Using a digital camera as a webcam

Codec

The concept of a codec (CoDec. COder-DECoder, COder-DECoder) we have already discussed in sufficient detail in the article “Video capabilities of modern digital cameras”. Now let’s talk in more detail about those features that are most typical for “camera” video.

First, remember that video codecs used in this technique can be divided into codecs with frame-by-frame and inter-frame video compression.

Of all the existing frame-by-frame compression codecs, only the MJPEG (Motion JPEG) codec is used in photographic equipment. In fact, it is very similar to the DV codec used in traditional digital MiniDV camcorders. Unlike codecs with interframe compression, here each frame is recorded as a separate photograph (more precisely, many separate photographs are recorded in one container file). On the one hand, there is such a process. least demanding on hardware resources, camera processor power. That is why this method of video recording began to be used in cameras earlier than others. In addition, recording each frame as a separate photograph makes it completely insensitive to the dynamics of the scene. On the other hand, this video encoding method requires the highest bit rate, many times higher than for codecs with interframe compression at a comparable level of quality. On the other hand, with subsequent transcoding when creating a finished film, the loss of quality is still less than that of competitors. There are both advantages and disadvantages.

Perhaps all manufacturers of photographic equipment producing cameras with the ability to record video, from the famous brands Nikon, Canon and other “pillars” to countless manufacturers of the second and third tier, use or have used MJPEG compression in their cameras. But from year to year, codecs with interframe compression are becoming more and more perfect, their shortcomings can be leveled, while the MJPEG codec has almost reached its ceiling. Therefore, the share of such cameras is gradually decreasing. But they are not going to die completely yet. The resolution level in cameras with MJPEG compression starts from QVGA (320×240) at 10-15 fps, is widely represented in standard definition (SD, Standard Definition) at 30 fps, and extends up to high definition (HD, High Definition) at 24-30 fps. Cameras with high-definition MJPEG video recording include, in particular, the Nikon D90 “SLR” video camera, which we already talked about at the beginning of the article.

To create a movie that can be watched on a modern DVD player, MJPEG will have to be transcoded to standard definition MPEG2 video (by burning a Video DVD disc), or to MPEG4 (by simply burning the resulting AVI file after transcoding to a CD or DVD disc). This fact must be taken into account when choosing a camera, since with any transcoding, the video quality deteriorates to some extent, and the processing takes quite a lot of time even on a modern computer.

Of the codecs with interframe compression, various types of MPEG codecs have taken root in photo and video cameras.

Among the MPEG codecs, MPEG1 was the first to appear. This is the oldest and the simplest of the codecs of this family, now it is more “history”. It is the first of the MPEG codecs to be used in video cameras, competing with MJPEG’s undivided dominion. As we said, an MPG container is used to store it. This codec was originally created for burning Video CDs. Nowadays such discs are practically not produced, and although all DVD players can read Video CDs, such players in the main mass cannot reproduce “camera” records. stringent requirements are imposed on recording on Video CDs (in particular, in terms of resolution and bit rate), and camera MPEG1 video recordings usually still need to be re-encoded. However, such a video is often able to play DVD MPEG4 players, they are much more liberal both to the structure of the disc and the content of video files.

MPEG1 is not very popular with photo equipment manufacturers. Traditional adherents of MPEG1 camera video recording are mainly HP and Sony (the brand name of this kind of MPEG VX codec), but they are beginning to use other codecs in addition to MPEG1, so gradually there are fewer and fewer such cameras. All MPEG1 cameras shoot video in standard definition or lower (in any case, the authors of the article are not aware of high definition MPEG1 cameras).

The MPEG2 standard followed MPEG1. It was primarily intended for burning DVD-video discs and is still dominant in the market today. It is also used in video cameras that record video to a hard disk or DVD (we have already mentioned them earlier). But in cameras and photo cameras, this format has almost never been used.

This is the last MPEG-format at the moment and deserves perhaps the most close attention. Unlike MPEG1 and MPEG2, it has several “subspecies” that radically differ in terms of video quality. The very first of its “subspecies”. MPEG4 SP (Simple Profile) was used for some time in cameras, but was quickly replaced by the more advanced MPEG4 ASP (Advanced Simple Profile). And MPEG4 SP migrated to mobile phones, although sometimes it is still used in cameras of the very entry level (as a rule, in an ASF container, but there may be other containers as well). We will not dwell on it now.

