Moved us to tears

There have been some moments in gaming history when we've had our hopes and dreams smashed against the rocks of "what the hell?" The EyeToy was one such moment, as was "You're in the Movies" on the Xbox 360. Start the Party! can be filed in the same drawer of desperation.

Start the Party! is one of the launch titles for PlayStation Move and is a loose collection of mini-games that involve various deployments of the new Sony PlayStation Move controller. It's bright, it's noisy and some would say that it's only our loss of the sense of joy that holds us back from saying it's fun.

Visually, yes, the menus and backgrounds are fun and colourful, the sort of thing that will catch the eye of young gamers and draw them into things. It's a game designed to be lightweight and fun for the whole family and we know that this often results in a final product that is neither engaging or possessing any degree of longevity, which is why we take issue at Start the Party! being a game you'll be asked to pay for.?

Start the Party! does exhibit some of the skills of the PlayStation Move as it uses both the camera and the motion controllers. The camera is used to capture an image of the gamer, which can then be put to use elsewhere in the game - trapped in the belly of robots for example. The camera also means you'll see yourself on the TV as part of the background of the game.

For kids, this is often enough. Appearing on the TV is something that children will always find amusing, so for a young audience, there is some potential for fun here. But capturing the room means that others will also be in the picture, so to a certain extent that sense of communal gaming comes through.

The other thing that Start the Party! demonstrates is how well the PlayStation Move system can superimpose an object on the end of the controller. Each of the mini games turns the Move controller into an object of some sort - a fan, a torch, a shaver, a paint brush, etc. This is fantastic: it looks great and the range of movement that maps on the screen is really impressive.

But then you come to the games themselves. There are various twists on what is basically the same thing. You have to use the controller (now the relevant tool) to compete against the clock. That might be spotting and shooting ghosts, shaving the heads, or fanning parachutists onto rafts. All the games are basic, so kids and granny will have no problem grasping the concept.

Playing Start the Party! on your own is utterly soul-destroying (perhaps because of the realisation that there is no party to start), but add in a bunch of kids, or a handful of tipsy adults, and things take a turn for the better. The short games mean you can quickly all have a go, and to a certain extent we found it worked as an ideal warm-up to the ultimate drunk adult PS3 party game - SingStar.

And therein lies the problem. Start the Party! isn't laugh out loud funny, not in the way that SingStar is. In fact, amongst the adults of "gaming age" you'll barely see a glimmer of interest. Kids are attracted to the bright designs and cartoon looks, but beyond that, there's little to get excited about.

You'll be able to play multi-player passing the controller around to compete and some of the games are surprisingly tricky to do well at, if you were ever moved to care about them. As isolated mini-games there is little to draw you in, you never really care what the final result is. Like Sports Champions, it does something to showcase the potential for PlayStation Move, but it will never be held up as a shining example of revolutionary gaming.

Verdict:

Start the Party! bears all the hallmarks of a demo game, if anything it should be bundled with the Move controllers to give a taste of what sort of things it will do: to ask ?29.99 seems wrong.

Start the Party! will be of limited appeal, but for those PS3 owners who have always been accused of not having anything that the family can enjoy together, then perhaps this is just the ticket. Besides, it's an excuse to buy a Move controller in anticipation of some of the more hardcore titles, perhaps.?

Tags: Gaming PS3 Playstation Move Start the Party Sony

Start the Party! originally appeared on http://www.pocket-lint.com on Fri, 03 Sep 2010 16:16:43 +0100

A feature-packed Blu-ray system let down by lacklustre sound quality

All-in-one systems are home cinema’s answer to a takeaway. Sure you could spend ages buying all the ingredients separately and seeing how they taste together, but sometimes all you want to do is buy it, take it home and get stuck right in.

And that sort of convenience is exactly what Panasonic offers with the SC-BT230. Everything you need for a wholesome home cinema diet is packed into one remarkably small box, including the Blu-ray player, 5.1 speakers, amplifier and decoders.

This system uses a set of sturdy compact satellite speakers, small enough to squeeze onto the tightest of spaces on your bookshelf, and it is accompanied by a small passive Kelton subwoofer. The main unit meanwhile is a sleek-looking machine, not a great deal bigger than a regular Panasonic player and styled in a fetching black finish with a few lights to break up the gloom.

The front panel features both an SD card slot and a USB port for your multimedia viewing and listening pleasure. It’ll play DivX HD, MP3 and JPEG from USB storage devices as well as AVCHD, JPEG and MPEG2 (SD Video) from SD, SDHC and SDXC cards. You even get a built-in iPod dock on top, one of the system’s standout features.

The system also comes with a nifty range of networking features, including access to Viera Cast, which brings YouTube, Picasa and Bloomberg to your living room TV. It’s good fun, but the novelty factor wears thin quickly with such limited content - Sony’s BRAVIA Internet Video and Samsung’s Internet@TV have much more longevity.

You can also stream MP3, DivX and JPEG files from DLNA-certified devices on your home network and download BD Live content, either by hooking up the Ethernet connection to your router or buying the DY-WL10 WLAN adapter, which plugs into the USB port on the back. At ?80 it’s pricey, but could be a worthwhile purchase for the added convenience. Another optional extra is the SH-FX71 wireless kit for the rear speakers, but that’ll set you back another ?100.

Connections are decent, with two optical digital audio inputs the most useful of the bunch, although it’s a shame Panasonic couldn’t stretch to HDMI inputs for external sources at this sort of price. The HDMI output supports the Audio Return Channel feature, which accepts audio signals from your TV while simultaneously sending sound the other way.?

The system is remarkably easy to use thanks to the clear, colourful onscreen displays and foolproof remote. And despite taking a long time to load tricky Blu-ray discs (Terminator Salvation took well over a minute) the BT230 does a fantastic job of displaying them in glorious 1080/24p. The depth, sharpness and colour accuracy of its pictures is a wonder to behold, helped along by a formidable arsenal of picture processing tech, including P4HD, PHL Reference Chroma Processor Plus and High Precision 4:4:4 colour.

But things ain’t so rosy on the sonic front. The overall sound is thin and lacking oomph, which prevents it from achieving the required sense of scale for big action sequences. High-pitched sounds seem shrill and explosions lack impact - flaws for which the sub’s inconspicuous performance is mostly to blame. You’ll need to activate H.Bass and turn it to its highest level to get any joy.

It’s not all bad though. Dialogue sounds clear, there’s a decent sense of surround envelopment and the satellites deliver HD audio detail crisply. And music playback is much better than movies, as the shortcomings of the sub aren’t as much of a problem when playing CDs.

Verdict:

If you’re looking for a convenient Blu-ray system with lots of features and cracking pictures, and you’re not overly fussed about getting the best sound quality, then the SC-BT230 is worth a look. But considering what’s in the box, ?450 seems remarkably expensive particularly when you consider the lack of built-in Wi-Fi and HDMI inputs. You’re much better off seeking out a system like the Sony BDV-E370 or LG HB965TZ, which offer better sound quality and even more features for a similar price tag.

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Tags: Home Cinema Home Cinema systems Blu-ray players Panasonic Panasonic SC-BT230

Panasonic SC-BT230 originally appeared on http://www.pocket-lint.com on Fri, 03 Sep 2010 11:18:32 +0100

Another glorious chapter in the Metroid saga?

One of the strengths of Nintendo's enviable character roster is that its heroes have always been ready for new styles and new interpretations. Mario is as comfortable in 3D as he was in 2D, and as at home in an RPG or golf game as in a straightforward platformer. Link, the hero of Legend of Zelda, can be a chirpy cartoon kid or troubled teen warrior, and we love him all the same. Why shouldn't the same be true of Metroid heroine, Samus Aran?

She's moved on from her 2D arcade adventure origins and found a place in the more deliberately paced, first-person Metroid Prime trilogy, yet she's never lost her mystique or her ability to thrill and surprise. And now she's back, with a new developer, Ninja Gaiden/Dead or Alive creator Team Ninja, and a whole new style. Surely it's time for another glorious chapter in the Metroid saga?

Well, Metroid: Other M has a way of surprising you. The first surprise is that Team Ninja has kept some of its worst excesses in check. Enormous bouncy breasts are conspicuous by their absence, and the grotesque gore and sadistic difficulty level that made the last two Ninja Gaiden games so frustrating has gone too. Other M shows sighting signs of a sensitive, contemplative nature not previously visible in Team Ninja's work. It even has a reasonably coherent plot!

Another surprise: from the early shots we had Other M down as a 2D retro exercise in the vein of New Super Mario Bros or Shadow Complex. In fact, it's more of a weird hybrid, switching at will between side-on 2D sections and more conventional third person 3D, all controlled, rather bizarrely, by the digital D pad and face buttons on the Wii remote. To make things even more confusing, pointing the remote towards the screen puts you in a Metroid Prime style first-person view from which you can aim missiles and scan the local area for clues (though with your feet seemingly stuck to the floor).?

The biggest surprise, however, is that Team Ninja has been able to create a Metroid game with its own distinctive, action-focused feel, but that still looks and feels like a Metroid. The combat is more frequent and faster paced than it was in Metroid Prime, and the platforming elements are more demanding, and yet you’re regularly left in doubt that you're playing a descendent of Super Metroid and Metroid: Prime. There's that same sense of exploration, the same weird environments and even weirder creatures. Despite taking placed inside a giant abandoned starship, Other M gives you a strange, beautiful and deeply alien world to explore.

Of course, Team Ninja has still excelled in the areas you would expect it to. Other M can boast some of the slickest graphics you've seen on the Wii, with some monsters and environments that wouldn't look out of place on the Xbox 360. The boss battles, meanwhile, come thick, fast and gruesome, punctuating the game with regular big set-pieces. Frankly, there are plenty of reasons why any self-respecting Metroid fan should love Metroid: Other M to death.

Unfortunately, the game falls flat in other ways that drag it down a notch or two. The first is storytelling. For some bizarre reason, Samus has now been given a spectacularly ropey back story and - worse - an annoying voice with which to tell you all about it, leaving you hankering for that mysterious, silent heroine of old. At times the combination of dialogue and delivery made us wince with horror - suddenly the worst bits of Final Fantasy XIII seem like high art.

More seriously, the gameplay doesn’t always hang together. The sudden shifts between 2D and 3D; the need to point the remote to get the first-person view; the fact that you can’t move while aiming in it; all of these things serve to get in the way between you and the game, and jolt you out of the experience. Other M also insists on making you scan the area for vital bits or hidden clues, but there’s no mechanism for alerting you to which bits of the screen might be important. As a result, you can find yourself spending hours wandering around, scanning various areas, in a desperate search for the one thing that will help you get on to the next area. It’s not big, clever, or fun, and the fact that Metroid Prime did this so much more successfully just makes it pretty much inexcusable.?

And one final niggle. While you’re wandering around trying to find the bit that will open up the next area, you’ll regularly come across portals and switches that can only be opened with specific weapons. Amazingly, you’re already carrying these weapons or, say, the armour upgrade needed to cross glowing lava, but you can’t and won’t use them unless authorised by your superior commander, out of respect for him. We know we were all getting tired of the "Samus loses all her suit abilities" routine, but couldn’t someone have come up with something vaguely more credible than this??

Verdict:

Metroid: Other M is a decent Wii action game, and Metroid fans with the persistence to get past its fiddly controls, poor dialogue and "pin the tail on the donkey" scanning will love the way it can still capture that old Super Metroid feel. All the same, this feels like a big step backwards from the mighty Metroid Prime trilogy, and a game that will probably go down in history as an oddball curio rather than a bona-fide Metroid classic.

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Tags: Gaming Nintendo Wii Nintendo Team Ninja Metroid Other M

Metroid: Other M originally appeared on http://www.pocket-lint.com on Thu, 02 Sep 2010 17:34:53 +0100

A touch of class?

We knew it was coming and it didn't take a genius to figure out what was in store for the fourth generation of the Apple iPod touch. Having seen the changes to the iPhone 4, it was only natural to assume that the iPod touch would be getting the pick of the best parts. Pocket-lint was on-hand at the Apple launch and gave the new iPod touch a good going over during a hands-on session.

