Free software OS: Version: 2. Bino is a free 3D video player. Support for stereoscopic 3D video, with a wide variety of input and output formats. Support for anaglyph glasses, multi-display video, e.
Free software OS: Version: 1. No reviews 1 views Post review Notify me Report it. Just install and enjoy it! There will be already what you expect. If you don't like, you can configure almost everything. Free software OS: Version: 0. Player can playback any YouTube movie directly from the internet and save it to local disk.
Freeware Trialware OS: Version: 2. Language support for users of the English-speaking world. Support for various media formats. Seamless 4k video playback.
No reviews 5 views Post review Notify me Report it. So, it brings absolutely the best audiovisual experiences for Windows users.
FF Player is a video player. The motivation to develop FF Player is that I was not satisfied with video players available. Most lack important features, some offer great features but have the features hidden deep inside their option menus and are generally hard to use. So I started developiong a small, easy-to-use DirectShow-based player that offers all features I need.
NET Framework. Freeware OS: Version: 0. GridPlayer is a simple VLC-based video player that can play multiple videos at the same time. You can play as many videos as you like, the only limit is your hardware. It supports all video formats that VLC supports which is all of them. You can save your playlist retaining information about the position, sound volume, loops, aspect ratio, etc. Browse and watch movies from your couch with a wireless mouse.
This is not mean to be a XBMC killer! No reviews 24 views Post review Notify me Report it. Kantaris is a free and open source media player which plays almost all multimedia formats without the need for installing any separate codecs.
Connects to an online subtitle database, finds subtitles that are a perfect fit to the played media. Plays RAR-archives without first extracting the media. Beautiful music visualizations. On the v and v, CAR is x This means that the camera will always acquire images at integer multiples of for the horizontal resolution and 16 for the vertical resolution.
If you need a final cine that has a non-native resolution, you can use the crop or scale features of PCC to get exactly what you need. If you can estimate the typical daily usage of the CineFlash, it is easy to estimate its expected lifetime. CineFlash lifetime is determined by the number of times you write to a specific memory location. The hardware in the CineFlash will automatically ensure that all memory cells are used equally across the CineFlash lifetime.
There is one main difference between the two Miro LC versions. The newer LCxx1 camera models use a 4. They are similar, but the newer screens incorporate newer technology that will provide improved touch accuracy and better handheld performance.
The other difference is the lack of physical buttons on the LCD window — one button was used to re-set the menu, which is no longer needed with the newer screens. Just tap the center of the screen to bring up the menu. This functionality still exists by using two fingers to expand the display off the screen and two fingers to bring the display back onto the side LCD screen. The native resolution of the Miro LC xx0 touchscreen is x pixels.
Miro LCxx1 model screens are a bit larger at 4. Advantages of the capacitive screen include better sensitivity and accuracy of the human touch, and also better image rendition of the screen. Disadvantages include the inability to wear gloves or use other devices like a stylus to control the camera. The touchscreen works best when the person controlling it is also touching the casing around or in back of the screen, or a metallic surface on the camera body.
Some people will naturally draw more current than others when using a capacitive touchscreen, so the severity of this potential issue can differ between person to person.
If you find this to be an issue, we recommend always holding the back or edge of the screen while controlling it, or touch any metallic surface on the camera with either hand. The newer LCxx1 models will be easier to use on battery power than the previous LCxx0 camera models due to the newer screen technology. LCxx0 models have physical buttons on the side of the screen - the one marked with a square icon turns the menu display on and off.
When turning the menu off the screen automatically resets. A good way to force the re-set is to double click that square button. The reset will take seconds before you can access the controls again.
LCxx1 models do not have this physical re-set button because response issues are not expected. If you find issues with this, please contact the Vision Research support department. The screen only responds to a human touch. The screen has a glossy surface with sufficient brightness to work OK in bright sunlight.
A handy feature on all LC cameras is threshold mode. Tap the top button on the front of the camera autoset to cycle through threshold, zoom, and live video tools. Threshold mode makes it easy to see the sections of the image that are overexposed.
There are two ways to view and save stored Cine files from CineFlash drives. The camera can be connected to Phantom PCC software via an Ethernet connection, or the drive can be mounted outside the camera via a CineFlash Dock where files can be viewed and saved over an eSata connection, from PC or Mac operating systems.
This means that cine, in internal DRAM, has not yet been saved and will be lost if erased or if power is lost. Once the cine is saved to CineFlash, the asterisk will disappear. If you double tap on any cine in the cine list display, all cines with the same save state will be selected.