In addition to improved compression and higher video quality, MPEG4 ASP is interesting in that, in its variety of DivX and XviD in an AVI container, it is widely used in consumer DVD MPEG4 players (as a rule, such players have the “DivX compatible” or “DivX certified “, Now it is the vast majority of DVD players). So, to view the camera MPEG4 ASP video on any modern MPEG4 DVD player, it is not necessary to recode it. Due to the very liberal standards for MPEG4 playback, video can be easily edited without recompression, repackaged into an AVI container, and then burned to disk. Unlike DVD video discs, which require mandatory authoring, everything is quick, easy and convenient. Although if the video is planned to be exposed to video filters, create transitions, etc. effects, you will still need to process these video fragments, and in this case you will have to approach the choice of a video editor more carefully. But this is a topic for a separate conversation.

Photo and video cameras with MPEG4 ASP come in both standard and high definition.

Unfortunately, all of the above about the easy way to create “compatible” discs from MPEG4 ASP video only applies to standard definition. In order to play it on a DVD MPEG4 player, the original high definition MPEG4 ASP video still needs to be re-encoded. Or use a more modern HD media center to watch it, such as the WD TV HD media player. But such a media center is able to reproduce not only MPEG4 ASP, but also the more advanced MPEG4 AVC (H.264, Advanced Video Codec), which will be discussed below. This was discussed in detail in the articles “Choosing a video camera: standard or high definition?” and “MPEG4 camcorders. ASP vs AVC, SD vs HD”.

MPEG4 ASP has been widely used in their cameras by manufacturers such as Casio, Kodak, Pentax, Samsung, Sanyo, several models have been released by Olympus and Sony. Now some of them have completely or partially switched to the production of cameras with MPEG4 AVC (H.264) video recording (we will talk about them later), others continue to produce such cameras too.

MPEG4 AVC (also known as H.264) is capable of providing significantly higher video quality than MPEG4 ASP, and has recently become more widespread in both video and photo-video technology.

For a time, its widespread adoption was hampered by very high processor requirements, both for recording and for playing such video. A couple of years ago, it was possible to watch a high-resolution movie encoded in MPEG4 AVC (H.264) without any problems only on a computer with a top processor at that time. Some Celeron or Sempron may fail to play such a video. However, dual-core processors soon emerged, any of which was able to handle this. Video cards have also learned to participate in H.264 video decoding, so the price of a media computer has plummeted. Blu-ray players have also dropped significantly in price, in addition, inexpensive media centers have appeared that can play such video from a USB Flash or hard drive, so now there are no special problems with watching H.264 video.

Processors for video cameras and photo cameras have also learned to cope with encoding in MPEG4 AVC. And this method of video encoding has become increasingly implemented in such devices. Almost all of the above-mentioned manufacturers of photographic equipment, who had previously mastered cameras with MPEG4 ASP video recording, began to produce cameras with MPEG4 AVC. Photographic equipment manufacturers who previously ignored MPEG, using only MJPEG encoding, began to join them. In addition to the aforementioned Casio, Pentax, Samsung, Sanyo and Sony, such cameras began to be produced by Panasonic, Canon and others. For example, the Canon 5D mk II “DSLR” video camera mentioned at the beginning of the article records MPEG4 AVC video. MPEG4 AVC is advancing on all fronts, and from both sides, both in photo-video cameras and in video cameras of the “classic” form-factor. In video cameras, it is usually stored in an M2TS (MTS) container. This high definition video encoded in MPEG4 AVC is called AVCHD. In cameras, MP4 or MOV containers are predominantly used. However, such a video, even encoded in MPEG4 AVC and having high definition, has no right to be called AVCHD, but not for technical reasons (in terms of quality, this video is no worse), but for “organizational” reasons (because Copyright). However, you can also call it through a space, that is, AVC HD.

Note: There are exceptions, however. For example, one of the developers of the AVCHD standard, Panasonic, used a streaming container with the MTS extension provided by this standard to save MPEG4 AVC video in new cameras. Therefore, for example, the Panasonic Lumix DMC-FT1 has the “AVCHD” logo.