The star of the show, naturally, is the high resolution, 3.5-inch, 960 x 640 pixel resolution display. Staring into the sharp, vibrant, display, it reminded us of just how impressive the iPhone 4's screen is. If the iPhone can be praised for one thing in particular, it is that its success has brought great benefits to the iPod touch.

We'd expected a more drastic design shift to reflect the new design of the iPhone, but the design overall is fairly similar to before. You still have the stainless steel back, wonderfully curved to fit into your hand and simple clean lines that look elegant from every angle. It is marginally slimmer at 7.2mm (111 x 58.9 x 7.2mm overall, and weighing 101g), although it wasn't exactly fat in the first place, which means none of your existing covers will fit.

The most noticeable change to the design is around the edges of the screen, where the line between the screen and the metal back as been trimmed down even further. Again, it wasn't exactly fat in this area, but the tight new design makes the previous iteration look decidedly tired.

Steve Jobs said the iPod touch is "an iPhone without a phone. It's also an iPhone without a contract" and that's what appeals about the iPod touch in its previous and new guise: it gives you access to all the iPhone goodness without the ongoing cost.

And this means you get access to the App Store and all the joys it contains, from social apps, to games, to doing your grocery shopping online. One major omission in the past has been the lack of a camera to get to grips with all the photo apps.

This is a major change for the iPod touch with the inclusion of both a front a rear camera. We saw the slightly odd addition of a camera to the iPod nano last year (removed without even a mention in the latest version) that only offered video, but the new iPod touch gives you both a rear and front facing camera.

The iPod touch will now support HD video capture, but you'll also have iOS 4.1 in place, so you'll be able to upload HD content direct to YouTube and make FaceTime calls to other iPod touch users, or iPhone 4 users, if such a thing appeals to you. There is a mic included and from the demo we saw, it was the same experience as on the iPhone 4.

Although Apple doesn't declare what the resolution of these cameras is we suspect they are somewhere around 0.6 or 0.7 megapixels on the back, but this will depend on the aspect ratio of the video it captures. If it is a standard 1280 x 720 video (16:9 aspect) then it is more likely to be a 1-megapixel camera. Whatever the details are, we'll be looking closely at this in our full review and see if the step down means the still imaging suffers as a result.

All these things will have to wait until we have the iPod touch back for a full review. But exploring the devices Apple had on show, we were surprised how slick and fast everything felt. Again, just like the design, the old iPod touch is no slouch but the new touch is snappier. It moves around pages faster, it opens apps in a flash.

Apple today pointed out that iPod touch is the most successful portable gaming platform available, outselling portable offerings from Nintendo and Sony. They showed off a demo of Project Sword from Epic Games (the people behind Unreal Tournament and Gears of War), taking advantage of Apple's new Game Center which will be part of iOS 4.1. It's difficult to deny the uptake of gaming that the iPod touch has seen and with the extra power from the A4 processor and the higher resolution, that success is set to continue.

Verdict:

Our first impressions of the new iPod touch are extremely positive. It remains to be seen whether the camera delivers the performance we saw on the iPhone, and if it doesn't, is it an acceptable middle ground?

But we can't help being impressed with Apple's high resolution display again. With apps updating to take advantage of the sharper display, the experience is going to be great for gaming, watching video and browsing photos.

The price is a little high, but you do get a lot for your money and we can't wait to put the iPod touch through its paces in a full review.

Tags: Audio Apple iPod iPod touch 4G iPod Touch First look PMPs Apple iPod touch

Apple iPod touch 4G - First Look originally appeared on http://www.pocket-lint.com on Wed, 01 Sep 2010 23:01:02 +0100

A gold medal for PlayStation Move?

Sports Champions is a somewhat predictable title for the PlayStation Move, taking Sony's new motion controller and pitching in with a snackable title that showcases the variety of ways the Move can be employed. In some ways it is the ultimate demo of the "new" technology, but we can't help feeling that it struggles to raise itself above that demo feeling.

The game is broken down into six sports: Disc Golf, Gladiator, Archery, Volley Ball, Bocce and Table Tennis. Some of these might seem a little odd as there is an obvious omission of standard tennis and 10-pin bowling, which would have seen this title line-up against Wii Sports.

But Wii Sports this is not. First of all, you never really get the sense that the game wants you to play it. There is no character customisation and even if you don't like the bobble-headed Mii characters of the Nintendo Wii, at least they provide a degree of personalisation. Throughout Sports Champions you have the choice of 10 characters to pick and in the vein of Tekken, these are various types of uber-humans - the large breasted babe, the hulking muscle jock, etc.

It leads to a sense of detachment - there is no engagement with these characters, they are ultimately meaningless and that partly sets the tone for Sports Champions as a whole. The game relies on you being blown away with the motion control, rather than trying to engage you in any other manner: there is almost no music, sound effects are basic and even the graphics look dated. As a showcase for Sony's latest hot toy, we can't help feeling a little underwhelmed.

Diving into the games themselves, they provide various levels of multi-player, and each comes with a tutorial so you can see the technique required. This is really what Sports Champions is about - learning that the PS Move is an incredibly sensitive piece of gaming equipment. Some of the games (Gladiator, Archery) let you go to town with two controllers.

Disc Golf is essentially Frisbee on a golf course. You throw the disc down the fairway looking for par by getting the disc into the cage which represents the hole. Usual golf rules apply, so if you "drive" it into each of the cages, your other player might get a couple of throws to catch up. It isn't all about distance though, as the courses are varied across terrains, with various bits of landscaping to add variety.

You soon learn that technique is everything when throwing the disc, just as it is in real life. You can throw in different ways (basically a sweeping action and releasing the trigger) to send your disc flying. You can curve it around obstacles and it bounces realistically when it hits something.

But you can't help noticing that some of the graphics are shocking here. The forest floor lacks texture - it looks like leafy carpet; the shadows show really jagged edges - an introduction to the PlayStation Move this might be, but at ?29.99 we’d expect some degree of refinement.

Gladiators is basically duelling and is the first real glimpse at where we suspect many gamers will want Move to go. You get in the ring and fight with sword and shield and is best played with two controllers - one for each arm. There are various moves you can pull off, with the tutorial walking you through what is on offer. Swinging the Move naturally sees you swing the weapon, although at times we'd find ourselves flailing around without getting the desired response, raising an important question: how do you account for fatigue and damage in a fighter, when the player doesn't experience this?

The shield too is an effective weapon, not only blocking strikes (as long as you have it in the right place) but you can also use it you push your opponent, knock them off balance and taking the advantage to strike. There are also jump strikes that you can pull off, ground strikes and if you get to the edge of the arena, you can push your opponent out and win the round.

But again, it doesn't deliver the seamless ferocity you might want. Okay, so perhaps it is aimed at family gaming rather than those looking for a gore fest, but we expected a little more action. As it is, it feels rather disjointed, a little slow, and never particularly challenging.

Archery is a more compelling experience however. Again putting two controllers to the task, one holding the bow and the other for the string. Various targets are presented for you to shoot, with it becoming immediately obvious that positioning is all important. Archery was also the game where we realised that PlayStation Move does like a little more space than we'd given it, as we found that drawing the string back would see it lose sight of the rear controller. Give yourself plenty of space for the best experience.?

Volley Ball is as it sounds, and is one of the games we found more fun. You get to double up on controllers to give you a wide range of moves to pull off. It is surprisingly accurate too, so you can easily place a shot wherever you like in the opponents court and there is something very natural about swinging the controller over your head to smash the ball over the net. You don't have to put up with stinging wrists either.?

Bocce, or boules as continental folk might call it, sees you throw out the jack and then try to get your boules in the vicinity. The courses vary from traditional bowling green to urban park, but the game is essentially the same. Holding down the trigger, you sweep forward, release the trigger and off goes your boule. There is little to master here, but minute adjustments of the controller do make a difference and some of the more exciting courses give you a chance to get some great deflections off surrounding objects.

Finally you have table tennis, which is exactly as it sounds. The thing that is impressive is that if you drop the controller, you see the bat drop on the screen. Again, there is a natural feeling to the experience as you hit the ball back and forth.

But across all these game there is the same problem. The whole thing feels utterly soulless. As a showcase of what the PlayStation Move can do we've established that there is plenty of potential, but this isn't a proof of concept - it's an actual game. We've spent hours bashing away at Wii Sports tennis because it is fun and Sports Champions is missing that vital ingredient: it isn't fun to play.

Yes, there are glimpses of interest here and there, but once you've got past the novelty of controlling the game with motion controllers there is little to make you actually want to complete any of the challenges.

Verdict:

Overall Sports Champions isn't really a champion game. It shows what can be done with PlayStation Move and would be better bundled as a title or as a cheap PSN download, but as a game? No, we can't really recommend it.

But it's early days for PlayStation Move and Sports Champions demonstrates just how important it will be to have good developers working to incorporate the new control system. There are some Move compatible titles in the works that have us excited, but as a starting point, Sports Champions is a bit of a lacklustre flop.

Tags: Gaming PS3 Playstation Move Sports Champions Sony

Sports Champions originally appeared on http://www.pocket-lint.com on Wed, 01 Sep 2010 17:00:00 +0100

Will this outsider sink or swim?

The Acer Stream is the company's latest flagship handset, following on from the Liquid and Liquid E before it. Acer isn't a company with a great history in mobile devices and so far has enjoyed limited success. It's clear that Acer is committed to this agenda, but has it hit the right notes with the Stream?

On paper the Stream looks impressive. A 3.7-inch 800 x 480 capacitive AMOLED display puts it in HTC Desire territory. The 5-megapixel autofocus camera, offering 720p video capture squares up against the Samsung Galaxy S. The micro HDMI out puts it in the game with the HTC Evo. But does it compete with these hero handsets?

We've seen how the Android battleground is drawn up. With most phones offering similar, if not the same, hardware components and the same core operating system, the difference between a good phone and a bad phone often comes down to two things - the design and what the company does to it, which govern the user?experience.

Okay, it isn't quite that simple. The screen makes a big difference when the touch response isn't right, but often that is not the fault of the hardware - especially when it comes to a capacitive touchscreen AMOLED display, but how the manufacturer presents the operating system beneath it.

Starting with the design, Acer doesn't do itself any favours. There is a hint of the beTouch range around the back, with a matte black cover shaped as though it has come off the same design line. It's a simple clip on affair and whilst this doesn't make it a bad phone, it doesn't have the impact in the hand that the glorious unibody design of the HTC Desire has, or the premium materials of the iPhone 4.

Around the front there is just a little too much bordering on that display. It feels like the prize asset is hidden away, with the design bringing in a screen frame, that again sits in the body of the phone. It feels a little chunky, lacking consumer refinement and wow factor in the hand. It doesn’t exhibit the clean and sophisticated lines you want from your daily handset.

The buttons too, raise an eyebrow. The side volume, camera and lock/power buttons seem a little too thin to be comfortable to use, but are functional enough. Other controls join the fray, with the regular assembly of touch controls across the bottom of the display (search, back, menu), with the home button in line being a proper hard button.

Beneath this there are further buttons which outline what Acer thinks this phone should be and they are play/pause and forward and back controls for watching video. We say watching video, because we found that was all they controlled - not music as well - which was a bit of a surprise. More interestingly pressing one of these shortcut buttons whilst in the music player would see it exit and return to the home screen.

Power the phone on and you are greeted with Acer's custom user interface, sitting on the top of Android 2.1. This adaption of Android goes further than Acer has gone before. We previously saw a 3-page side-swiping home screen with a couple of widgets, but this version (Acer UI 4.0) takes things to a whole new level.

In doing so it makes quite a departure from conventional Android norms. You lose the top drag-down status bar for example, which means that is isn't as familiar as you might want it to be. We like that fact that Android offers such versatility, be we are also from the school of thought that says if something works, stick with it.

The Acer interface instead splits the screen, with the bottom of the screen showing you the top eight application icons from your menu. To customise which icons are seen, you simply have to rearrange your menu to get your important apps to the top - rather like the BlackBerry UI. You can drag the whole lot up to access the rest of the menu, which then preserves your "top eight" and scrolls the rest of the menu left and right beneath this to get to your other apps. It means that you can always access your favourites.