This way you can save all unsaved cines, or delete all saved cines. If you need to cancel your in- or out-point setting, just long-press on the mark-in or mark-out button. There is currently no "scrub" gesture, but subsequent presses on the play or rewind controls will increase the playback speed allowing you to do a fast-forward or fast-reverse playback. The LCD screen on the side of the camera uses slightly more power, therefore battery life is slightly diminished.
When selecting the trigger point using frames, you set the number of post-trigger frames. To be consistent with this, when using percent, you set the percentage of frames you want to be post-trigger, rather than pre-trigger.
We include an Ethernet cable and a BNC cable with the camera, just to get you started. But any Ethernet or BNC cable will work. Unfortunately, no. The connector is different, to keep it small enough to fit on the C Yes, with a converter. The Miro C has many of the design features as the C, and it is made to be rather tough.
However, it is not specified as a Hi-G camera, and cannot survive the same shocks and vibrations that the C can survive. The C is not designed to work with a Miro Junction Box, and has different connectors. Just make sure you cover the lens before clicking the CSR button. The cameras draw only 12W during operation. The difference is in the connections. The Miro CJ must be operated through a system cable to the Miro Junction Box and does not have a separate power connector.
It is the perfect, lowest cost solution for a system of multiple connected cameras. The Miro C has the same 3 connectors as other Miros. It can be powered and operated independently, or, with a Miro C Capture cable, it can also connect to the Miro Junction Box. Trigger Video through DIN 1. The cameras draw 18W while the batteries are charging. Otherwise, they draw only 12W during operation. There are two important differences.
The has a 4 Mpx sensor with a resolution of x The has a 2Mpx sensor with a resolution of x Secondly, the has no video output from the camera. You must use PCC or 3rd party camera control software to view images live or recorded. For this reason, the camera is usually used in tethered applications under computer control, often in 3rd party solutions for PIV or DIC. Other than these two differences, the cameras are identical. The has a 4 Mpx sensor with a resolution of x The S has a 2Mpx sensor with a resolution of x Secondly, the M has no video output from the camera.
You must use images that are sent over the Gb Ethernet port to software hosted on a computer for framing, focusing and viewing playback. The RCU would not make a good controller for these cameras.
The reason is the lack of video output from the camera to the RCU would mean you were "flying blind". You would not be able to see the live image on the RCU screen to frame and focus your shot, for example. Also, in an office-like environment, there is good assurance of reliable AC power, so we have eliminated the battery backup feature on the LAB-Series. Finally, since the camera is always used in a computer-tethered workflow, there is no need for a video monitor or remote control access.
Otherwise, it inherits all the features and proven design of the Miro Family of cameras. There are four BNC connectors on the camera that provide programmable signaling:.
It is called "Aux 1" in PCC. It is called "Aux 2" in PCC. Also, there is no analog or digital video output. A kit containing these items is available as are individual items as needed. We have feedback from customers about the need for a 1 megapixel camera with smaller pixels than the 20 micron pixels on the LAB Smaller pixels have advantages in some applications.
The LAB3a10, in fact, is a 1. The square aspect ratio is also an advantage in many imaging applications. Now, you can choose whichever 1 Mpx camera best meets your needs. Your sales representative can give you more details about the advantages and disadvantages of large versus small pixels. Sensor coverage will only be a consideration if you have a C-mount on the camera.
These new features can be enabled with a free firmware and software upgrade, which is available on our website. Visit the Support section of this website and locate the Flex4K to download the firmware and instructions.
Resolution: When working with ProRes, the camera must be set to full sensor resolution x only. The files in the mag are about 2. The camera must load the files for playback, which takes about 5 seconds. This process will happen automatically each time a ProRes file is recorded into the mag or playback is initiated. Also unique to ProRes playback are the supported video formats. Not supported are i, p modes, anamorphic settings and larger zoom settings.
Vision Research chose to enable ProRes HQ as the initial format, based on the inherent quality and compression value when compared to Cine Raw files. We feel that if higher quality is required, then Cine RAW is still an acceptable option.
And lower quality formats are more likely used in addition to the Cine RAW, which are better left to be converted outside of the camera. We will consider adding formats and resolutions at a later date.
However, no guarantee or time frame can be stated at this time. Audio works at sync-sound frame rates and above. Audio is enabled with the audio menu on the camera body, and levels are provided on the camera menu by scrolling right with the select knob.
The files are downloaded from PCC as uncompressed. The wav files are 48KHz at up to bit, and the camera supports re-sampling of other frequencies. Audio can be monitored from the camera live using the headphone jack on the camera body or more accurately with the AES out via the Aux2 port on the Minibob. At sync-sound frame rates matching with video rates the camera will play back the audio from the camera RAM.