In a word, in this case, the border between a video camera and a photo-video camera is becoming more and more ghostly, so it is not always possible to understand what this device should be called? “Where is the beginning of the end that ends with the beginning”? But is it really that important? The main thing is that the result suits you!

To create a finished video intended for viewing on Blu-ray players or on HD media centers, almost any kind of MPEG4 AVC video can be processed without re-encoding (in fact, just like the above-mentioned “cutting and sewing” MPEG4 ASP video for viewing on MPEG4 DVD player). This can dramatically speed up the movie making process. You just need to choose a video editor who agrees to carry out such processing.

Note: Some camcorders and photo cameras are capable of recording 1920×1080 high definition video at 50 or 60 full frames per second. This is more than the Blu-ray standard. Problems may arise with playback of such non-transcoded video.

Container

To begin with, let’s introduce the concept of “container”. This “logistic” term refers to the type of data storage, the way video and audio are packaged into a file. The type of container, as a rule, determines the file extension. We have already discussed this in some detail in the article “Video capabilities of modern digital cameras”. For now, let’s just say that cameras mainly use containers such as AVI, MOV or MP4. MPG and streaming M2TS (MTS) are somewhat less common, but more on that later. When choosing a camera, a potential buyer often has a question. which one is better?

Don’t expect a definite answer. It doesn’t matter to video frames in which container they are packed, because the type of container is just a shell, packaging, and the quality will be determined only by the inner content. On the other hand, you need to do something with the footage. store, edit, view, etc. Here the choice of programs for editing may depend on the container, since different programs can work with different containers, and not always “all with all”.

The MPG container is rare in cameras, and stands a little apart. It is intended (if we talk about photographic equipment) exclusively for storing video in the MPEG1 format. But we’ll talk about this a little later.

The rest of the containers are more versatile. The MP4 container is designed to store MPEG4 video of various “subspecies”, ranging from Simple Profile to (one of the most advanced at the moment) MPEG4 AVC (Advanced Video Codec). MP4 audio is saved in AAC (MPEG4 Advanced Audio Codec) format.

You can also “put” MPEG4 video in the AVI container. True, formally, only its junior profiles are SP or ASP, but AVC “is not allowed by the charter.” But, as you know, “if you can’t, but you really want to, then you can.” Besides, it is possible to pack in AVI and MJPEG with frame-by-frame compression.

Any MPEG4 or MJPEG video can be put into the MOV container.

For example, MPEG4 ASP cameras (today are no longer the most advanced ones) use MP4, AVI and MOV containers, and this has nothing to do with video quality. The container type can only be important for the post-processing of the video. If the video editor, in which you plan to process the video, knows how to work with an AVI container, but cannot handle MOV or MP4, then AVI will have some advantage. But the advantage is not so significant, not decisive when choosing a camera. Very often you can easily and quickly transfer a video to another, more convenient type of container for you without any loss of its quality. We have already written about the methods of repackaging from MP4 and MOV to AVI in the articles “Processing MPEG4 video recordings of video cameras. Steps from camera to DVD player step by step ”and“ Processing of MPEG4 ASP video recordings of video cameras. Part II. (two years later)”. There are also methods of reverse repackaging, but now we will not dwell on them.

The M2TS streaming container (MTS) was discussed in detail in the article “Working with the AVCHD format”. It contains service information not only at the beginning or end of the file, but also along its entire length, so you can start watching it from anywhere without waiting for the file to be fully downloaded. Streaming formats are widely used in digital TV broadcasting, therefore they are more often used in professional video cameras, and non-streaming MP4, MOV and AVI. in cameras and photo video cameras. But more often. does not mean always. For example, the already mentioned Sanyo Xacti VPC-FH1 camcorder uses an MP4 container (possibly because Sanyo used MP4 in all previous cameras). There are other exceptions as well. But more on that later.

Summarizing our reasoning about containers, we can say: it does not matter which container the camera is working with. This parameter should not be decisive when purchasing it, since now there are a sufficient number of programs to work with any of the named containers. It is important that this container contains what codec the video and sound are encoded.

So, let’s talk about the video codecs used in cameras.