The status bar, then, finds itself nestling across the top of these icons. Tapping it will pop-up another menu system centred on your alerts (emails, missed calls, downloaded apps, etc). This menu again swipes left and right to access other object on the status bar - the clock and alarms - as well as all your connectivity options and battery status, and additions such as music when the music player is running. Why Acer couldn't have integrated the same system at the top of the page we don't know.

But that's not all it offers. Swipe left from the main page and you'll enter the history of your device. This lets you swipe from page to page, so if you were doing something and want to return to, you'll find it logged here - be it Facebook, emails, fiddling with the settings or whatever. It's a nice touch and as a widget, something we can see coming in handy on devices where you have multiple home pages begging to be filled.

Swipe to the right and you'll enter the media area. Remembering that the Stream is pitched as a media handset this is a key area to the phone's lofty aims. We find it harbouring a similar media widget to the Acer Liquid, offering photos, music and videos that you can thumb through, and tap to enter the respective media browser. It works well enough, but if you have a lot of content it can be a little unyielding.

The downside of what seems like a considered offering is that you get no customisation options of your own. You can't deploy extra widgets or drop shortcuts to files, people or anything else - not in the usual Android sense. The customisation options will let you remove the media browser or history, but not replace it with anything else - you just lose the page. Basically you are stuck with what Acer thinks is the best approach.

That is until you find the Widgets app hiding in the menu which effectively opens up a widget layer, into which you can dump all your useful widgets. This you could put in the top layer of your menu for one-touch access to all your widgets, but once running, it also takes over your standby screen. This is a smart implementation by Acer, as not only do you get your music controls, but you can also flash a glance at your agenda, the weather, or any other widgets you have running. You can't drop application shortcuts, but it is a pretty neat solution, as is the peel-back unlock, which reminds us, once again, of the Samsung unlock screen.

If you find the Acer UI really offensive, you can return to what the phone calls "Android UI" which is essentially the same as we saw on the Liquid, with a more conventional arrangement of customisable pages and widgets. Ultimately this view offers you greater freedom, but you lose some of the hard work that Acer put in elsewhere, so there isn't really an ideal balance.

Social networking isn't as prominent on the agenda as it is in rival devices. Of course you can download anything from the Android Market to customise the experience and bring your networks to your phone. The basics are covered with installed applications, so you'll find Facebook and Twidroid in place, but other alternatives are easy to come by, with Android offering a great deal of integration present at a basic level, so the lack of bespoke integration isn't a great loss.

Because this is an Android phone you get the niceties of integration with Google's services and you'll see Gmail, contacts and calendar fall into place, with support for multiple account syncing on this version of Android. You don't get the same emphasis on "friends" that HTC offers, and you don't get the hardcore tracking of social networks like Motoblur offers, but for some people that's just fine.

In terms of hardware connectivity you have HSDPA providing the mobile data, and Wi-Fi b/g/n picking up the slack when you are on a friendly network. You also get Bluetooth 2.1 + EDR and AGPS. All this sits on the familiar 1GHz processor, with 512MB RAM and 2GB of internal memory.

The Stream is packed with sensors too, with the accelerometer switching aspect as you move the phone around (when aspect switching is supported) and the usual suspects of the light sensor, proximity sensor and digital compass rounding out the package.

With video performance firmly in the sights of the Stream, some might be surprised that it isn't the most capable video player out of the box, stumbling with some of the test videos that the Samsung Galaxy S had no problem with. It will handle 720p HD content but there are some omissions from the codecs supported and we found some files wouldn't play, even though purportedly supported; Acer states that the phone supports MPEG4, H.264, H.263, WMV9 and Xvid, although downloading other free media players will make other formats available to you if preferred.

There is also a media server app, although this isn't as comprehensive as Samsung's AllShare app which makes sharing content really easy. Instead you enable sharing so you can pick-up content from other connected devices. The included micro HDMI connection will let you hook-up the Stream to your TV and watch your HD content and although the spec sheet claimed there was a cable in the box to do so, we found there wasn't. With micro HDMI appearing on more devices, it's probably time you bought one anyway.

On connecting an HDMI cable the Stream will detect it and offer to output video via HDMI. You can select the resolution manually and our 720p setting was confirmed by the TV. Playing HD content didn't look that good and we found that an HD movie lost audio sync. SD content fares better.

So the Stream probably isn't quite the video superstar that Acer wants it to be, but we found it enjoyable to watch video content on the device via a microSDHC card under the back cover. The screen may be set a little too deep into the casing, but it was capable enough at displaying our HD content.

There is another bonus packed into the Stream in the form of Dolby Mobile, which provides a range of enhancements to the audio so you can tweak the settings to your liking. It's a shame that Acer hasn't followed up this audio offering with a decent set of headphones, so as always, a decent set of third-party 'phones should be high on your shopping list. The onboard speaker isn't especially good, but is loud enough to show off a little video and watch unencumbered by wires. You'll also find an FM radio on-board, requiring connected headphones to pick up a signal.

As we've seen in previous devices, Acer has rolled out the XT9 predictive text system. This suggests words as you type on Acer's slightly customised keyboard. It is a system that takes some getting used to, as it will often throw in random words if you aren't careful and doesn't seem as adept as HTC's Sense keyboard. We are not the greatest fans of the changes made to the keyboard as the keys seem smaller than the default Android offering. Overall the keyboard experience wasn't as fast as some rivals, but it was easy enough to get to grips with.

When it comes to making a receiving calls, you'll find the top edge of the Acer Stream is a hard line that hurts your ear after a few minutes of chatting. In this it is not alone as it is an affliction that many smartphones suffer.

The 5-megapixel camera is par for the smartphone course at present, with Android offering plenty of easy ways to share the images you capture. There is no flash on this phone (although they are often of very limited use) but the camera is a capable snapper for daylight use. It is autofocus too so can capture some sharp images.?

The camera ultimately suffers with detail over distance, as all phone cameras do, but some close shots come out well. One obvious problem is the colour balance, with greens looking a little yellow. None of this is disastrous, but we also found that the AF reticule would show green (i.e., in focus) when it really wasn't.

The headline video capture at 720p also leaves a little to be desired. The captured 3GP file isn't of the best quality we've seen and the frame rates did vary, between 20 and 24fps, at times looking a little jerky.

GPS performance is typical, finding us quickly, with Google Maps Navigation in place providing free rudimentary in-car navigation for those who want it. You do get multi-touch in maps and the browser, however. The browser is the standard Android browser, which handles pages capably, with double-tap zooming and pinch resizing. There isn't any Flash support, but embedded YouTube videos can be viewed using the YouTube application.

Battery life, as expected, isn't anything to get excited about and like other handsets of this type, you'll need to charge every day with regular use.

Verdict:

Overall we found navigation to be fast, with little sign of lag anywhere in the device. Applications loaded with pace and executed their functions without problems. For all the changes that Acer has brought in, we found the Stream to run the UI without any problems. It also worked just the same when this UI was switched off. The keyboard was improved by turning off the haptic feedback on presses, which allowed a faster rate of text entry.

So what we have from Acer is something of a surprise. Their customisation adds some interesting ideas to the Android mix. There are nice elements we'd like to see in other devices, like the scrolling history and the active standby wallpaper, but there is a level of confusion here, with multiple routes and multiple players offering similar versions of the same thing from the get go.

The biggest failing we feel is in the design, which isn't ambitious enough from the outside and a little over-reaching in the custom UI. The three shortcut keys don't really give you much of a benefit in daily use - is it too much hassle to use the on-screen controls when watching video? The overall look doesn't shine like rivals and this could be easily corrected.

Whilst the Acer Stream doesn't quite reach the heights that other handsets have, Acer is starting to get close. We've found the Stream to be capable, if not as desirable as others, and we can't help feeling that with a little more work, Acer could start to attract a lot more interest.

The Acer Stream is available online, SIM free for ?399.99.

Tags: Phones Mobile phones Acer acer stream Android

Acer Stream originally appeared on http://www.pocket-lint.com on Wed, 01 Sep 2010 09:00:00 +0100

This one goes up to 11

This rock 'n' roll radio is the result of the second collaboration between DAB radio specialist Pure and legendary guitar amplifier brand Marshall. The new model is a revamped version of the Evoke-1XT Marshall, which was released in back in 2006.

Styled to look like one of the famous brand's amps, complete with vinyl-covered casing and the iconic logo on the speaker grille, the Evoke-1S Marshall looks awesome, but does the performance live up to the promise of its good looks?

Here at Pocket-lint, we've been rocking out with the model's predecessor for some years now, so it's easy for us to see the differences, with the new version boasting a significant selection of improvements. One of the first things you'll notice is the new OLED display, which has been designed so that it can be read easily from any angle. It's much brighter than the previous panel, and is also now fitted with a sensor that detects ambient light and adjusts the brightness accordingly. If you prefer, you can turn this off and set the brightness automatically.

Another relatively major difference is the inclusion of ChargePAK capability which means that you can use the radio with Pure's rechargable battery pack, so that you're not entirely bound to listening in the vicinity of the nearest plug socket. Pure has also included its handy textSCAN and Intellitext features, which we'll look at later on in the review.

The last major upgrade is the inclusion of an?auxiliary?input so that you can effectively use the radio as a speaker for an iPod or other MP3 player. In order to use this you simply need a 3.5mm jack cable to link your player up, then use the Source button to select Auxiliary (you can also use this to select FM, or go back to DAB).

Additional connections include a headphone socket, stereo out for hooking up to an external amplifier, and for rigging up the optional Marshall S-1 speaker for stereo sound, which will set you back an extra ?34.99. There's also a Mini-B type USB connector for online upgrades (you can check for updates at http://support.pure.com).

As well as upping the number of station presets to 30, Pure has also made a couple of other minor design tweaks, including a repositioning of the aerial, so that the base sticks out less at the back, making the unit slightly sleeker and more compact. The power adaptor is also much smaller and far less bulky than the previous version. The volume dial has also been altered to include a clicking mechanism as you rotate it, just like the tuning dial, and when you alter the volume a handy bar-based graphic appears on the screen so it's easy to see where you are in the volume range at a glance. All the Spinal Tap fans out there will also be pleased to hear that, just like its predecessor, the new model goes up to 11.

The radio also includes an alarm to wake you up in the morning, as well as a kitchen timer, or if you want to use Pure's somewhat cooler imagery then it's "ideal for counting down until it’s time to rock!".

Changing station is a doddle, you just turn the tuning dial and with every click, a new station appears in the display and you just push the dial in to select it. By pressing the Info button, you can select what you want to display on the screen, choosing between scrolling text (the song information provided by most stations), full screen time (the time and any alarms that are set), signal strength, signal quality or ChargePAK status.?

If you want to know the name of the song you're listening to and you've missed the beginning as it scrolled past, then you can use Pure's textSCAN function to pause the text by pressing the tuning dial in and then using it to scroll backwards and forwards through the text. Pressing the dial in once more takes you back to where you were.

Also included on the Evoke-1S Marshall, is Pure's Intellitext service that enables you to look-up data from participating stations. It can be a little clunky, and you have to go through several menu screens to get there, but it can be particularly useful for breaking news, sports results and weather.

The sound quality is surprisingly strong for a unit of this size, no doubt thanks in part to the sturdy wood construction which adds a certain amount of resonance to the sonics. The radio is also equipped with a bass reflex port for boosting the lower levels, along with a custom-designed 3-inch drive unit and active filters, designed to provide a natural "direct-from-the-studio" sound.

Verdict:

Although it might look like a bit of a novelty product, this radio gets a respectable score for its ease of use, sound quality and the unquestionably cool design. Make sure you check out the DAB coverage in your area before getting your wallet out though.

Initially launched exclusively at HMV, the Evoke-1S Marshall is available from selected independent retailers from September 2010.

Tags: Audio Radios DAB Radios Pure Pure Evoke-1S Marshall

Pure Evoke-1S Marshall originally appeared on http://www.pocket-lint.com on Tue, 31 Aug 2010 15:28:19 +0100

An impressive entry from PB?

