has clearly decided to shift the GF2′s positioning to target the consumer crowd, with a greater focus on the iAuto mode and the relegation of more complex – and often intimidating – manual controls into the new touchscreen menu structure. Those manual options are still there, of course, but they’re arguably harder to access on the fly than the various physical buttons of the GF1.

Still, there’s plenty on offer to make up for the changes, not least the physical decrease in weight and bulk. Based on the premise that the best camera is the one you have on you, the shrunken GF2 and its slimline pancake lens stand an even greater chance of slipping into a coat pocket than its predecessor, while still offering solid image quality. Sony’s NEX line is smaller again, but chubby lenses and the absence of an integrated flash have their own drawbacks.

GF1 users, then, are unlikely to see the GF2 as a sensible upgrade path, but for those looking to step away from compact cameras Panasonic have created a very legitimate option. While we’d hope such users would at least occasionally stray from the iAuto mode, the truth is that the GF2 does a decent job at managing its settings when left to its own devices, leaving the manual modes for more challenging scenes such as low-light or nighttime. At $699.95 (with the 14mm pancake lens) it’s not cheap, but it opens the door to flexible lens options and a solid core unit with plenty going for it.

In comparison to the well-received E-P2 the new E-PL1 gets an integrated pop-up flash and buttons to quickly flip into magnified live view and start recording video. Meanwhile, it also has a smaller preview display (2.7-inches versus 3-inches on the E-P2), a slower maximum shutter speed (1/2000 vs 1/4000s), slower maximum flash sync speed (1/160s vs 1/180s), 3-stop image stabilization (versus the E-P2′s 4-stop) and a consumer-grade plastic chassis instead of brushed aluminum and stainless steel construction. The integrated microphone records mono sound instead of stereo, and controls are squeezed into a single dial rather than two. Finally, maximum ISO setting is reduced from ISO 6400 to ISO 3200.

Physically, while the E-PL1 obviously lacks the hand-feel of its metal-bodied sibling, it feels anything but cheap. Build quality is high, and we reckon that – unlike most point-and-shoots – the budget PEN could withstand a drop without undue damage. The buttons, dials and general grip design are very well constructed, with the main mode dial having a strong spring-tensioned feel to it; you need to grip it firmly and twist it hard, which we actually prefer far more than what you’d find on an entry-DSLR. Even the battery compartment opens and closes with a clear snap, neatly done despite the cheaper construction.

The battery itself is the same BLS-1 Lithium-ion rechargeable unit as in the previous PEN. A fully drained battery took less than three hours to charge, and then lasted us three days of shooting short movies and still images while covering the recent Qualcomm Uplinq 2010 mobile conference. Storage, meanwhile, is reliant on SD/SDHC memory cards. In-camera formatting took place at the same speed as our professional Canon Mark IV DSLR, prepping a 32GB SanDisk 30MB/s SDHC card in less than 4 seconds (high level setting).

Unfortunately, our main ergonomic complaint concerns the new direct movie record button. While it’s generally handy to have, on the PEN E-PL1 it’s far too easy to trigger accidentally; a little more depth or slightly more resistance would make all the difference. As it is, you can remap that button so that it does nothing at all or toggles the LCD backlighting.

As for the LCD itself, it has a sufficiently fast response rate and provides enough shooting information for advanced users, though direct sunlight does wash it out and can make outdoor photography trickier. Ambient lighting, though, is fine. Olympus also outfit the E-PL1 with an accessory port that can be used with an electronic viewfinder, external flash or microphone; there are also two ports on the side, first a combined USB/AV-out and then a mini-HDMI for hooking up the PEN to an HDTV directly.

The new flash is easily triggered with a button just above the top left corner, and presses back into place to switch off. It’s also possible to use the flash for direct control of multiple external flash units wirelessly, such as the FL-36R and FL-50R, through we’re not sure how likely mainstream consumers might use that functionality. Its effectiveness – and indeed usefulness – varies depending on which lens you’re using. With a wide angle lens, for instance, it can be tricky avoiding shadows cast by the lens hood, such as the LH-55B on the Zuiko Digital 9-18mm ultra wide angle zoom. Even with the hood removed, the shadow is well defined at the zoom’s widest end. Still, that’s a common problem photographers have to deal with when they’re relying on pop-up flash units.