Using a digital camera as a camcorder. Part II. Video recording methods

In the previous part of the article “Using a digital camera as a video camera” we investigated several models of cameras of the “transitional” type, which can be considered both cameras with advanced video capabilities and video cameras with an “advanced” photo mode. Over the past year and a half, the situation has become even more confused.

There appeared “paired” models of cameras, one of which looks like a classic video camera, and the other, rather, looks like a camera with a pistol grip. For example, Sanyo Xacti VPC-FH1 and Sanyo Xacti VPC HD2000, respectively.

Note: Features of “camera”, “video camera” and “pistol” grip, their advantages and disadvantages for various fields of application. discussed in detail in the first part of the article.

Or, it would seem, an ordinary camera, “soap dish” with a classic “camera” grip, which in terms of video quality is not inferior to a full-fledged entry-level camcorder. For example, Samsung WB550 and Samsung VP-HMX10.

Why are there soap dishes when the mirror top, unapproachable for video until recently, the camera pole, melted, and video streams flowed through the huge matrix of DSLRs. Although a couple of years ago, the very assumption that DSLRs would someday learn to shoot video sounded blasphemous. First, Nikon “melted” by offering to the market the Nikon D90, which can shoot high-definition video. Then his arch rival Canon, slightly lagging behind at the start, released another generation of Canon EOS 5D Mark II DSLRs.

It would seem that only two letters II distinguish it from its predecessor, but along with these letters, the top amateur SLR camera acquired the ability to shoot video, the quality of which can be the envy of most amateur camcorders. When shooting in low light, the Canon 5D mk II leaves behind even more expensive professional camcorders while remaining one of the best DSLRs in its class.

Of course, for the full disclosure of the photo and video capabilities of the Canon 5D mk II, in addition to the thousand-dollar “whale” lens, you will need to purchase several interchangeable lenses, but this, as they say, is a different matter.

But due to the capabilities of interchangeable lenses, you can fine-tune the “SLR video camera” for specific working conditions. For example, for studio shooting, you can use an ultra-fast lens that provides depth of field unattainable for amateur video cameras. And for wildlife photography. install a powerful and at the same time quite bright telephoto lens. Amateur camcorders, as a rule, do not allow the use of interchangeable lenses, and their matrices are smaller, even in top-end camcorders. So, in certain cases, a video hobbyist may be better suited to such a “mirror video camera” instead of a conventional video camera, comparable in price, even if he is not going to take pictures at all.

over, several commercial feature films have recently been shot using only such “SLR cameras”. For example, “Searching for Sonny” directed by Andrew Disney. Of course, to some extent this was done for self-promotion, as a tribute to fashion, and to show that this is, in principle, possible. But who knows, it is possible that among professional videographers, a “SLR” video camera will occupy its own niche.

Information carriers

Let’s move on to where we ended the previous article. Let’s talk about the methods of video recording used in cameras and photo cameras.

How to use Sony cybershot dsc w55 digital camera as webcam tutorial

In the previous part, we examined in detail several significant differences between video cameras and cameras with advanced video capabilities, but the differences in the methods of saving video were mentioned only superficially, postponing it until the next time. Let’s talk about it now.

A few years ago, Flash memory was expensive, the capacity of Flash cards was low, and video compression algorithms were not very sophisticated. they required a large bitrate to ensure high quality video. Therefore, cheaper and more capacious media were used for traditional video cameras. At first it was a tape, then cameras with a built-in hard disk or video recording to an optical (CD or DVD) disc began to appear. On the other hand, cameras have always stored both videos and photos exclusively in Flash memory. There are two main reasons.

Firstly, tape, hard disk, or optical disk significantly increase the size and cost of the camera, and also make it less resistant to shock and vibration. On video cameras, they had to put up with this, since there was no alternative. the video quality for video cameras was and remains a priority.

Over time, Flash memory has become significantly cheaper, and its capacity has grown hundreds and even thousands of times. For example, if ten years ago 8-16 MB memory cards were in use, now, in fact, the typical size has become 8-16 GB, and 32-64 GB will not surprise anyone. In addition, video compression algorithms have become more advanced, which has reduced the requirements for bitrate.

As a result, more and more camcorders have been “retrained” for Flash memory. It can be said that in the technological respect, rather, cameras have not moved closer to video cameras, but video cameras have structurally become closer to cameras.

