SKU: 26137599337

DAHUA IPC-HDBW2449F-AS-IL 4MP Smart Dual Light Fixed-focal Dome WizSense Network Camera

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Description

DAHUA IPC-HDBW2449F-AS-IL 4MP Smart Dual Light Fixed-focal Dome WizSense Network CameraIPC HDBW2449F AS IL 4MP Smart Dual Light Fixed focal Dome WizSense Network Camera >4 MP 1 2. 9" CMOS image sensor, low luminance, and high definition image. >Outputs max. 4 MP (2688 1520) @20 fps, and supports 2560 1440@25 30 fps. >H. 265 codec, high compression rate, ultra low bit rate. >Built in multi core light, the max. IR distance is 30 m and the max. warm light distance is 30 m. >ROI, SMART H. 264+ H. 265+, flexible coding, applicable to various

IPC-HDBW2449F-AS-IL

4MP Smart Dual Light Fixed-focal Dome WizSense Network Camera

>4-MP 1/2.9" CMOS image sensor, low luminance, and high definition image.
>Outputs max. 4 MP (2688 × 1520) @20 fps, and supports 2560 × 1440@25/30 fps.
>H.265 codec, high compression rate, ultra-low bit rate.
>Built-in multi-core light, the max. IR distance is 30 m and the max. warm light distance is 30 m.
>ROI, SMART H.264+/H.265+, flexible coding, applicable to various bandwidth and storage environments.
>Rotation mode, WDR, 3D NR, HLC, BLC, digital watermarking, applicable to various monitoring scenes.
>Intelligent monitoring: Intrusion, tripwire (the two functions support the classification and accurate detection of vehicle and human).
>Abnormality detection: Motion detection, video tampering, audio detection, no SD card, SD card full, SD card error, network disconnection, IP conflict, illegal access, and voltage detection.
>Supports max. 256 G Micro SD card; built in Mic.
>12 VDC/PoE power supply, easy for installation.
>IP67 and IK10 protection.
>SMD Plus.


Camera

Image Sensor

 

1/2.9" CMOS

Max. Resolution

 

2688 (H) × 1520 (V)

ROM

 

128 MB

RAM

 

128 MB

Scanning System

 

Progressive

Electronic Shutter Speed

 

Auto/Manual 1/3 s–1/100,000 s

Min. Illumination

 

0.006 [email protected] (Color, 30 IRE);

0.0006 [email protected] (B/W, 30 IRE);

0 lux (Illuminator on)

S/N Ratio

 

＞56 dB

Illumination Distance

 

Up to 30 m (98.43 ft) (IR)

Up to 30 m (98.43 ft) (Warm light)

Illuminator On/Off Control

 

Auto;Manual

Illuminator Number

 

4 (Multi-core (IR + warm) light)

Angle Adjustment

 

Pan: -30° to 30°;

Tilt: 0° to 80°;

Rotation: 0° to 360°

Lens

Lens Type

 

Fixed-focal

Lens Mount

 

M12

Focal Length

 

2.8 mm; 3.6 mm

Max. Aperture

 

F1.6

Field of View

 

2.8 mm: H: 101°; V: 54°; D: 120°3.6 mm: H: 83°; V: 43°; D: 100°

Iris Control

 

Fixed

Close Focus Distance

 

2.8 mm: 1.1 m (3.61 ft)3.6 mm: 1.7 m (5.58 ft)

DORI Distance

Lens

Detect

Observe

Recognize

Identify

2.8 mm

63.6 m( 208.66 ft)

25.4 m( 93.33 ft)

12.7 m( 41.67 ft)

6.4 m

( 21.00 ft)

3.6 mm

85.4 m( 280.18 ft)

34.2 m( 112.20 ft)

17.1 m( 56.10 ft)

8.5 m

( 27.89 ft)
DORI (Detect, Observe, Recognize, Identify) is a standard system (EN-62676-4) for defining the ability of a person viewing the video to distinguish persons or objects within a covered area. The numbers in this table do not reflect intelligent function distances. For intelligent function distances, refer to installation and commissioning manual/project design tool.