i-Auto

Olympus were keen to remind us on numerous occasions that the E-PL1 is tailored for beginners seeking out a prosumer camera capable of high image quality on a budget, and the i-Auto mode is built specifically for that. The Live Guide mode uses basic language for the menus and allows amateurs to tweak saturation, white balance, brightness, background blur and express motion, with the effect of their settings shown in the live view preview before the picture is taken. On-screen guidelines and tips give hints on how best to compose the shot and what sort of settings might benefit from adjustment. Perhaps the most interesting feature is the “express motion” setting, which simulates a motion blur effect on the LCD screen which more advanced photographers would recognize as panning blur. Usually you’d have to play with lower shutter speeds to create a directional blur effect, but the E-PL1 does a fair approximation itself. Unfortunately, even if you’ve found your new favorite settings in i-Auto, they’re only applied once to that particular shot. The camera automatically resets to the defaults for the next frame (unless several images are taken in one continuous-burst).

The PEN E-PL1′s panorama mode is only half managed by the camera itself. Sequences of images are stored in the camera first, with stitching done in post-processing with the bundled Olympus Master 2 image editing software. The app does a good job putting together the scene, though of course nothing is fully automatic; you first have to select images to be stitched, and then afterwards crop off the extra canvas area for a clean frame. Zoomed in to a pixel-peeping level, the edges in-between images are visible but the result is still quite pleasing after being suitably resized.

Performance

The camera goes from boot-to-ready in little over a second, with focusing speed almost instantaneous when in decent ambient lighting using both the 9-18mm and 14-42mm lenses we tested. In low light, it hesitates but not enough to upset an impatient photographer more used to a powerhouse DSLR. In extreme low light and low contrast situations, it didn’t perform any worse than a professional DSLR costing 10 times as much. Overall, focusing speed is fast and reliable.

Image stabilization is sensor-based and can compensate up to 3 stops; it proved especially useful in low light situations without tripod support. We were able to capture San Diego bay’s last light as low as 1/4 s while maintaining usable sharpness. The PEN provides three user-selectable modes of stabilization: Mode 1 for general shooting, Mode 2 for creative high-speed horizontal capture, and Mode 3 for high-speed vertical capture. Meanwhile there’s also Olympus’ SuperSonic Wave Filter system, which shakes any dust particles from the image sensor.

Noise levels are good; many of our sample pictures were taken at ISO 1600, and they’re sufficiently high quality to use that setting freely. For a 2.0 crop sensor, the high ISO noise level is surprisingly good in color performance and sharpness. In addition, there are no excessive blotchy noise patterns as often found when digital cameras attempt to get rid of high ISO noise. Combined with the anti-shake, high ISO capability and lightweight body, the EP-L1 is quite a treat as a low light camera.

Image Sharpness

Image sharpness has more to do with lenses than with cameras; however, the low-pass aka anti-alias filter placed in front of the image sensor does affect the outcome of the image. In the case of the E-PL1, a weaker filter is used thus it actually handles sharpness a little better than its predecessors. We tried the ZUIKO Digital ED 14-42mm and M.ZUIKO Digital ED 9-18mm ultra wide angle lenses for our review. The former is an entry-level kit lens with plastic construction, and it both looks cheap and feels cheap as though it might fall apart after a single drop. The latter, on the other hand, is a better-built wide angle lens with a with metal mount; like the 14-42mm, it’s a light weight, compact ultra angle with plastic components, but you can definitely tell the difference in quality holding both in your hands. Unlike the 14-42mm, the 9-18mm zoom mechanism doesn’t wobble as you move the inner tube back and forth. As for lens construction, you’re looking at 12 elements in 8 groups, 3 aspherical and 1 ED element construction vs 10 elements in 8 groups, 2 Aspherical and 1 ED element.

On the 9-18mm, image distortion at the widest ends is acceptable, and there’s minimal to no chromatic aberration displayed at the center of the lens but quite visible at the very corners. The same result was observed for image sharpness, but overall it’s a respectable ultra wide angle lens considering the price tag of $475. The compact design is great for landscaping and dropping in a bag while on vacation. Particularly worth mentioning is the lack of vignetting from a 35mm equivalent of 18mm-36mm.