When not matched the camera will not provide audio playback. Audio playback is not supported from the CineMag at this time. With the Flex4K selected, choose the appropriate CineMag memory size in order to simulate recording direct to that CineMag. Record Time Calculator page. The most obvious difference is the pixel resolution: The original Phantom Flex aka Flex 2K , has a 2.
There are many other differences, which we have tried to capture here:. These mount to the top of the camera.
They mount in the side camera enclosure of the Flex4K, and are not compatible with the earlier cameras. The pixel size is 10 microns. The Flex4K is also supermm but with a full resolution of x and with 6. The dynamic range is higher, and the overall noise level of the Flex4K is significantly lower than the Flex 2K. Another difference is that the Flex4K has a progressive scan shutter with less than 1ms scan time , and the Flex 2K has a global shutter. Regarding color processing, the Flex4K operates from the newer Phantom protocol, which lets you set the white balance in Kelvin as opposed to RGB gains like previous Phantom cameras.
Powerful image processing controls like tone curves and color matrix are also possible with the Flex4K. The Flex 2K has basic controls on the left side of the camera. The camera needs to be connected to a viewfinder or monitor to see the menu and settings change. The Flex4K has similar controls on the left side, but on the right side there is a new full menu system that lets you control every setup and control parameter of the camera.
This full menu is displayed on a built-in LCD screen. The Flex 2K has two volt power inputs. One can be used as the main AC power watt power supply , and the other can be connected to a stand battery to use as a battery backup.
When using The Flex 2K has two 1. The two outputs can work together to provide a p signal. Two of the outputs can be used together for a dual-link 4K signal.
The camera can be set to continuously monitor the live feed where 2 of the outputs play back what was captured to camera RAM or the CineMag IV. It mounts in the side enclosure of the camera as opposed to the earlier CineMags, which mounts on top with a pogo-pin connection. The camera supports:. The 2x REC outputs can be configured as individual p outputs or used together to provide a dual-link 4K video output. Video scaling: When capturing at 4K resolution and outputting at p for example the camera will always scale the video to p.
All outputs are grouped together to display the same output. Various zoom ratios can be set from the camera body to help set focus. Production area rectangles and threshold mode are also available for the VF and MON outputs to help judge framing and exposure. At 24 FPS you can record for about 56 minutes.
Visit our Record Time Calculator. The camera body weighs in at 14 lbs 6. It is roughly the size of the original Flex. Download the Flex4K Mechanical Drawing. There are two main benefits from oversampling on the Phantom Flex camera:. Unfortunately, in the fast-paced and sometimes hectic production environment, sufficient care is not used when putting a CineMag onto a camera. The result can be bent or broken pins on the CineMag interface.
On previous cameras, this could bring the production to a halt and the camera had to be returned to Vision Research for service. On the Phantom Flex, this can be easily fixed by replacing the pin array assembly on the camera — and, it is an end-user repair. A spare pin array assembly is included with the camera, and a damaged one can be returned to Vision Research for replacement for a nominal fee.
While the new dual-fan cooling system on the Phantom Flex runs very quiet, the fans are automatically slowed down and become even quieter when shooting in HQ mode AND while recording directly to the CineMag. This is the most likely recording scenario where synchronized sound is also recorded.
At all other times in Standard mode and in loop recording the fans will run at whatever speed is required to keep the camera at a constant temperature. Typically, this will not occur except for very, very long takes.
This is a feature that is critical in sports broadcast replay applications. The camera operator can always be looking at or recording the live action, while the controllers in an OB truck for example can be viewing, saving or even airing a slow-motion playback stored in the camera.
This feature, in addition to true HD resolution and great light sensitivity is what has propelled the v into the position as the most popular ultra-slow-motion broadcast camera. HQ mode uses a proprietary technology to enhance each frame of your shot.
Each frame is analyzed for noise and image artifacts that can occur under continuously changing shooting environments. Using HQ mode means that you will always get the best images possible even when changing frame rates, exposure settings, resolution, or if ambient and camera temperatures are changing. Use this mode when you are changing camera settings often or working in an ever-changing physical environment and when you need your last shot of the day to look just as good as your first shot.
However, saved cine files are the same size as in Standard Mode and recording directly to CineMag has the same speed and size specifications as Standard Mode. If you find yourself in an application where you need very, very short exposure times, you may need to use Standard mode. In HQ mode, the Phantom Flex uses some of the time during the frame acquisition to enhance the image for that frame.
This time is not available for digital exposure. So, the exposure times in HQ mode are a bit more limited than in Standard mode.
See the FAQ on this topic for more explanation. In Standard mode you can shoot with exposure times as short as 1 microsecond. That is very close to a 0 degree shutter angle! You might need that in rare situations where you are trying to stop all motion blur and you have enough light to shoot at extremely small exposures.
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