Remembering The Weirdest Nintendo DSi Accessory

The Nintendo DSi was released in November 2008, and boasted a new feature not formerly seen on the brand’s handhelds—it had two cameras, inside and outside. It let the console take photos, a feature rather fitting given it was an era in which phone cameras had become the norm. Only, it wasn’t so good out of the box. However, [gavff] recently found an accessory from way back when that aimed to make the DSi’s camera somewhat more capable.

For some reason, the console accessories company Nyko decided that that the Nintendo DSi deserved an 8x optical zoom lens. Never mind that the console’s cameras were limited to a resolution of just 640 x 480 pixels, it was deemed important that the handheld have the ability to capture images of things that were somewhat farther away. The lens mounted to a specially-designed case that fit around the original DSi’s shell. It’s not particularly clear what the intended use case was, but if you wanted to expand the capability of your DSi camera, this was one way to do it. You could get some pretty sharp photos if you knew what you were doing, as [gavff] demonstrates in the video.

The video then takes things farther, putting an even larger, sillier telescopic camera lens on the DSi. [gavff] used it to capture a photo of the Moon, with the benefit that unlike modern smartphones, there’s no AI faking the results. The video also touches on the goofy Mad Catz flash accessory that used the DSi’s charge port.

We love seeing silly lenses on cameras that were never supposed to host them. Also, isn’t it wonderful that our ancient “Nintendo DS Hacks” category is getting some love again after all this time? We’ve actually published a bunch of DS hacks this year.

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Car’s Camera Footage Backed Up To NAS

For as many sensors, cameras, and computers as there are on modern cars, they ought to be a dream to poke around in and customize to one’s liking. Unfortunately they’re generally plagued by the same locked-down, proprietary software that most consumer electronics ship with, making it very difficult to interact with these systems in ways the manufacturer doesn’t approve of. There are a few exceptions to this rule, though, and [Sasha] built this system which backs up the footage from their electric car’s on-board cameras automatically to a NAS.

The system is built around a Raspberry Pi Zero 2 W which plugs directly into a USB port in the car’s glovebox. To set it up, the software only needs to be flashed onto the Pi and then it can be controlled from a smartphone. It can connect to any NAS over a variety of protocols and keeps track of what footage has been backed up, and can even automatically restart a backup if the car drives away before it has completed. It also automatically frees up space on the car’s internal drives by deleting any files that have already been synced to the NAS. All of the data is kept in the user’s control as well, and nothing leaves the LAN unless the user sets up backups to a cloud service on their own.

If you have the correct electric car and a Pi other than a Zero 2 W, [Sasha] also has a package for other Raspberry Pis that should work. Unfortunately this was designed for a specific electric car; other makes and models won’t work with this out of the box, but we hope that won’t stop others from checking out the GitHub page anyway trying to figure out what’s going on under the hoods of their car’s electrical and computer systems. Sometimes this leads to things you might not expect, like using the car itself as a video game controller.

Upgrading An IPhone Lens To The Max

The camera in a typical mobile phone is now at a standard at which it can be considered a serious device rather than a toy, such has been the effort put in by the phone manufacturers. They are still held back in some ways by their lenses despite the same development effort being pointed in that direction, and there have been projects aiming to replace those lenses with better quality ones. A while back we covered [Evan Monsma]’s replacement of his broken iPhone camera lens with a C-mount item, and now he’s back with a much improved version.

The original was glued on with cyanoacrylate adhesive, and this had parted. It was time to upgrade the phone, so he had a new lens mount covering two of the cameras machined from solid brass and leaving an open view for the third and unmodified camera. This was fixed to the phone with epoxy, and with a set of 3D printed lens covers to protect them he’s ready to go. There’s even a tripod thread machined into the bottom of this thing. He shows us it in action with both C-mount and EF-mount lenses, the latter resulting in a very long effective focal length.

We like this project, but perhaps we’d give it an IR filter to remove the unwanted pink glow. If you’re interested, here’s the original version.

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The Deep Magic Of 3D Graphics Perspective

Many of us of a certain age will have had their first true, good 3D video game experience with Super Mario 64. Unlike previous 3D games, the camera was an object controllable by the player, rather than a first-person-ony mode or one where the game tries to guess the best placement for the camera. We might take this mechanic for granted today, but 3D was a new technology at the time that took experimentation before settling on the norms we have today. From a programming perspective, 3D graphics can be a bit of a head-scratcher but [Gabriel] shows that perspective and the camera can be as simple as a few lines of math.