"Friends and fun in one place" is Packard Bell's appealing promise on the EasyNote TM. Incidentally, we're not writing trademark there, TM is the model code, though it is a little confusing. Anyway, the promise is to do with social networking. Like the earlier-reviewed LM model, this one has an extra key, just under the power button. It's of three smiley faces and pressing it takes you direct to your chosen social networks. A window appears which will log you in to Facebook, YouTube and Flickr. It's not a big window but big enough to watch your updates come and go.

And there's plenty of room on this 16:9 ratio 15.6-inch screen which shines impressively (yes, it's glossy, so you may need to adjust it to avoid reflections). It's spacious and high-resolution (1368 x 768 pixels) and looks great, set in the gloss white plastic frame.

This gloss white surrounds the white keyboard, too, and the whole thing has a snazzy, classy feel to it. The keys, which are pleasingly comfortable to use, sit on top of a matt white background, which is some way below the keys and give the keys the effect of floating. Super-white keys can sometimes be hard to read easily but this one is very clear.

The wrist rest is patterned blue, matching the chic lid, with a self-patterned touch pad and contrasting mouse button rocker. There's a chrome strip across the top of the keys, with a chrome power button nestling on the right, with a cute blue circle light that glows when it's switched on. Above it is a speaker strip.?All of it is contained in a reasonably light (2.5kg), impressively slim machine which has neat curved corners to add to the class.

If you're getting the impression that we're taken with the way this computer looks, you're right. Packard Bell isn't always the company one thinks of when it comes to pre-eminent style laptops, but this model can hold its head up next to the smartest Sony Vaio. Other colour options are available, too.

The trackpad is multitouch-enabled so you can scroll down a document with two fingers, though there isn't the same versatility of movement that an Apple trackpad delivers and the little scroll bar icon that appears next to the pointer always seems fussy to me.

Anyway, the TM is a performer as well as a looker. Beyond the highly usable keyboard and smart screen, the brains of the laptop - 2.13GHz Intel Core i3-330M - is swift enough to make this a fast and responsive computer, backed by 4GB or RAM. It also has good, high-speed connectivity - n series Wi-Fi and Ethernet. There's also an above-average quality webcam - 1.3 megapixels instead of the usual 0.3 version.

Three USB sockets and a multi-card reader round out the package, along with an HDMI connection, although the TM's on-board graphics solution won't cope with more demanding graphics.

Verdict:

This is a great machine for those in search of brains and beauty - there's plenty of substance to back up the Packard Bell EasyNote TM's style. The keyboard is a real stand out and the fast processor and decent RAM means it works well and at speed. The screen is expansive and pin-sharp. The social networking key will appeal to those who want to keep their Facebook activities front and centre.

?

Tags: Laptops Packard Bell Hardware Packard Bell EasyNote TM

Packard Bell EasyNote TM originally appeared on http://www.pocket-lint.com on Mon, 30 Aug 2010 09:48:42 +0100

Can this re-vamped enthusiast compact give Canon's G-series PowerShots a sound thrashing?

Of the quintet of new Panasonic digital camera releases over summer 2010, the serious yet approachable-looking Lumix DMC-LX5, in succeeding the LX3, has been the one we've been keenest to get our mitts on to take a closer look. Why? Because it's possibly the most sophisticated non-interchangeable lens compact the company has released.

With a robust metal construction, and padded leather effect detailing to the handgrip, thickened in comparison with its forebear, the LX5 feels reassuringly solid. Dimensions are a pocketable 109.7 x 65.5 x 43mm and the camera weighs 271g with battery and SD memory card.

The LX5 has design echoes of the company's impressive GF1 hybrid, yet with non-swappable bright F/2.0 lens boasting an image-stabilised 3.8x optical zoom (up from 2.5x) and a focal range equivalent to 24-90mm in 35mm terms. Coupled with a 10.1-megapixel high sensitivity CCD, a pixel count which sounds modest on the face of it, its manufacturer promised at its European press launch that the LX5 delivers unrivalled image quality. Users can choose to shoot JPEG files, unprocessed RAW files, or a combination.

Up to ISO 12800 light sensitivity is offered - the sort of spec found on semi pro digital SLRs, but with a resolution drop above ISO 3200 - and, as a further nod to sophistication, this pocket model most notably echoes the GF1 by including a vacant hotshoe plus accessory port for optional Live View finder just below.

The most obvious competition then is not only Panasonic's own hybrids, but also Canon's enthusiast targeted G-series PowerShot camera range. Yet the LX5 is a more compact and overall neater solution when gripped in the palm, with a control layout that more obviously resembles a step up from a humble point and shoots lower down the Lumix range.

Sure to catch the eye of high-end amateurs or those stepping up from said snapshots, it also ticks the boxes for attendant must haves, with a dedicated video record button on the top plate for its high-definition movie clips recorded in a choice of AVCHD Lite or even more accessible Motion JPEG formats.

Another funky feature is the ability to swap image aspect ratios on the fly, courtesy of a physical switch mounted just above the lens barrel, rather than just as a software setting buried within the menu screens. The options here are the standard digital 4:3 ratio, plus 3:2 or elongated 16:9, and more unusually 1:1. It helps the camera feel more interactive and somehow more substantial, despite the relatively slender proportions. As we indicated at the outset, this is a camera that almost screams "touch me".

Before palms start to moisten however, there's the price to consider. The LX5 is a manufacturer's suggested ?449.99. Ouch. That's identical to the FZ100, which we also felt was at least ?50 over-priced, and indeed found it for a more realistic ?390-420 online at time of writing.?

Its manufacturer part justifies the premium outlay by claiming enhancements to both the camera's 10.1-megapixel CCD and image-processing engine - the magnificently named Venus Engine FHD - over its LX3 predecessor. Together they are claimed to offer boosted dynamic range and better low light performance.

Like its Lumix siblings, the DMC-LX5 also provides an Extra Optical Zoom option accessible in 4:3 ratio with incremental resolution decreases, namely 4.5x at 7 megapixels, 5.4x at 5 megapixels and 6.7x at 3 megapixels or under.?

Other Lumix regulars likewise make a re-appearance, including the "Q.Menu" (Quick Menu) button on the backplate, a press of which calls up on-screen a time-saving drop down toolbar of essential shooting functions. The screen itself is a bright, class leading 3 inches with 460k-dot resolution that provides a more life-like relay of the scene before the lens than we're used to seeing on a compact. Scene and subject recognising and optimising intelligent Auto (iA) for point and shoot operation, My Colour modes (both via a twist of the top-mounted mode dial) are also present and correct, as is the selection of film simulation modes when the shooting dial is turned to a creative mode, such as program, aperture priority, shutter priority or manual for example.

In terms of picture quality, under clear bright skies the Panasonic LX5 acquits itself extremely well, holding detail in both highlights and shadows and, if images benefit from subtle Photoshop tweaks mainly for adjusting brightness and contrast to add definition to scenes and subjects, such requirements are minimal. Dull conditions are another matter; yet if the shots start to look particularly flat, then choosing the "Expressive" option from among the camera's on-board colour modes can provide a much needed dynamic boost.

In lower lighting, images hold up well for detail up to and including ISO 1600, at which point the LX5 gives a performance comparable to what lesser snapshots can achieve at the lower ISO 800 setting. At ISO 3200 noise/grain is starting to noticeably intrude, but not at ruinous levels. As indicated, above this and there's a resolution drop to 3 megapixels to limit the appearance of such degradation, which does have the knock on effect of pictures appearing a tad painterly. Still, if shooting abstracts, it might just work.

Ultimately though it's the sharpness and clarity delivered by the bright Leica branded lens that impresses. This camera doesn't leave you with the soft, slightly murky images delivered by your standard point and shoot.

Verdict:

There is clearly more to this camera than immediately meets the eye, as the LX5 comes across as a veritable pocket rocket and sports the physically smaller dimensions we imagined Micro Four Thirds hybrid models would deliver, when we first saw those cameras' press shots.

All we need now is to be able to swap the optic on the front, and thus quite possibly never need to have to buy another digital camera ever again. That will probably be the case in any event, as unfortunately you will need an extension on that overdraft to be able to purchase one for the too-high price being asked on launch.

Tags: Cameras Digital cameras Compact cameras Panasonic Panasonic Lumix DMC-LX5

Panasonic Lumix DMC-LX5 originally appeared on http://www.pocket-lint.com on Fri, 27 Aug 2010 15:19:01 +0100

Look mum no wires

Mobile broadband dongles are great except for two killer faults: they only work with devices that have a full-on USB socket meaning no fun for the range of Wi-Fi enabled devices you've got around your house, and they are normally so large they hog more than one USB socket.

Perhaps realising these fatal flaws and seeing the success and popularity of 3's Mi-Fi wireless dongle, Vodafone has launched its own Mobile Wi-Fi device called the R201 or to give it its more catchy name the Vodafone Mobile Wi-Fi.?Put simply, the Vodafone Mobile Wi-Fi is a device that will let you connect to the Internet on the go (providing you have coverage) and then to any Wi-Fi device you fancy.

The dongle is square, white, branded clearly with the Vodafone logo and minimalist in its overall design.?The top sports a large sliding on/off switch, a bright glowing and flashing red LED and a small monochrome OLED screen grelaying the status such as which network you are connected to, whether you're getting 3G or GPRS, how many devices are connected (up to five), the overall signal of the device and how much battery you've got left.?Peel off the back and you'll reveal the removable battery, your SIM card slot and a microSD slot as well (up to 16GB).?

Made by Huawei, the same people as 3's Mi-Fi dongle, the only other detailing on the device is a Micro-USB socket for charging and a WPS button that lets you enable more secure connection options if that's your thing.

Turn it on and the device will start flashing. The sliding switch reveals a large red LED light and for some reason, presumably to remind you its on, it will flash at you every 2 seconds.?As soon as you do turn it on a wireless network (SSID) will be created and appear in your wireless networks list on your laptop, tablet, MP3 player, games console, or whatever else.

Connecting to the device is as easy as punching in the security password on your computer (found on the inside of the Mobile Wi-Fi dongle - don't worry you don't have to take the battery out just the case off) and once connected you are ready to go.

Vodafone insist on telling you that you are connected via the first web page you visit and that means being re-directed to the device's web hub. Luckily it only takes a quick click of a mouse if you are on a laptop for example to carry on your way.?The hub is also the place where you can access the microSD card you've got installed in the dongle, as well as manage more advanced settings like the SSID name.

Out and about the Vodafone Mobile Wi-Fi is easy to use and providing you have a decent connection. We got about 4 hours usage from a single charge, however with a USB cable in the box if you're running low and using a USB friendly device then you can easily carry on using it. Being connected via a cable doesn't stop the device working.

The lack of cables is a liberating one as is the ability to use it with a range of other devices and all in all the experience is virtually identical to the 3 offering just on a different network.

As for pricing. The device will cost ?49 if you are only willing to sign up for an 18-month contract and pay ?15 a month for 3GB of data. If you are happy to sign up for a ?20 a month offering the price of the device comes down to ?29 and you'll get 4GB a month for the next 18 months.?Data hungry savages will be able to knock themselves out with a ?25 a month (18 months) contract getting 5GB of data and walking out of the shop with the dongle for free.

The prices are considerably more expensive than 3's offering of ?22 for 15GB of data a month for 18 months, so it's up to you which network you want to go with.

Verdict:

From a hardware perspective it's fair to say that this is virtually identical to the 3 offering - it's made by the same company after all, however you do miss out on timer and data counter found on the 3 device.

There is also a question of costs. You can get three times as much data for less than the top of the range offering from Vodafone on the 3 network. On?a spec sheet that sounds impressive, however in the real world you have to ask yourself what's the better for network coverage in your area.?If Vodafone ranks higher then this is the better option.

Either way you aren't going to be disappointed with the hardware.

Tags: Gadgets Vodafone Huawei Huawei R201 Phones Wi-Fi Dongles Mobile broadband

Vodafone Mobile Wi-Fii originally appeared on http://www.pocket-lint.com on Thu, 26 Aug 2010 16:07:36 +0100

Who should be scared - the DSLR or MFT?

When the Digital SLR was created it took all the fundamentals of a traditional 35mm SLR and simply made it digital. Instead of capturing light on film the camera captures light on a sensor.?In reality the technology hasn't changed that much, but the range of functions that a modern digital camera offers has.