Video Recording

The Pen E-PL1 offers 720p HD video recording at 30fps in 16:9 aspect ratio, or VGA resolution in 4:3 aspect ratio. Sound is limited to mono only as opposed to stereo mode in more expensive models like the PEN P1 and P2, but an optional external stereo microphone is available. Footage is recorded in AVI Motion JPEG format and individual clips are limited to 7 minutes in 720p or 14 minutes in VGA. When used with Olympus’ high-speed quiet autofocus technology MSC (Movie and Still Compatible) micro-4/3 system lenses, such as the 9-18mm or the newer M ZD 14-150mm 4.0-5.6 ED, focussing is faster and almost silent, promising speedy shooting without the mechanical background noises.

You’re locked out of settings such as aperture and shutter speed while footage is being recorded, but you can zoom while continuing to rely on the auto-focus. In Program, Aperture-Priority or Manual modes you can adjust exposure, but it but must be set prior to shooting. Finally, you can apply art filters at hardware level to overlay effects such as Pop Art, soft focus, grainy films, diorama, sepia and pin-hole to motion as well as still captures. The biggest omission, though, is that the E-PL1 doesn’t make the best use of its image stabilizer during movie recording, as it’s not available in video mode. Still, the bottom of the camera does have a full size metal tripod mount for serious shooters.

Video clip from Olympus Pen E-PL1

Conclusion

With an MRSP of $599.99 – and a street price closer to $520 – the Olympus PEN E-PL1 is pretty much half what you’d pay for its E-P2 sibling. That’s despite using the same sensor and the same 720p HD video recording functionality. It’s tempting to see micro-4/3 cameras a teetering in a no-mans-land between point-and-shoot simplicity and proper DSLRs, but the PEN E-PL1 has enough strengths of its own to argue its case. Excellent image stabilization and strong picture quality, coupled with a chassis that’s easy to pocket and long battery life, add up to a compelling option for the photographer who wants DSLR-style flexibility in a highly mobile package.

The Canon EOS 7D has an 18-megapixel 22.3 x 14.9 mm APC-S CMOS sensor with a 1.6x focal length, and can shoot 8fps stills or up to 1080p HD (at 24, 25 or 30 fps) or 720p HD (50 or 59.94 fps) video. ISO ranges from 100 to 6,400, with an “H” setting offering 12,800, and there’s a new 19-point autofocus system that allows you to specify broader AF zones (as opposed to a single point) together with default focus settings for landscape and portrait orientations. Inside there are two of Canon’s DIGIC 4 processors.

Around the back there’s a 3-inch, 920k pixel LCD display along with Canon’s first viewfinder with 100-percent field of view and 1x magnification. There are more hardware controls, too, including a useful dedicated JPEG/RAW button (that captures the next shot taken in both formats), while the EOS 5D’s row of under-LCD controls have been moved to the left-hand edge, and the whole thing is weatherproof (though not to be confused with weather-resistant). At 148 x 111 x 74 mm and 860g it’s roughly the same size as the Nikon D300, though slightly heavier, and feels well constructed and sturdy.

In use, the new autofocus system quickly displays its worth. Faster than on previous Canon DSLRs and generally highly accurate, there was a slight learning curve involved since the company have altered the appearance of the system and the way you flick between the various AF modes. As before you can shoot in single point and spot modes, but there’s also the and AF point expansion and AF zone settings that tracks a larger group of points or a group that can be offset from the centre using the small joystick.

Of course, with a 1.6x crop factor to the APS-C sensor, the risk is one of extra noise in the final shots, especially when you start to increase the ISO levels. Happily the EOS 7D does an excellent job of processing out noise thanks to the dual DIGIC 4 chips, avoiding unnecessary blurring that we observed in shots from the EOS 5D. There’s also more detail in the images. Considering most of the time the results from the DSLR will be viewed on-screen in relatively small sizes, we prefer the output from the EOS 7D rather than its sibling.

With 1080p HD video recording, Canon have given the EOS 7D a more obvious camcorder mode. A switch just to the right of the viewfinder toggles between Live View and camcorder, with a center start/stop button for triggering the mode. A mini HDMI output is included under a rubber flap on the left-hand side of the 7D, along with PC sync and a remote terminal port, a microphone input, A/V output and USB 2.0 connector.

Canon have squeezed various manual settings into the EOS 7D’s camcorder mode, including exposure, shutter speed and aperture, and you can capture stills during video recording. The results are impressive, generally smooth, though we noticed a few jagged edges intruding into faster pans when recording in the 720p mode. Still, compared to video-recording on the Nikon D300S, the function feels more rounded and mature on the Canon.