When starting out as a programmer, [Gabriel] used various tools that provided a camera somewhat automatically. But after reaching the limits of these types of frameworks, the next step is to learn how that works from scratch. It turns out that it’s a bit of matrix math, with values for foreground and background clipping planes as well as aspect, field of view, and position. This basically replicates a trapezoidal prism which can be thought of as a viewer looking at a scene from the perspective of a camera. To provide the depth effect, the X and Y coordinates are divided by the Z coordinate within this matrix system, making far-away objects smaller and generating the 3D effect.

On [Gabriel]’s site which explains this method, there are a few sliders in several examples that demonstrate how changing values of each of these variables changes the perspective and the object being displayed. For a math lesson it is very interactive and helps intuit these concepts. Cameras aside, the generation of 3D objects has its own unique set of math equations to learn about that are “equally” interesting.

3D Imaging Without A Lens

There are plenty of ways to capture 3D images or simulations of such if you know what you’re doing with camera hardware and fancy mathematics. However, a little more unusual is the idea of capturing a 3D image while using no lens at all — and yet, [okooptics] has achieved just that!

The basic concept builds on an older project from [okooptics], wherein images were captured from a Raspberry Pi camera with no regular lens element installed. In its place was a thin layer of Scotch tape over the sensor, acting as a diffuser. With the right deconvolution math, it’s possible to actually recover a real image out of the blurry mess this setup initially captures. [okooptics] was then able to push this into three dimensions by weighting the point spread function used to deconvolute the image.

Adding directional bias to the process creates a similar effect to slightly shifting the cameras position, actually revealing a view from a slightly different angle of objects in front of the camera. [okooptics] does a great job of explaining the science behind how this is possible and the practical limitations of the technique, also referencing research papers that have explored these ideas in great depth.

It’s math heavy to extract 3D data from what otherwise looks like blurry nothingness, but it’s possible if you know what you’re doing. For a fuller understanding, it’s worth diving into [okooptics] earlier work in this realm, taking photos with Scotch tape in place of a lens.

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Panoramic Photography With A Linear Scanner

Although digital photography took a big bite of the film industry’s lunch, it wasn’t able to completely eliminate the need — or desire — for photographers to use film in some situations. But digital information from a camera sensor can be manipulated to augment the natural physical capabilities of a camera in ways not really feasible for film. High dynamic range images, focus and exposure stacking, and automatic panoramic stitching. This camera takes the latter example to the extreme.

[Philo]’s proof of concept was a smartphone camera set on a chair and rotated around a room. Some software grabbed a single column of pixels as it moved and stitched them all together to form an image. This came out well enough that the idea was refined a few times, but it wasn’t until a single-line digital camera meant for imaging assembly lines was found that this really took off. Using the camera and some custom software, [Philo] was eventually able to take some of the longest panoramic images we’ve seen, using things like railways and boats as the track the camera rides on, with accelerometer data to help stabilize the image.

The results speak for themselves. There’s a bit of wobble from the movement of the various vehicles despite the accelerometer data, but given that the image is coming from a sensor meant for examining conveyor belts, it’s hard to complain. Of course, if you want to stick to film, there are panoramic film cameras available too even if they don’t quite have the reach of this digital one.

The Shutter Makes This 3D Printed Camera Special

Making a film camera is a project within the reach of almost anyone, from the experimenter with cardboard and sticky tape, to the machinist with an aluminium billet. But 3D printing has opened up the world of cameras to whole new set of experimenters, and we’ve seen some very impressive builds here as a result. For all that, there’s always been a particularly tricky aspect to a home made camera: the shutter. In particular, making one with variable speed has proved almost impossible. Now [Camera Things] has given it a very good shot, with a sliding 3D printed design.

To cock it, both the strips are pulled across, before the blind strip is pushed back, and the shutter operates by sliding back under the influence of a rubber band. The clever part in this case is that the blind strip can be partially pushed back to affect the size of the shutter opening. The effect is then of a variable width strip of light passing over the film, which is equivalent to varying the speed of a conventional shutter.

Due to space constraints he’s only able to make it a half frame shutter, so he’s abandoning this design in favour of a more complicated set of vertical leaves. Sadly he’s not made the files available, but we thing proficient CAD users should be able to make their own version. The video is below the break.

It’s not the first printable shutter we’ve seen, but it remains the first variable one.

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