So, we have dealt with information carriers. Now let’s move on to video recording methods.

Usually, articles are summed up, conclusions are drawn from the materials reviewed, ratings are given, “elephants are handed out.” In this case, we will not do this.

All considered codecs have their pros and cons, which are extremely important in one case and completely insignificant. in a different. Therefore, each of the codecs has its own niche. Of course, some have more, others have less, and in many ways they overlap. Comparing codecs, choosing the best one for each specific case is a serious issue that deserves a separate discussion. This has already been done in part in the above articles, while others are still waiting in the wings. And in this case, we will restrict ourselves to the paraphrased phrase of the poet: “All codecs are good, choose the taste”.

Unlike codecs, the situation with containers is almost exactly the opposite. As we have already noted, the container itself does not affect the video quality. However, this can be important for the post-processing of the video. For example, if your favorite video editor knows how to work with AVI, but does not want to see MOV or MP4, then you will need to repack the video. A kind of “logistics operation”, “inter-container transportation”. But this, as they say in the book of the Strugatsky brothers, “. a completely different story “, which also deserves a separate discussion.

Use Cam Twist for Apple computers to turn your DSLR into a webcam.

If you want to use your DSLR as a webcam on your Mac, you first need to download two different programs that will allow you to do so. The first program is called Camera Live and can be downloaded for free from GitHub, the second. it’s Cam Twist and it’s free to use as well.

After installing both of these software products on your computer, you need to launch Cam Twist and configure the video recording settings. Change the video resolution to 1920X1280 pixels or more if your camera supports a higher resolution and set the frame rate to 30fps. The next step is to restart Cam Twist and connect the DSLR to your computer via HDMI or USB cable.

Camera Live will put your DLSR into recording mode as soon as you open it and it will start the Siphon server. Go to the Camera Twist tab, find the View menu and select the Main Window option. Double click on the Siphon option in the new window, then select the Live Server option and start a webcam recording session.

Universal Screen Recorder Video Editor

• Record desktop screen, voiceover and webcam at the same time
• Quickly edit recorded clips with Spectra’s wide range of professional tools
• Built-in numerous templates and effects
• Export to MP4, MOV, MKV, GIF and other formats

4.Use your DSLR camera as a webcam via CamLink

CamLink can help you turn any DSLR with HDMI output into a powerful webcam. The device acts as a USB storage device with an HDMI connector on the back that can be used to connect the camera to the device. CamLink is compatible with all Mac and PC computers with USB 3.0 ports.

CamLink setup. it’s a quick process because you just need to plug it into the USB port and connect your camera to it using an HDMI cable. You can use Elgato game capture software or any other webcam recording software while recording. Remember to adjust the frame rate and video resolution before hitting the record button.

For best results, the HDMI output from the DSLR should be unprotected and you will have to disable any options that might interrupt the recording. In addition, the process of using a DSLR as a webcam via CamLink can drain the camera’s battery, and for this reason, it is recommended to use an AC adapter when recording with a webcam for a long time.

CamLink can be purchased for 129, making it an affordable option for anyone looking to turn their DSLR into a webcam.

Ever thought of recording to your webcam and screen at the same time? Filmora Scrn is the best option for you. You just need to open the program and your webcam, Filmora Scrn can handle it easily.

Supports game recording up to 120 FPS. Filmora Scrn is also suitable for uncompressed 4K recording. After recording, you can also add notes, titles and voice-overs to make it perfect. Free download it now to try!

Liza brown

Over the past few decades, webcams capable of recording high-quality video have made it possible to make video calls from a computer or create video tutorials on any topic. These types of cameras are surprisingly easy to use, but they also lack some of the key features typically found on professional DSLRs.

Lenses on webcams do not allow the user to manually set the Focus or have any control over exposure and aperture values. Digital live cameras with interchangeable lenses provide complete control over the video recording process during shooting. In this article, we will show you several different ways to use a DSLR camera to produce webcam video.

5) use Kapchr to turn your digital camera into a webcam

This is another powerful device that allows you to connect your DSLR or any other type of digital camera to your Mac or PC. Similar to CamLink, Kapchr turns a DSLR into a webcam, allowing you to connect the camera to your device via an HDMI cable. Kapchr also has an audio input that can be used to connect an external audio recording device such as a microphone or mixer in 16 bit and 48 GHz quality.