Sony's latest offering and attempt at solving some of the problems is the Alpha A33 and Alpha A55. The two DLSR-like cameras solve the mechanical limitations of the mirror having to move out of the way every time you take a shot, by making it see-through.?Pocket-lint spent a day with the new DSLT (Digital Single Lens Translucent) models to find out how the new tech worked and whether or not you need to check it out.

The tech is called Translucent Mirror Technology and basically allows around 70 per cent of the light coming down the lens to pass straight through onto the sensor.?The other 30 per cent is redirected up into an electronic viewfinder, rather than optical, and dedicated autofocus sensor. Sony says the camera takes this light loss into account and changes the f-stop settings (by about a third) in the calibration algorithms to account for it.

The electronic viewfinder (EVF) also helps Sony battle a problem that Canon encountered when it tried a similar technology (called Pellix) in the 1960s, which meant the viewfinder was too dark to really see anything because of the loss of light.?More on the viewfinder later.

The new translucent mirror tech isn't just about discovering a new way of doing things, but about giving the camera a number of advantages over traditional methods.?Being able to create smaller cameras is one such advantage. Both the A55 and A33 are around 25 per cent smaller and lighter than a traditional Alpha model and that can only be a good thing in our books, so long as you still have enough camera to grip.

There are also less moving parts because you aren't having to worry about a mechanical mirror moving about inside your camera any more.?That lack of movement means other things as well. The A55 can shoot 10 frames a second?- something that is considerably faster than anything else in this category - all because the mirror doesn't have to move.

And those advantages just keep on coming. Because the live view is always on - a distinct advantage over a DSLR camera - and because of its translucent mirror technology, Sony states that you get constant autofocus in video on objects heading towards you at up to speeds of 50kph - handy for Pamplona.?But always-on live view and 10 frames per second isn't necessarily going to make you dump everything and snap up the camera when it goes on sale in September.

In the hand the camera feels light and easy to manage. There are plenty of buttons and controls, more akin to a DSLR than the NEX range. The screen on the back tilts and swivels in virtually every direction, meaning you can benefit from that always on live view, and if you are used to shooting via the screen rather than the viewfinder it's certainly handy to have. It's perfect for shooting above crowds or awkward low angles.

The model will come either with or without a kit lens, and those opting to spend the extra bucks will get Sony's standard 18-55mm offering - what we were using here and what is used to photograph our hands-on pictures. Of course we don't have to tell you that you get the advantage of accessing all the existing Alpha lenses in circulation, so you don't have to worry about lack of accessories.

Turn the camera on and you're ready to shoot stills incredibly quickly. Video takes a few seconds longer to get going, and depending on how much you've shot (there is a limit of 29 minutes at any one time - as standard with most DSLR models) there will be some waiting at the other end too.

For stills the A55 comes with a 16.2-megapixel sensor (it's 14.2 megapixels for the A33) and that should be more than enough to create the shots you need with plenty of room to crop.?Helping you make sure those shots are all in focus Sony has employed a number of technologies. There is a 15-point AF (autofocus) system for starters that can be localised to one spot, centred, or merely set to try and hit as many of those points as possible. This uses the dedicated AF sensor using a phase detection system.?In our play the camera's AF system worked very well; auto focusing quickly when needed with little hunting even in some interesting lighting conditions.

Then there is face detection, smile detection, and a series of scene modes too, including portrait, landscape, and low light as you'll find on other Sony cameras. Photographers wanting manual control - don't panic - you get all of that as well; this is a DSLR-like camera.?On the video front you'll get 1080i recording with the ability to save to AVCHD or MP4 and you'll be able to shoot in 16:9 and 4:3. There is an external mic slot.

Shooting a range of subjects - Sony organised sheep sheering, duck herding, and falconry sessions for us to test the camera out.?Using the electronic viewfinder wasn't as distressing as we had expected to it to be and it actually provides plenty of information on the screen, as well as giving you a 100 per cent field of view. You will feel like you are flying a fighter plane however, mainly down to the fact that one of those bits of information is an on-screen spirit level so you can see when the photo you are about to take is horizontal and level. This is a common feature on higher-end DSLRs, but you don't normally get such a feature at this price point.

Snapping shots is - like the Canon 7D - a Gatling gun affair with the camera making plenty of noise even when you just opt for a single shot. The buffer performance depends on a number of factors like size of file and the SD or MemoryStick (it takes both) you are using, but the top line to shout about is 23 shots.?We were able to easily shoot 10 shots of some ducks running towards us and then choose the best one later. All were in focus.

Like the company's NEX range and other Sony compacts, the A55 and A33 feature 3D sweep panorama, and that means you can swish the camera from left to right and capture 3D shots to display on your 3D TV.?Other features worth mentioning that we didn't get to play with are built-in GPS as standard, that will automatically geotag your images, and an ISO range that starts at 100 and goes all the way up to 12800 or a mind boggling 25600 in Multi Frame NR mode.

Verdict:

Sony is hoping the autofocus for video, the faster frame rate and other features like 15-point AF will help it win the battle against more conventional rivals. However, Sony isn't, it seems, 100 per cent confident that this plan will work with the launch of virtually identical cameras with a more traditional mirror setup.

The question is, will consumers go for it??From our brief play it's a great alternative to the DSLR models out there, but one that looks to offer something more than the NEX range recently launched. It will certainly catch the eye of the growing number of DSLR movie fans, but success will depend on fully supporting that video capture. Some may also prefer a traditional optical viewfinder, but Sony has catered for that with their other Alpha launches.

We are certainly looking forward to getting it in for a proper test, when we can really see whether the images and their quality have what it takes to be the camera to get this Christmas.?The A33 is out at the?beginning?of September, while the A55 should be available at the end of September. Expect to pay around ?600-800 depending on which setup you go for.

Tags: Cameras DSLR cameras Sony Sony Alpha 33 Sony A33 Sony Alpha 55 Sony A55 Digital cameras 16 megapixels

Sony Alpha A55 - First Look originally appeared on http://www.pocket-lint.com on Wed, 25 Aug 2010 17:57:26 +0100

Music to your ears on the go?

There is something about an iPod dock these days that suggests that it can no longer be just about the speaker.?There has to be some design element added in order to make it stand out from the crowd, whether that be a different shape or an innovative layout, one thing it must not be is square or boxy.

In steps the Harman Kardon Go + Play Micro, an elliptical shaped iPod speaker dock that features two forward facing speakers and subwoofer that fires down onto the desk, table, or picnic rug that you've plonked it on.

Extending on this elliptical theme further, the speaker features a large, but solid metal handle that encloses the design, but also actually acts as a handle so you can carry it around.?Basically it's like a giant funky handbag that Mrs Pocket-lint would like to own, and you know that would cost a bomb. Alternatively, perhaps it is an embodiment of the?Wembley?arch.

That expensive look actually feels expensive too, which is a good thing, and there is a decent weight to the whole unit that will make you feel that it's worth the ?250 you've paid for it. Unfortunately the same can't be said for the rather basic remote control that comes in the box.

Beneath the arch are the control buttons - all three of them - and the all important docking station. To make sure it fits every iPhone/iPod under the sun there is a large screw that can be raised to allow your device to sit in the right place, and we tested it with an iPod touch (1G), an iPhone 3GS and an iPhone 4. All worked perfectly.

As for those three buttons, you'll get a power switch and volume up and down. There are no equaliser buttons and no extra "boom box" features. Harman Kardon is all about creating a natural sound and, therefore, believes that if you want to do something to that sound, the iPhone and its plethora of equaliser settings are just as good.

Around the back you get power in - an adapter is included in the box - a USB socket for connecting to a computer, a TV out and an AUX in.?There is also a massive battery compartment that will reveal that you've got to feed the Go + Play Micro with eight (yes eight) C cell batteries.?Those that decide to do so will free themselves from the shackles and chains of mains power. That means the garden, the park, camping - pretty much anywhere.

Battery life as you can imagine isn't long and depending on a number of factors, like the type of music you listen to (bassy tracks are a real battery drainer), you'll get around 12 hours of music before you've got to resupply it with batteries.

So that's the looks, what of the sound??Well we can happily report that the Harman Kardon Go + Play Micro sounds really nice. It's a very natural sound and nowhere near as bassy as the Bowers and Wilkins Zeppelin.

The sub that fires downwards will vary in performance depending on what you place it on, but it also does a good job in creating a decent sound that will please most.?What we mean by a natural sound is that it tries to do its best to replicate the original track that you are playing on your iPod, rather than enhance it with extra bass or treble.

If your original track sounds poor then it will sound poor here too.?As for sheer noise performance, the Go + Play Micro is certainly loud enough to fill a lounge, garden party and certainly picnic - you will get complaints if you crank it up.?

Verdict:

We like the Harman Kardon Go + Play Micro iPod speaker dock for its simplicity and its kooky design.?While that design is something that is likely to polarise fans - you'll either love it or think it's ugly - we personally think it really has enough design panache to carry it off.

Combine that with a very good sound and this is one player we would recommend.

?

Tags: Audio iPod speakers iPod Harman Kardon Harman Kardon Go Play Micro iPod docks

Harman Kardon Go + Play Micro originally appeared on http://www.pocket-lint.com on Wed, 25 Aug 2010 08:38:59 +0100

The hybrid camera of choice?

The Sony Alpha NEX-3 is the not-so-identical twin of the Sony Alpha NEX-5. There are cosmetic as well as technical differences, but the first thing to understand is the similarity. Importantly, both feature the same E-mount and will accept the same lenses and both feature the 14.2-megapixel Exmor APS HD CMOS sensor, so they both have the same imaging system.

The differences then, lie in video capture and design. The NEX-3 offers 720p HD video capture to the NEX-5's 1080i and the design and build - although recognisably similar - has a softer, plastic, finish. The NEX-5 is the better looking camera in our minds, but whether that sharper finish is worth the ?120 price difference will be down to how flush you're feeling.

In practical terms the millimetres of difference (117.2 x 62.6 x 33.4mm for the NEX-3 vs 110.8 x 58.8 x 38.2mm for the NEX-5) make little different to pocketability. The NEX-5 might be the smallest interchangeable lens camera of this type (at launch) but the real dimensions of the camera are dictated by the attached lens, rather than the camera body itself.?

Slim it may be, but even with the compact 16mm F/2.8 pancake lens, you are still looking at slipping it into a jacket pocket rather than into your jeans so in those respects the size doesn't make it a huge winner over the likes of the Olympus E-PL1 or the Samsung NX10; the Olympus, at least, has a locking zoom lens which folds in to a more compact bundle.?

It does offer you a distinct size advantage over a typical DSLR, but once you attach the 18-55 lens in the dual kit bundle we reviewed, you'll be carrying it on the strap most of the time anyway, at which point you'll be left with a device of not too dissimilar size, but lacking the full whack of features a DSLR will give you.

The plastic body lacks the premium finish you'll pay for on the NEX-5, but it seems sturdy enough. A bulge on the right end of the camera provides some scope for a good grip, although we found the strap attachment point was in the way when gripping the camera securely and the scrap often fell over the screen when shooting in portrait. The bulge also houses the battery (good for 330 images) and the memory card, accepting the typical SD/SDHC/SDXC cards as well as Sony's own MemoryStick variety.?

One of the distinctive features of the NEX cameras is the vari-angle display on the back. Measuring 2.7 inches on the diagonal, it has a high 921k-dot resolution, so is ably equipped for composing and previewing shots, as well as navigating the graphically-rich menu system. One advantage the high resolution offers is the ability to render fine text, which means the display isn't necessarily as cluttered as it might be.

The vari-angle works in two ways, folding down from the top - to facilitate shots from a high angle, like over the heads of a crowd - as well as folding up from the bottom to aid in the composition of those awkward low shots. Some screens, like those on Panasonic's G series cameras, will fold away for protection, but in the absence of a viewfinder, that isn't a practical option on the NEX-3.?The screen is unfortunately not the best equipped to deal with bright conditions because it is prone to reflections and it also gets incredibly smeary: you'll be spending a good deal of your time polishing the thing up again.