Despite lacking a full-frame sensor, picture and video quality are pretty much consistently impressive from the EOS 7D. Auto-focus is incredibly swift and reassuringly accurate, with only very rare adjustments required, while despite the tightly-packed high megapixel sensor the camera handles noise and detail admirably. Continuous shooting mode can grab JPEGs for as long as you can be bothered holding down the shutter-release (assuming you have a swift enough memory card) and build quality neatly straddles the line between reassuringly hefty and usably comfortable.

It’s hard to argue with the Canon EOS 7D. If you’re a prosumer photographer who, until now, has carried a separate HD video camera, then the 7D could easily lighten your load. Although the sensor may not be full-frame, the end results are excellent up until you’re asking for very large, very high-megapixel prints. Such users are a microcosm of the DSLR world, though, and for the rest of us there’s sufficient flexibility and precision that the 7D satisfies pretty much most that you could ask of it. At $1,700 it’s comparable to the Nikon D300S but offers more megapixels and 1080p HD video recording (versus just 720p on the D300S). If you’ve invested in a bag full of lenses for your Nikon then we wouldn’t go so far as to suggest you eBay them and jump ship to Canon, but if you’re considering a new DSLR and value video as well as image quality, we reckon the EOS 7D edges ahead.

Sample Images taken with Canon EOS 7D and Canon 85mm 1.8 @ ISO 400 f/4.0

Sample video with Canon 17-40mm F/4.0L Lens

First impressions depend on where you got your MinoHD.  Those sold through regular retail channels are finished in gloss black; alternatively, those bought from Flip’s online store can be personalized with custom casings (at no extra cost).  Buyers can pick from a vast number of designer casings, or upload their own image and have it specially made.

Either way, the MinoHD weighs a lightweight 3.3oz and measures 4 x 2 x 0.6-inches.  I’m a total video addict, and I always like to have a camcorder with me; the MinoHD is compact enough to fit in a pocket, sturdy enough not to have to worry about it snapping, and the quality – which I’ll say more about later – is surprisingly good for the price.  Controls are minimal: touch-sensitive play/pause, zoom (2x digital), record, erase and left/right.  While zero-profile buttons make for a slicker casing (albeit one that’s a total dust magnet) I also miss hardware controls that can be found by touch.

Previewing and reviewing is done via the 1.5-inch color screen, one of the less impressive things carried over from the Mino.  I really wish this new Flip had a screen that did 720p video justice; as it is, you’ll want to wait until you can watch it on a bigger screen before showing friends and family.

The memory may be doubled – 4GB compared to the regular Mino’s 2GB – but the recording time isn’t.  720p footage takes up twice the space of SD, so you still get room for an hour of video.  Battery life from the non-user-replaceable rechargeable Li-Ion pack is rated at two hours mixed use (standby, filming and reviewing) or 90 minutes constant recording; it’s too early for me to say how accurate those figures are, but given that the MinoHD recharges when you plug it into a USB port it’ll always be getting regular top-ups when you transfer footage off.

Software has always been a strong point of Flip cameras, and the MinoHD is no exception.  Preloaded on the camcorder itself is FlipShare, a Windows and Mac compatible editing and uploading suite, and it was incredibly useful to be able to switch between the PC and Mac laptops I have with me.  Editing it done in a straightforward drag and drop fashion, and then the app will help you burn them to a disc or, after being compressed, upload them to a video sharing site such as YouTube.

Obviously you’re not stuck with FlipShare if you’d rather use something else.  I tried footage with Windows Movie Maker and OS X iMovie, and both imported and played it with no problems at all.

Considering the price of $299.99, the video quality from the MinoHD is great.  Improving the resolution could have just further shown up a poor quality lens, but the footage I’ve taken so far has bright, rich colors and surprising levels of detail.  Sound, too, has improved, with more tonal range and increased microphone sensitivity.  Since there are no moving parts in the camcorder you won’t miss noise-reduction.

While there are a few points about the Flip MinoHD I wish had been addressed – the small display and more zooming capabilities, the MinoHD is overall a great example of KISS (keep it simple stupid), straightforward and successful.  Little details – PC and Mac software, the tripod mount – add sparkle to the MinoHD, but at its core I think it’s a fantastic way to shoot decent 720p video.