Just plug the USB cable into your device and then plug it into your computer. Use an HDMI cable to connect a camera with Kapchr, and an audio jack if you want to record audio from an external source. Kapchr allows its users to shoot videos at 350MB / s and doesn’t require any special tools to record webcam videos. WireCast, OBS Studio or Twitch are compatible with Kapchr and can all be used equally effectively to create webcam videos.

This equipment may be out of the price range for the hobbyist, but at just 249 it’s a great choice for all professionals looking to produce the highest quality webcam video.

3.Connect DSLR to Computer with AJA U-TAP HDMI Converter

Instead of using software to turn your DSLR into a webcam, try a simple device called the AJA U-TAP that converts all HDMI signals to USB 3.0. You will still need to install the webcam recording tool on your computer. This method of converting a DSLR camera into a webcam can be used with Windows, Mac and Linux operating systems, although you will have to select separate software for each operating system.

Both audio and video must be transmitted together over HDMI, but many cameras, especially older models, do not provide this capability. In order to fix this problem, you can try some powerful webcam recording tools that offer better audio recording options.

The setup process for the AJA U-TAP HDMI converter is pretty simple. You must first connect Mini HDMI to DSLR camera and then connect it to converter. After that, you must plug the AJA U-TAP into the USB slot, and launch the webcam recording software of your choice. Select the converter as your main audio and video source from the software and start recording webcam video with DSLR camera.

This way of converting a digital camera into a webcam is a bit expensive because the device costs 345 in the US.

Is it possible to connect Action Camera as a webcam?

How to connect an action camera to a computer

• Enable action camera. otherwise the PC may not see the connected gadget.
• In the action device menu, select the USB connection setting AUTO or Mass Storage (depending on the model).
• Insert one end of the USB cable into the corresponding connector on the mobile device, the other into the computer port.

How to connect a Canon camera to a computer?

Connect the USB cable supplied with the camera to one side of the USB port of the computer, and the other to the camera connector, which is located on the body under the rubber cover. Then turn the camera power switch to the “On” position device synchronization will start. Attention!

How to turn a phone into a webcam in 5 minutes?

• Start Wi-Fi on your phone;
• Open the DroidCam Wireless Webcam App;
• Open DroidCam software on PC;
• Click on the Wi-Fi connection button;
• In the Device IP line, type in the number that will be displayed on the main screen of the Android application in the WI-FI IP item;

How to connect a webcam?

If necessary, connect the camera and the supplied USB cable together. In most cases, the wire is embedded. Without turning off your computer, connect your webcam to the USB port on the back of the system unit. If necessary, connect the additional “3.5 mm jack” wire to the microphone connector.

What to do if ZOOM does not see the camera?

Troubleshooting tips for Windows

• Make sure other programs are closed and not using the camera.
• Reboot your computer.
• Uninstall Zoom client and download the latest version from Download Center.
• Visit your device manufacturer’s support center to update your camera driver:

How to mirror your webcam?

How to solve the problem using third-party software

• Open the “Video” tab;
• In the active window with the inscription “LIVE” select the source. your camera;
• At the bottom, in the “Image” tab, use the “Rotate Flip” menu buttons to achieve the desired orientation of the image;

Installing and using ManyCam.

ManyCam program is a multifunctional software that allows you not only to redirect the video stream in the same way as SplitCam does, but also provides a lot of other equally interesting functions.

For example, with the help of this program, you can show your friends a video recording located on the hard disk of your computer.

The function of showing the desktop has been expanded in comparison with the similar function of Skype, which allows you to adapt the transmission of the picture to the capabilities of the existing communication channel.

Simply put, you can yourself determine not only the size of the transmitted image, but also the resolution of the video image.

With a narrow communication channel, the legibility of the image can be significantly increased by moving the selected area following the movement of the cursor.

Well, for lovers of different baubles, ManyCam taught how to intercept streaming video and add all sorts of effects there, like those that allow you to add proprietary software supplied with regular webcams.

What I liked the most is the ability to replace the background right during the video broadcast. over, the background can be not only static, but also dynamic. In the program, this effect is located under the Background button.