The controls are reasonably conventional at first glance, with the on/off switch encircling the shutter button next to a playback button on the top of the camera. The back of the camera offers a rotating four-way controller with shortcut controls for info displayed on the screen, flash, drive mode (including self timer) and exposure compensation.

An instant movie record button sits on rear edge, falling easily under the thumb, ready to record MPEG4 video in a flash. Two additional buttons sit above and below the circular controller. Both are unlabelled as their function changes as you use the camera. It is here that the NEX-3 puts the screen to use, presenting options on the screen for you to enact using the corresponding buttons.

The most significant of these is the shoot mode dial, which is on-screen, rather than being physical. There is an advantage here: Sony can offer an entirely new shooting mode via a firmware upgrade which they did with the 3D panorama option. The firmware upgrader is straightforward enough to run, but there is currently no Mac support - it is PC only.

The mode dial presents what you'd expect to find on a DSLR, so you have common program, aperture, shutter, and manual modes. These are joined by an intelligent Auto mode, 8 scene modes, and anti-blur mode and finally the two sweep panorama modes, in 2D and 3D.?We've seen the 3D panorama in action and it looks like a lot of fun, but you'll need to be able to view the resultant MPO file to get anything from it. For this you'll need a 3D display, like one of Sony's Bravias. You'll be able to play the 3D file from the camera on your TV via the HDMI (a future update to the PS3 will also mean you'll be able to view it via the card reader, if your model has one).?

The great thing about the menus is that the background picture changes as you rotate the virtual dial, displaying a background image fitting to the shooting mode. This carries through to the scene modes too, so you have a representation of night portrait and macro, for example, if you were in any doubt, which is great for novice photographers.

But step beyond the requirements of picking a shooting mode and things start to become much more fiddly. Changing the settings in the PASM modes means re-entering the menus and cruising around. Even with some familiarity with the layout, it's too time consuming to be practical. Trying to balance ISO and shutter speed in a handheld indoor shot? You'll be diving in and out of the menu so much, you'll get sick of it. Also, because the function of the buttons changes there is little feeling of consistency, so it isn't always entirely natural to control.?

In that sense, then, the NEX-3 could benefit from easier shortcut controls for some of the advanced shooting modes that it offers. As a hybrid model for those who want a little more than a compact camera, the approachable menu with guidance and illustrations may appeal, but as a DSLR user looking for something more compact, the NEX-3 doesn't represent the best option for us.

But there is stacks of technology packed into the NEX-3 as there is on all Sony cameras. You get the regular offerings of face detection as well as Sony's smile shutter. You also get an Auto HDR offering which looks to preserve both shadow and highlight detail by taking three successive shots and merging them together. It works to an extent, but we found that we achieved better results using the D-Range Optimiser on the RAW file in Sony's Image Data Converter software.?

You also get an ISO range that runs from 200 up to 12800. Sony has said that the ISO doesn't go lower because is doesn't need too. A bold claim, but one that is backed by impressive noise control as the ISO rises. You don't get the full advantage of the ISO range in iAuto, but in the manual modes, we found that shots at ISO 3200 were usable, where many from rival cameras aren't. It's a bitter irony that that impressive performance is more difficult to get to than it should be.

Some of the svelte dimensions are achieved by removing some of the core elements you'd expect from a camera. Rather like the first Micro Four Thirds E-P1 from Olympus, you won't find a viewfinder or flash onboard. The only viewfinder is an optional accessory, but the flash was bundled in the box. This screws onto the top of the camera, using the accessory slot and essentially meaning you can't attach anything else.

The flash itself, once in place, is rather neat. It flips up and down to activate it, but it doesn't have a great deal of height and, sitting right over the lens, it will cast shadows on the subject if you aren't careful and a flash extender (riser) is also available to help avoid this problem. Once we'd put it in place, in lieu of any other accessories, it stayed put for the duration of our time with the camera.

We found that the NEX-3 produced excellent images, although the iAuto (and in fact the JPEG shooting) doesn't get the best out the camera. Dive into the RAW shooting and you can eek a lot of extra detail out of the camera that the JPEG compression loses. Fortunately Sony bundle their RAW (ARW) processing software for both PC and Mac, so if you find that JPEG doesn't deliver the results you want, it is fairly straightforward with the RAW files.

There is a tendency to overexpose and oversaturate the reds, which does bring vibrancy to some shots, but we found it occasionally gave results we weren't quite expecting. A range of shooting styles can be applied and although there is no custom setting, you can change the settings of individual modes to get closer to the image look that you want. Exposure compensation, sadly, can't be applied in iAuto.

Focusing is generally swift, although we did find it sometimes picking the wrong focal point. Various focal modes are available, but once you find yourself with the wrong focal point selected, you'll have to dive around the menus again to change any of the settings. Even switching to manual focus involves 5 presses, where for many DSLRs it's just a switch on the lens.

Video shooting of course is the other big change from the NEX-5 and the quality of the 720p footage is good, but not quite as sharp due to the drop in resolution.?The video autofocusing works after a fashion, but without a dedicated video settings menu or place on the mode dial, you never really feel you have that much control. Many of the still shooting options are picked up by the video as soon as you punch the button, so if you are in the middle of taking a black and white portrait shot and see something exciting so punch the video button, you'll find you have black and white video too.?The frame rate came in consistently at around 30fps and on the top of the camera are stereo mics for your audio. There is an accessory mic which you'll want if you plan on doing any serious audio work as we found the mics were blown away on a windy day.

The dual lens kit we reviewed offers two lenses. The 16mm F/2.8 offers a nice compact option for general shooting, with the F/2.8 going some way to offering you a fast lens for better low light performance. The 18-55 zoom benefits from optical image stabilisation as the NEX-3 doesn't offer in-body?stabilisation. The bundled lens hood will fit on both lenses and interestingly there are accessory adapters?available for the 16mm lens to convert it into a wide-angle or fisheye lens. The metal bodies of the lenses gives them a premium feel, but the zoom lens offers very little differentiation between the focusing ring and the zoom ring, and we often found ourselves twisting the wrong parts when trying to hurriedly grab a shot. ?

Verdict:

For all the great advantages that the NEX-3 offers, there is always something that detracts. Great results from advanced shooting are obstructed by the controls. For all the work to shrink the camera in all directions, the lens still governs the pocketability of the NEX-3.

But the biggest thing we found with the NEX-3 was that it didn't quite make this reviewer as excited as something like the Samsung NX10 or Olympus E-PL1. Whilst the NEX-3 is packed with technology, it doesn't have the same sense of fun that some rivals do.

There is no doubting that the NEX-3 is a very capable hybrid camera and if you love the NEX-5, then the NEX-3 offers a more affordable route to much of the same goodness. But we can't help feeling these current NEX models are going to be subjected to Marmite syndrome. Some will love the Sony approach, and some will find it doesn't hit the mark.

Tags: Cameras Hybrid cameras Digital cameras Sony Sony Alpha NEX-3 14 megapixels

Sony Alpha NEX-3 originally appeared on http://www.pocket-lint.com on Tue, 24 Aug 2010 15:58:44 +0100

Can this 24x zoom get close to parting wallet and cash?

Offering the photographer both the extra length and the proportionally wider girth, it seems like every manufacturer's range demands a big zoom camera right now. All the major brands are wheeling one out. Fujifilm and Olympus are current leaders of the pack for lens power with their respective 30x optical zoom HS10 and SP-800UZ models. Against these, Panasonic's flagship big zoom "bridge" offering in the Lumix DMC-FZ100, updating the FZ38, fields a more modest 24x. That's an equivalent 28-600mm in 35mm film terms; still enough to impress more than the ladies.

Likely to dampen any flushing of the cheeks, however, is the price. At a manufacturer's suggested ?450 it's more expensive than an entry-level digital SLR, and ?50-?100 more than its close rivals. So what gives?

Like the mighty Fujifilm, the 14.1-megapixel FZ100 takes its design cue from a digital SLR, and also in that respect closely resembles Panasonic's G2 and G10 hybrid models, complete with one-touch video record button in addition to main shutter release. Unlike those two G-series siblings the lens on the front cannot be changed. Not that, arguably, you'd want to do that. It offers a flexible choice of shooting extreme wideangle landscapes, candid close ups, plus everything in between. In that respect it's a very handy all-in-one option, so convenience would seemingly command a premium.

The FZ100 weighs 539g with SD/SDHC/SDXC card and rechargeable battery inserted into the base of the comfortably proportioned handgrip. It offers manageable yet pocket unfriendly dimensions of 124 x 81.2 x 95.2mm. The Panasonic feels chunky and well built enough to withstand the odd knock, though it was disconcerting to hear the retracted lens rattling around in its housing when the camera was being transported anywhere.

Powering up for action in 2 seconds, pictures are composed and reviewed via pokey electronic viewfinder or preferably, if lighting conditions allow, via 3-inch, 460k dot resolution LCD beneath. A dedicated button alongside the eye relief allows the user to quickly swap between these two options. We missed the eye sensors on the Fujifilm HS10 that automatically do the same. However, here we also get a pop-up flash and hot shoe alternative for adding accessory flash - or even external DMW model microphone.

The LCD further has its uses in that it can be tilted up and down, flipped out at right angles to the body, or folded face in against it for added screen protection. It's a feature that steals the jump over the HS10 or Nikon P100, which also feature tilting screens, yet possess more limited adjustment options. With the Panasonic, those otherwise awkward high or low angle shots - where you can't otherwise get your eye level with the viewfinder or LCD - are surmounted. As the screen can be flipped to face the subject in front of the lens, it's an added bonus for group portraits when the photographer themselves wants to squeeze into frame.

As indicated at the outset, a press of the top mounted video record button commences the committal of full 1920 x 1080 pixels high-def movie clips to memory card or 40MB internal memory. Stereo sound is also offered via microphone located just forward of the FZ100's vacant hotshoe and just behind the integral pop-up flash. Here the Panasonic records in AVCHD Lite format. Though the dedicated record button proves useful, we can't help feeling that it would have been better incorporated onto the backplate, where, for example, it would have been accessible by the thumb, camcorder-like. As it is, it's squeezed between shutter release button and continuous shooting mode (up to 11fps offered) on the top plate: the fact that it's also recessed into it adding unnecessary awkwardness.

Easier to get to grips with is the large, ridged top plate shooting mode dial, crammed full of 14 capture choices, stretching from subject-recognising intelligent Auto (iA) mode via program, aperture priority, shutter priority and manual settings, to a user customisable option. The action of this dial is just stiff enough to avoid accidentally jogging the camera from one setting to another when fetching it out of a bag. Also large and obvious is the shutter release button, surrounded by a lever for operating the main feature of that whopper of a zoom. Said lens travels near silently from one extremity of its broad focal range to another in 3 seconds. This quiet operation ensures that, unlike some of its rivals, the optical zoom can be utilised for recording video as well as stills.

Though we were impressed with the FZ100's performance across a wide range of subject matter and its warm and flattering colours, we did occasionally struggle to get definitively sharp results at maximum telephoto when shooting handheld, which the camera lends itself to. It is possible with perseverance though. While there's also barrel distortion (curvature of the edges of the frame) visible when shooting at maximum wideangle, it's only really noticeable when attempting to shoot man-made structures with plenty of (otherwise) straight lines. Yet the area in which the Panasonic particularly disappointed us was low light photography without flash. Choose an ISO setting above say ISO 400 and noise (grain) begins to noticeably intrude. Which for a ?450 camera is below average.?

Verdict:

The Lumix range has consistently impressed us, and, if we hadn't recently tested a truck load of alternative big zoom cameras - the Fujifilm HS10, Pentax X90, Kodak Z981, Olympus SP-800UZ et al - our feelings for Panasonic's DMC-FZ100 might have been a little kinder. Its closest competitor is probably Nikon's P100. But it's more expensive than all the above models and lacks the manual focus ring and zoom ring of the Fujifilm, which we really liked, plus it also can't quite compete with its more solid-feel build. So while we can't recommend it to you as the best big zoom option for the money, there are other positives.

Namely this is a camera anyone should be able to quickly get to grips with, indicating that while it may not offer everything the photo enthusiast might desire, the FZ100 will hold appeal for families who don't just concentrate on one sort of subject - but who will want a device that does everything and anything. In that respect the FZ100 is a competent, reliable performer. And though you'll have to pay, in our humble opinion, a too expensive premium for the privilege, competition from the above is bound to see this Lumix drop to a more sensible asking price - and might even have done by the time you read this!