Intelligence

IVS (Perimeter Protection)

 

Intrusion, tripwire (the two functions support the classification and accurate detection of vehicle and human)

SMD

 

SMD Plus

Smart Search

 

Work together with Smart NVR to perform refine intelligent search, event extraction and merging to event videos

Video

Video Compression

 

H.265; H.264; H.264H; H.264B; MJPEG (Only supported by the sub stream)

Smart Codec

 

Smart H.265+; Smart H.264+

Video Frame Rate

 

Main stream: 2688 × 1520@(1–20 fps)/2560 × 1440@(1–25/30 fps)

sub stream: 704 × 576@(1–25 fps)/704 × 480@(1–30 fps)

*The values above are the max. frame rates of each stream; for multiple streams, the values will be subjected to the total encoding capacity.

Stream Capability

 

2 streams

Resolution

 

4M (2688 × 1520/2560 × 1440); 3M (2304 × 1296); 1080p (1920 × 1080); 1.3M (1280 × 960); 720p (1280 × 720); D1 (704 × 576/704 × 480); VGA (640 × 480); CIF (352 × 288/352 × 240)

Bit Rate Control

 

CBR/VBR

Video Bit Rate

 

H.264: 32 kbps–6144 kbps;

H.265: 12 kbps–6144 kbps

Day/Night

 

Auto(ICR)/Color/B/W

BLC

 

Yes

HLC

 

Yes

WDR

 

120 dB

White Balance

 

Auto; natural; street lamp; outdoor; manual; regional custom

Gain Control

 

Auto/Manual

Noise Reduction

 

3D NR

Motion Detection

 

OFF/ON (4 areas, rectangular)

Region of Interest (RoI)

 

Yes (4 areas)

Smart Illumination

 

Yes

Smart Dual Light

 

Yes

Image Rotation

 

0°/90°/180°/270° (Support 90°/270° with 2688 × 1520 resolution and lower)

Mirror

 

Yes

Privacy Masking

 

4 areas

Audio

Built-in MIC

 

Yes, built-in Mic

Audio Compression

 

G.711a; G.711Mu; G.726; PCM

Alarm

Alarm Event

 

No SD card; SD card full; SD card error; network disconnection; IP conflict; illegal access; motion detection; video tampering; tripwire; intrusion; audio detection; voltage detection; SMD; security exception; external alarm

Network

Network Port

 

RJ-45 (10/100 Base-T)

SDK and API

 

Yes

Network Protocol

 

IPv4; IPv6; HTTP; TCP; UDP; ARP; RTP ; RTSP; RTCP; RTMP; SMTP; FTP; SFTP; DHCP; DNS; DDNS; NTP; Multicast; ICMP; IGMP; P2P

Interoperability

 

ONVIF (Profile S & Profile G & Profile T); CGI

User/Host

 

6 (Total bandwidth: 36 M)

Storage

 

FTP; SFTP; Micro SD card (support max. 256 GB)

Browser

 

IE; Chrome;Firefox

Management Software

 

Smart PSS Lite; DSS; DMSS; DoLynk Care

Mobile Client

 

iOS;Android

Cyber Security

 

Video encryption;Firmware encryption;Configuration encryption;Digest;WSSE;Account lockout;Security logs;IP/MAC filtering;Generation and importing of X.509 certification;syslog;HTTPS;802.1x;Trusted boot;Trusted execution;Trusted upgrade

Certification

Certifications

 

CE-LVD: EN62368-1;

CE-EMC: Electromagnetic Compatibility Directive 2014/30/EU

Port

Audio Input

 

1 channel (RCA port)

Audio Output

 

1 channel (RCA port)

Alarm Input

 

1 channel in: wet contact, 5 mA 3–5 VDC

Alarm Output

 

1 channel out: wet contact, 300 mA 12 VDC

Power

Power Supply

 

12 VDC/PoE (802.3af)

Power Consumption

 

Basic: 2.3 W (12 VDC), 2.8 W (PoE);

Max.: 7.1 W (12 VDC), 8.5 W (PoE) (H.265 + intelligence on+ WDR + illuminator intensity)