It works like this. First, ManyCam remembers the background behind your back, and then substitutes its own static or dynamic background instead. Of course, if you look closely at the picture, you can see artifacts typical of the mediocre performance of the Chroma key technology. But, if you try and pick up real and virtual backgrounds by tone, you can easily mislead your interlocutors, almost like in the movie “Yolki”.

In general, if you are an active Skype user, then this program may be useful to you, even if everything is already working well for you.

ManyCam installation takes 10. 20 seconds.

When, during the installation of the program, you are offered to install additional software, you can safely click Declines.

When you try to use the background swap effect, a pop-up window will appear and you will be prompted to capture a snapshot of your background without you. By clicking on the Take snapshot button, you need to leave the field of view of the webcam within 3 seconds.

The background, in this case, must be stationary, and the lighting conditions must be unchanged. For example, if you, sitting at the table, even slightly change the flow of light falling on the background, this can cause additional Chroma key artifacts. Naturally, all settings (Focus, BB, Exposure) of the webcam must be in manual mode.

How to use your DSLR or mirrorless camera as a Zoom webcam #athome

Connecting CFC to ManyCam.

So, the ManyCam program is installed, and you can start switching the video signal.

As mentioned above, we connect the photo camera to the video capture device and make sure that the live picture is already there.

The program interface is so simple and straightforward that even if I give its description here, you will not read it.

The only thing you need to do to get started is to select a signal source on the Source tab. We select our video capture device, after which, on the ManyCam screen, the video image received from the digital camera should appear.

Here, you can also adjust the picture quality by selecting the required video signal resolution.

Now the video received on the ManyCam screen can be transferred to Skype.

To do this, as in the case of SplitCam, go to Tools Settings Video Settings Select a webcam and select ManyCam Video Source in the drop-down menu.

If during the broadcast of the video stream, at regular intervals, the video starts to slow down for 1-2 seconds or other artifacts appear, then you need to turn off ManyCam and Skype, and then turn on, first ManyCam, and then Skype.

Additional material to the article.

This video contains several excerpts from the movie “Yolki”, in which students play each other through video broadcasting using the background. They broadcast images of real backgrounds, but ManyCam software can greatly simplify this procedure.

Using your digital camera as a Skype webcam

Using your digital camera as a Skype webcam

One and the same question is often asked on the Internet: “How to connect a Canon, Nikon, Pentax, Sony, Olympus, Samsung, etc. camera instead of a webcam?” This article can partially clarify the answer to this question, and possibly help fix bugs related to “slowing down” of the video image, freezing of Skype or the entire OS during video broadcast. https://oldoctober.com/

Video signal switching when using a video capture device.

If your video capture device, for example, an adapter or TV tuner, is outside the computer, then you must first connect it to the computer.

Then, in the composite input (usually it is yellow) you need to plug in a cable connected to the analogous output of a digital camera.

The digital camera has an automatic shutdown timer to save battery power. Set it to the maximum time so that the camera does not turn off at the most inopportune moment.

Using an external power source will eliminate the need for frequent battery recharging.

Before trying to redirect a video stream using SplitCam, make sure that the image from your camera is being received by the video capture device.

To do this, run the program supplied with the video capture device.

In the program menu, select the signal source: File Video Source Your video capture device. Do this even if a bird is already standing against your device.

This contradicts the logic a little, since, as a rule, when reselecting the bird is removed. But, let’s leave it on the conscience of the program developer, not forgetting that the program is free.

If you select the option: Options Advertisements Exchange ad and video Windows, the captured video picture will move to a larger window.

Now that you have made sure that the video signal has been successfully intercepted, you can start Skype.

The latest versions of the Skype program themselves offer to check the quality of the video picture. But, if this did not happen, then you will have to select the signal source manually.

In the main Skype menu, select Tools Settings Video Settings Select a webcam. In the drop-down menu, select SplitCam Capture.

Hardware video capture.

The operation of streaming (live) video from a camera to a computer is called Capture Video.

You can capture video using any video capture device that has a composite cinch input (usually yellow). This device can be a video card or tuner with a video input, as well as any built-in or external adapter for capturing a video signal.

In the picture, pos. 1 and 2 are built-in and external TV tuners, and pos. 3 and 4. built-in and external video capture adapters.