Tags: Cameras Digital cameras Hybrid cameras Panasonic Panasonic Lumix DMC-FZ100 14 megapixels

Panasonic Lumix DMC-FZ100 originally appeared on http://www.pocket-lint.com on Mon, 23 Aug 2010 11:07:06 +0100

Will the dog have his day?

Were it not for one thing, Kane and Lynch: Dead Men might have been one of 2007's most original and entertaining shooters. Some of us who played it loved it for its brave, gritty storyline, its tense, violent atmosphere, and just the fact that - for once - we had an action game that didn't follow all the usual space marine/Saving Private Ryan/Call of Duty cliches. Instead, IO Interactive made a game that riffed on the crime thrillers of Tarantino, Tony Scott and Michael Mann, packed with terse, brutal firefights, realistic locations, and a healthy dollop of swearing and psychosis.

Unfortunately, Kane and Lynch had one problem that we just couldn't overlook. Mediocre graphics can and will be forgiven. Painful, frustrating gameplay? Not so much. The cover system - somewhat important to a cover-based, third-person shooter - didn't really work. The AI was flawed. Weapons were spectacularly inaccurate, to the point that you couldn't really trust your crosshairs at any kind of range. Kane and Lynch was hideously frustrating, too, to the point that some sections needed inhuman levels of perseverance. It all dragged the game back from greatness.

Still, the sequel is IO's chance to make things right, right? After all, all Kane and Lynch 2: Dog Days needs to do is fix the issues while retaining all the good stuff, and we should be on to a winner.

Well, maybe not. The tragedy of Kane and Lynch 2 is that the overall feeling is the same as with the first game. It's a brave, distinctive third-person shooter, practically bursting with potential, but at the same time it's not actually always that much fun to play.

Good news first. Dog Days retains the harsh, gritty feel of its predecessor, and even amplifies it through the use of a very nifty, documentary-style shakey-cam effect, and some very nice filters that give it the look of cheap digital video, complete with colour artefacts and lens flare. It's not far off the look of Michael Mann's Miami Vice and Collateral movies, but shot by a twitchy youth with an iPhone. The visuals still have some faults when it comes to low-quality scenery textures, rubbery skin and ropey-looking characters, but the overall style is slicker and more coherent than in the notoriously up and down original.

The plot this time isn't as strong, and the characterisation is nowhere near as sharp, but in both respects the game is still miles ahead of the likes of Army of Two. The game begins with the original's criminal anti-hero, Kane, arriving in Shanghai to do one last job with his psychotic ex-colleague, Lynch. Both men are deeply dislikeable in their own way, but each has some shred of humanity to keep your interest. Strangely, the game makes the curious choice of having you play as the crazy Lynch instead of the more sympathetic Kane, though our protagonist has calmed down considerably for the sequel). The tale that follows isn't a whole lot more than an excuse for a long series of shoot-outs, but it's a reasonably well-written excuse with a couple of genuinely shocking moments.

Sadly, the actual shooting still isn't as accomplished as it needs to be. Aiming remains worryingly imprecise, and while you could say that some of this comes down to realism, it's a constant frustration that, while you're struggling to nail the triad goon with your SMG ?- even when he's sitting right in the middle of your crosshairs - he doesn't seem to have the same problems hitting you. The cover system works better this time around, but still slips when it comes to manoeuvring from one bit of cover to another, and the sprint action can be a nightmare to activate. Enemy and allied AI is also much improved, with Kane providing more reliable backup than Lynch did in the first game, but there are still moments where sensible behaviour goes out the window. Dog Days offers decent gameplay, but when Gears of War 2 and Uncharted 2 have raised the bar for duck and cover gunplay, decent isn't really good enough.

It's not a disaster, by any means. Better weapons in the second half of the game seem more accurate, and the action picks up accordingly. There are some fantastic set-piece sequences around crowded apartment blocks and abandoned ship-fitters, and a genuinely brilliant section where a naked, post-torture Kane and Lynch make a bid for freedom. At its best, Dog Days is raw, thrilling and edgy, with a strong grasp of shooter dynamics and a real desire to do something different, but there are just too many rough edges to ignore. Worst of all, a game that can easily be cracked within 5 hours still manages to feature levels that drag on 30 per cent longer than you'd like them to. ?35 for an accumulated 3 hours of fun isn't anyone's idea of good value.

Dog Day's saving grace - as much as it has one - is its multiplayer. Not only is the single-player campaign more enjoyable when played through with a mate, but the main online mode, Fragile Alliance, is even better than it was in the first game. If you missed it before, you play as a member of a gang of crooks on a heist, and it's your job to help eliminate the opposition, steal the goods and make it to the getaway car alive. The twist is that, along with AI controlled enemies, you also have to deal with your fellow criminals, who might turn traitor, kill you and run away with the loot at any time. Players killed in action return as cops, giving you a chance to get some sweet revenge on your murderer. The trick, then, when turning traitor is not to do it too early - you'll end up with too many cops on your tail - but to do it early enough to grab a decent share of loot. Played well, it's hugely enjoyable; arguably more so than the single-player game.

One problem with Fragile Alliance in Kane and Lynch: Dead Men was that - in many games - no players were brave enough to turn traitor. The new Undercover Cop mode gets around this by secretly assigning one player as (you guessed it) an undercover cop, practically ensuring that at least one player will turn traitor every time. On top of this the game also offers a straight deathmatch mode, Cops vs Robbers, though there are other games with better gunplay if you like that sort of thing.

Verdict:

There's no getting past the fact that Dog Days is a disappointment, only occasionally living up to the potential of the first game, or the bold visual style of the new. For occasional moments it promises to soar above its average shooter status, only to come crashing down to earth with another over-extended section of uninspired cover-based gunplay. However, the multiplayer mode offers some consolation, with fun co-op and the still unique and interesting Fragile Alliance. Fans of the original might give it a look, but you can't help wondering if this dog will ever have its day. ?

Tags: Gaming Xbox 360 PS3 Square Enix Kane and Lynch Kane and Lynch 2 Dog Days Eidos

Kane and Lynch 2: Dog Days originally appeared on http://www.pocket-lint.com on Fri, 20 Aug 2010 15:03:41 +0100

Noise cancellation for your iPod

Philips have stepped into the world of noise cancellation with the SHN6000 headphones, a set designed specifically for your iPod. But will they blissfully cut out the world around you so you can enjoy your tunes in peace? Or are too many compromises made along the way?

The SHN6000 are iPod-only because they come with a dock connector on the bottom rather than the more typical 3.5mm jack you'll find on most other headphones. The reason this is the connector of choice is so they can draw power from your device.

This is both a pro and a con. On the positive front, it means that the headphones themselves don't need to have a separate power source, as we saw with the Creative EP-3NC, for example, which have a battery on the cable. The downside is that the headphones will lessen life of your iPod, so you have to decide whether this is a significant issue for you.

We've said iPod rather than iPhone - you could use them with the iPad - because the SHN6000 don't include a mic, so you won't be able to use them for any voice activities. This also includes Apple's Voice Control, for which there is no support. As a result, you'll be controlling your iPod via the in-line controller.?

Using the dock connector the SHN6000 also takes control of the volume, so you can't change volume on the device itself, you have to change using the in-line controls, but if you've got the headphones on, then that isn't a problem.

The in-line controller is backed by a clip to allow easy attachment to clothing. Crafted in white plastic, we can't help feeling that it doesn't quite have the premium look and feel that Philips intended, looking a little cheap for what is a ?90 accessory.

The controls offer a central play/pause button, surrounded by a four-way controller that offers track skip and volume controls. Along the side of the controller is a switch that turns the headphones off (so they don't just drain your iPod battery) and also to switch on or off the noise cancellation.

Before we talk about performance, we'll look at the ear buds themselves. These are in-ear headphones of the two stage variety, occupying both the inner and outer ear, just as we saw with the Philips SHE9800 headphones, which we found to be extremely capable.

With a choice of tips in the box, they will cater for different sizes of ear. Getting the right tip is important, as this provides the level of noise isolation, physically blocking external noise. As such, without using noise cancellation, the SHN6000 perform better than your bundled iPod headphones. Whether you use noise cancellation or not, the controls still work.

On the rear of the ear buds are the external mics that detect ambient noise in an attempt to drive the noise cancellation technology. Slide the switch over to "NC ON", the LED turns from green to blue and you are ready to battle noisy environments.

There was a noticeable difference when using noise cancellation, but it was a case of feeling the slight change in pressure in your ears rather than a marked difference in sound quality. We did think there was something wrong with the technology as we often found it introduced a residual hum.

With some experimentation we found it to be the power supply for our MacBook: placing it on the same table as the plugged-in MacBook lead to a distinct and distracting hum, but once up and walking, this wasn't a problem. We tried placing the iPod touch on a TV stand and found a similar phenomenon.

Whilst this might not be a problem for those getting the bus to work, it might prevent you from using noise cancellation at your desk, should you want to. But we're in two minds as to whether this is really effective or not - we didn't find them to be as capable as the Creative EP-3NC headphones as cutting down on noise, but they do attack the same type of noise. They are effective against hissy persistent noises, the sort of thing you get from train air conditioning or air travel.

We were generally pleased with the audio performance of the SHN6000, capably delivering bass across the volume range with punchy delivery and detail coming into music that your average Apple headphones don't offer, and competing ably with other headphones you might consider.

Verdict:

The real question is whether the noise cancellation brings enough to the party to elevate these headphones above a non-noise cancelling equivalent. This will be down partly to personal taste and the environment in which you find yourself using your iPod, but for us, the effect isn't distinct enough over the impressive level of noise isolation that these headphones offer by design.

You also have to consider that these headphones can't be re-purposed. They won't flit from iPod to notebook to mobile phone like a standard pair of headphones would, so if you travel with a multitude of gadgets, including some out of the Apple cart, then you'll want to look elsewhere to get the widest possible use for your new headphones.

For us the lack of versatility, lack of support for voice commands and a choice of materials for construction that belies their ?90 price tag takes the shine off these headphones from Philips, but as a niche offering they will appeal to some.

Tags: Audio Headphones Earphones Philips Philips SHN6000 iPod iPod accessories

Philips SHN6000 headphones originally appeared on http://www.pocket-lint.com on Thu, 19 Aug 2010 09:00:00 +0100

Two become one

With Blu-ray now firmly ensconced in the home entertainment landscape, it’s about time it was included in all-in-one home cinema systems - and this sub-?400 package from Samsung is one of the best value.

It’s hardly cable-free, but if you can stomach three speaker cables winding their way from the back of a Blu-ray player to two speakers and a subwoofer this is a good value solution that instantly upgrades your set-up in three ways; Blu-ray, Wi-Fi internet content and, of course, decent sound - are all offered by the HT-C6200.

There is always a choice to be made when choosing a home cinema system, and the flipside of this relatively cable-light system is that the HT-C6200 doesn’t actually offer surround sound. So it’s not actually a home cinema system, though it does boost the sound from any flatscreen TV.

Selling online from the usual big retailers (and for as little as ?340), the core of the HT-C6200 is its Blu-ray player. It’s unusually well specified, hosting Samsung’s online content platform - Internet@TV - that gives you access to a plethora of online widgets comprising YouTube, Lovefilm movie streaming (subscription only), Twitter, Picasa, Facebook, Google Maps, USA Today, Rovi TV listings and Getty Images. It’s still lacking BBC iPlayer despite Samsung promising it in the recent past, but Internet@TV does appear to be set for bigger things, so it might be worth investing in. For now, at least all of this can be done over Wi-Fi so there’s no need to trail an Ethernet cable all the way to a router.

The Blu-ray core also holds a USB slot that sports decent file compatibility; we managed to play DivX, DivX HD, MPEG2, MP4 and AVC HD files, though the machine can only cope with the sound from a WMV file and, conversely, just the video from a WMV HD file. BD Live downloads, meanwhile, can be stored directly on the unit’s own 1GB memory. Over Samsung’s All Share wireless DLNA streaming feature we managed to fetch only DivX and AVC HD files from a Mac computer - DivX HD files weren’t even picked-up over the network. We also noticed that, if watched over DLNA, video files cannot be scanned-through. JPEG photos and MP3 and WMA music files can be played from a USB stick or streamed from a computer.

