We've already spent some time interacting with the company's new depth-camera and eye-tracking technology, but now we wanted to dig deep to understand the thinking behind the system and what technical and practical limitations that need to be addressed before we can get to the computing future of Star Trek.
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It instead simply uses a 3-D depth-sensing camera and its iisu software to recognize and interpret user gestures.
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For the uninitiated, the Lynx A is billed as a point-and-shoot 3D camera that uses Kinect-esque hardware to obtain depth mapping and imaging info from your surroundings.
The introduction of the NEX-IFR5 interface unit is the first implementation of 2K RAW recording capability with the AXSM memory system. 2K RAW provides all the benefits of RAW - wide color gamut, full sensor latitude and flexible digital image manipulation - but at a cost efficient 2K resolution. 2K RAW enables the NEX-FS700 to create digital RGB files with 12-bit color depth, and also works simultaneously with the camera's on-board 8-bit AVC-HD capability.
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If you're seriously considering getting one, we'd still refer you to our original review for an in-depth take on the design, camera performance and Sense 5 skin.
Advancements made in the way consumers will interact with their computing devices were also demonstrated, including natural and more immersive interaction experiences using a 3-D depth camera.
The chic, stylish camera features 5x optical zoom and is waterproof to a depth of 10m (33 ft), dustproof, shockproof and freezeproof.
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The film is famous for a camera trick Hitchcock invented to represent Scotty's vertigo - a simultaneous zoom-in and pull-back of the camera that creates a disorientating depth of field.
Now the folks at PC Magazine have had a chance to give the thing a more in-depth going over, and for the most part they seem to think the camera isn't half bad.
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In "Jules and Jim, " Raoul Coutard's camera permits light to flood into the frame, which endows each composition with depth and space as well as imparting an extraordinary sense of naturalism to the scenes in the Alsatian countryside.
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However, these feelings never lasted long, because the shot would switch to another camera position which had worse contrast, or greater lens distortion, or shallower depth of field, and the illusion would be broken.
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The power, volume, and camera buttons are on the edges, but they are cut into the edge, with the same depth and material as the edge.
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