On the rear of the slim, gloss black Blu-ray player is a host of ins and outs that include HDMI switching (two in, and one out), Component video and Composite video, both optical and analogue audio, and a slot for attaching an add-on (Samsung) iPod dock. Along the front is a flap hiding a USB slot.

Picture quality from a Blu-ray disc is exquisitely detailed, smooth and judder-free, while DivX HD files aren’t half bad either, though they are blighted only by the usual judder from fast-moving shots. The same goes for DVDs, which are upscaled well.

The main reason to choose the HT-C6200 over a ?100 Blu-ray player is, of course, for cinema sound. Although the machine can decode the Blu-ray HD audio formats - Dolby True HD and DTS HD Master Audio - you’d best forget 5.1 sound effects. The system’s two speakers can deliver stereo only - its quasi-surround mode is less than successful. Instead a DPS button on the remote supplies modes for Smart Sound (detailed and reasonably cohesive, though bass can seem separate), Power Bass (initially frighteningly boomy - especially with action movies) - and a superb MP3 Enhancer that audibly lifts lo-res music.

Verdict:

Loaded with extra - and generally effective - features, there’s no getting away from the fact that the HT-C6200 isn’t a "proper" home cinema system. Although it struggles to produce the kind of exacting audio promised on Blu-ray discs, at this price that’s no surprise.

The HT-C6200 remains a great value way to immeasurably improve on your flat TV’s weedy speakers and simultaneously instantly upgrade your home ents system, though a "soundbar & sub" set-up could be a much cleaner solution.

Tags: Home Cinema Blu-ray players Home Cinema systems Samsung Samsung HT-C6200

Samsung HT-C6200 2.1 Blu-ray home cinema system originally appeared on http://www.pocket-lint.com on Wed, 18 Aug 2010 08:54:25 +0100

The last flourish of the Walkman handset?

It would be easy to forget that the world isn't only about smartphones and that some people still want a regular handset. At least Sony Ericsson is hoping so with the Zylo (aka W20i), a slider handset coming with Walkman branding and a price tag for every pocket.

It measures 103 x 52 x 16mm and is a light 115g. The design is a slightly rounded version of the slider handset that Sony Ericsson has produced a large number of in recent years, and to a certain extent could be described as typical.

The choice of materials is plastic, with the softly curving back making the Zylo sit nicely in the palm of your hand. Soft, smooth corners mean there are few hard edges and whilst this lends an elegance to the phone, it also looks rather basic. Ours was finished in a fusion of silver and chrome colours, with highlights in turquoise.

The slider action is soft too, opening to reveal the 12 keys that make up the keyboard. The keys are all of a reasonable size and easy to hit; the soft precise action makes texting a pleasure and they all seemed to be securely attached to the frame.

The top of the phone is dominated by the 2.6-inch display which offers a 320 x 240 pixel resolution. This isn't the sort of cracking high resolution display you'll find on high-end handsets, but fits the icon and menu based operating system, which could have been plucked from any point over the past few years of Sony Ericsson phones.?

Running beneath the screen is the usual array of control buttons. These work in tandem with on-screen prompts, but design has taken the lead, so you'll find the corresponding buttons don't align with the on-screen options. If you've used a Sony Ericsson phone in the past this won't bother you, but it is slightly odd.

What is also odd, and perhaps the phone's critical failing, is that this is a Walkman-branded handset that doesn't have a 3.5mm headphone jack. As far as we know, this is the end of the line for this arrangement from Sony Ericsson. But it means you are still faced with that bulky connector for charging your headphones and any data transfer you might want to do. It also means you can't just plug in your own headphones, which is a real drawback.

The bundled headphones are of the hard plastic variety and we found that we struggled to get a good fit from them. When we did get a decent fit, after much fiddling, we were rewarded with sound quality that was nothing to get excited about - subdued mid and high tones, with dominant bass lacking the sort of clarity that you'd expect from a Walkman branded device.

Amusingly in the features of the phone, Sony Ericsson details that it supports FLAC (for lossless audio), but then go on to outline that you should upgrade the headset: "Complete your Zylo with a premium headset and enjoy a clear audio experience (not supported by included headset)". The only way we can read this is that a clear audio experience is not supported out of the box, which seemed to be the case in our tests.

An external speaker supplies a surprising level of volume and isn't as tinny as some - we can see it being a little irritating on the back of the bus.

Dedicated music controls aren't as prominent as they have been on other Walkman handsets. In this case, a button on the right-hand side will launch the music player and the central four-way controller has a play/pause symbol in the centre. Media is presented using Sony's Xross Media Browser, which makes it easy to find all your content and it's an interface we like a lot.

Photos lets you view not only your local content (on the phone), but also lets you log into various online accounts to access your images, so you can hook-up with Flickr, Facebook, Picasa and Blogger for example. Video, likewise, will give you access to YouTube content and any local content you have.

You also get access to Sony Ericsson's PlayNow offering which will offer to sell you a whole collection of content, but it doesn't really represent very good value for money - if you are buying music, you'd be better off using your PC and transferring it to a memory card. A microSD card slot sits under the back cover giving you the chance to expand on the 260MB of internal memory.

We've complained about the organisation of this type of handset before, and you'll find the radio hiding in the main menu rather than the media menu, which we've always felt is a little convoluted.

In terms of connectivity, the phone features 3G HSDPA, so you'll be able to get access to a thick fast data stream, if your contract supports it. There is no Wi-Fi, however, but you do get Bluetooth.

The browser is a little slow by modern standards, and never really does justice to online content designed for a full browser, throwing up a mobile version from Google searches and prompting you to view the full version after an additional click.

Around the back of the handset is a 3.2-megapixel camera, a little lower than average. Unfortunately it is of the fixed focus variety so doesn’t really deliver the best results possible, with the usual heavy fringing on display and a general lack of detail. Video is slightly better catered for, with "normal" resolution of 640 x 480 at 30fps, which gives better results than you might expect for this type of phone.

Elsewhere there is a nod to social networking with the inclusion of a Facebook application which will move a widget onto your homescreen too. You also get sharing options, so you can send a photo out to Twitter, Facebook or your web albums, as well as via the more usual email or messaging.

Email is supported, although we found that the screen and layout make it difficult to really get to grips with emails. But we do like the Zylo as a messaging phone, it is fast to bash out SMS messages with the usual Sony Ericsson predictive text.

Calls came across loud and clear and were comfortable to make. The battery will give you around 26 hours of music listening and up to 4 hours of talk time. In practise, we found the Zylo would last over a day before it needed charging again.

Verdict:

There is little to surprise with the Sony Ericsson Zylo. There is also little to set this handset aside from similar models from previous years, from the design to the operating system.

The biggest let down is the music performance seeing as this is a Walkman branded device. The poor headset, and the lack of support for a standard 3.5mm jack, means you'll have to buy additional headphones from Sony Ericsson, or an adapter dongle, to get the most out of it.

As a simple mobile phone it works well enough and is simple to use, with good messaging for those who don't want to be overwhelmed in the new world of smartphones, but it does little to sell the Walkman branding.

Tags: Phones Mobile phones Sony Ericsson Sony Ericsson Zylo

Sony Ericsson Zylo originally appeared on http://www.pocket-lint.com on Tue, 17 Aug 2010 12:08:18 +0100

14MP, 8x zoom, HD movies, good price. What's not to like?

Despite its availability in a curious choice of shades including silver, purple and caramel brown, Kodak's 14 megapixel, 8x optical zoom, HD video EasyShare M580 is the best looking snapshot camera we've seen from the brand in some time.

Whilst a outward dash of style, including lightweight metal construction and angular detailing will undoubtedly appeal to the pocket model's intended user base of teens and twenty-somethings plaguing social networking sites - with one-touch upload to YouTube, FriendFace (sorry, Facebook) Flickr and the Kodak Gallery courtesy of a "Share" button - it comes at the expense of usability. This is something you realise almost immediately.

The Kodak M580's oddly uneven top plate operational controls, set into the body, are uncomfortably narrow - requiring fingertip precision. Moreover they are located too close to each other.

So, for example, while our attention was on the 3-inch LCD when framing shots, our "blind" forefinger hit the shooting mode button rather than the shutter release, or the power button rather than the flash control alongside it.

Matters improve slightly with increased familiarity, but it is rather irritating - especially as the squashed positioning of power, flash, shooting mode and shutter release buttons seems to be for no practical reason. Luckily, when it comes to adjusting settings, users can conceivably just select Kodak's scene/subject recognising Smart Capture shooting mode - one of four drop-down menu options also including Program Auto, movie and "Scenes" mode - and be done with it. Alternatively the 18- pre-optimised scene options cover the usual suspects including portraits and landscapes, fireworks, snow, beach and baby modes, self portrait, sports, panorama, plus high ISO (maximum ISO 1600). Given the camera's unassuming status, HD video is actually quite good. The sound is surprisingly clear, colours are realistically rendered and transitions are fluid.

Continuing with the positives, the camera costs a modest ?160. Given its headline features and metal detailing the cost at least feels fair. Dimensions are a more-than-manageable 100.8 x 59.5 x 25.6mm and the unit weighs just 150g, albeit without lithium-ion rechargeable battery and optional SD/SDHC card. Unusual given the budget price is that HDMI output is provided for hooking up directly to a flat panel telly, alongside regular AV/USB port. An actual HDMI cable is an extra expense.

As no separate charger is supplied, the battery here is recharged in-camera, with a combined power/USB lead provided in the box along with compatible mains plug.

The M580 powers up with a press of the top plate control, which needs to be pressed quite firmly for the device to respond. Once it does the lens barrel propels itself outward from the body accompanied by a mechanical buzz, rear screen bursting into life a second or so later. This process takes a sluggish 3 seconds in total. There's also a pause before the lens gets going, providing here a broader than average focal range equivalent to 28-224mm in 35mm film terms.

The camera writes a full resolution JPEG image to memory in around 2 seconds, which is slightly better. Prior to this there's a slight pause whilst focus and exposure is determined, AF point highlighted in green, and a beep signalling the shot is ready to be taken.

For a supposedly beginner friendly camera, Kodak could have illustrated the back plate buttons a little more precisely. The button with the icon resembling either a biscuit barrel or hot water bottle is actually a useful dedicated delete control. The one below it with the "three bar fire" is in fact the menu button - where the rest of the camera's essential functions are squirreled away - and the one below that, with a lower case "i", is not the in-camera help manual you presume it to be, but merely the display button, subsequent presses of which activate or deactivate the self timer and burst modes, for no conceivable reason at all.

A press of the "menu" button meanwhile summons up two folders on-screen, the first containing capture settings, the second a set-up menu.

Via the first folder the photographer can tweak picture size. Aside from shooting at 14 megapixels in 4:3 ratio, there's the ability to vary ratio and resolution in tandem. Taking photographs in a widescreen 16:9 ratio prompts a resolution drop to 10 megapixels as the camera is effectively cropping the image.

As you'd want when shooting in Program mode, ISO speed and exposure compensation can be tweaked via the same capture folder. Long(er) exposure settings are also to be found here - the shortest duration being half a second, the longest 4 seconds - which we discovered proved more effective for night time shooting than the dedicated night shooting modes amongst the scene options.

In terms of photo performance, stray above ISO 400 in Program mode and you'll see image noise. Whilst that's a not wholly unexpected let down, we found white balance uncomfortably variable from shot to shot, with colours often appearing unnatural in hue. Such inconsistency means that we can't really give the M580 a warm recommendation - more a mild critical roasting.?

Verdict:

OK, so the M580 is no Fujifilm F80EXR or Panasonic TZ when it comes to reliability and performance, but gets away with it - to an extent - by being cheaper than both. However it's a real shame that a very classy headline specification - 14 megapixels, 8x optical zoom in a body depth of just 25.6mm, and including HD movies and HDMI output - is let down by counter-intuitive operation on occasion plus an image quality that is ultimately merely average.

Tags: Cameras