Environment

Operating Temperature

 

–40 °C to +60 °C (–40 °F to +140 °F)

Operating Humidity

 

≤95%

Storage Temperature

 

–40 °C to +60 °C (–40 °F to +140 °F)

Storage Humidity

 

≤95%

Protection

 

IP67; IK10

Structure

Casing Material

 

Metal

Product Dimensions

 

55.0 mm × Φ108.9 mm (2.17" × Φ4.29")

Net Weight

 

0.41 kg (0.90 lb)

Gross Weight

 

0.55 kg (1.21 lb)
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SKU: 26137599337

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Old Cinephile
Cuba, US
★★★★★ 5
"Happiness consists of being able to tell the truth without hurting anyone."
From the stunning, groundbreaking opening sequence of escaping asphyxiation to the fantastical harem scene to the final realization to become PART of life instead of just trying to control or run from it, Fellini's masterpiece gives us one of cinema's great rollercoaster rides of guilt, artistic creativity and self-acceptance. Certainly, one of the most influential films of all time it breaks completely free of convention and introduces us to the inner workings of director Fellini's world. And we are much richer for the journey. Sometimes painful, sometimes supremely funny we can't wait to find out about another hidden treasure or nightmare locked away in the mind of Guido Anselmi. You'll never think about directors and film making quite the same way again. Criterion does a fine job with this Blu-ray release. The restored image here has deep blacks, solid greyscale and brilliant whites. Grain is very tight with nice detail. Details in the characters' faces are easily seen. The cleaned up restored mono soundtrack is clear and the musical elements are without distortion. As usual for Criterion, the supplements are extremely generous with several fine documentaries, interviews, and a nice booklet with writings by Fellini and critics. Truly a must own for any physical media collection.
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Reviewed in the United States on May 12, 2024
C
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Christina Reynolds
Draper, US
★★★★★ 5
A Tangled (But Necessary) Mess
My rating is more of a 4.5 Thanks for reading! 𝑰'𝒎 𝒏𝒐𝒕 𝒂𝒇𝒓𝒂𝒊𝒅 𝒂𝒏𝒚𝒎𝒐𝒓𝒆 𝒐𝒇 𝒕𝒆𝒍𝒍𝒊𝒏𝒈 𝒕𝒉𝒆 𝒕𝒓𝒖𝒕𝒉, 𝒐𝒇 𝒕𝒉𝒆 𝒕𝒉𝒊𝒏𝒈𝒔 𝑰 𝒅𝒐𝒏'𝒕 𝒌𝒏𝒐𝒘, 𝒘𝒉𝒂𝒕 𝑰'𝒎 𝒍𝒐𝒐𝒌𝒊𝒏𝒈 𝒇𝒐𝒓 𝒂𝒏𝒅 𝒉𝒂𝒗𝒆𝒏'𝒕 𝒇𝒐𝒖𝒏𝒅. 𝑻𝒉𝒊𝒔 𝒊𝒔 𝒕𝒉𝒆 𝒐𝒏𝒍𝒚 𝒘𝒂𝒚 𝑰 𝒄𝒂𝒏 𝒇𝒆𝒆𝒍 𝒂𝒍𝒊𝒗𝒆 𝒂𝒏𝒅 𝑰 𝒄𝒂𝒏 𝒍𝒐𝒐𝒌 𝒊𝒏𝒕𝒐 𝒚𝒐𝒖𝒓 𝒇𝒂𝒊𝒕𝒉𝒇𝒖𝒍 𝒆𝒚𝒆𝒔 𝒘𝒊𝒕𝒉𝒐𝒖𝒕 𝒔𝒉𝒂𝒎𝒆. 𝑳𝒊𝒇𝒆 𝒊𝒔 𝒂 𝒄𝒆𝒍𝒆𝒃𝒓𝒂𝒕𝒊𝒐𝒏. 𝑳𝒆𝒕'𝒔 𝒍𝒊𝒗𝒆 𝒊𝒕 𝒕𝒐𝒈𝒆𝒕𝒉𝒆𝒓! 8 & ½ s a 1963 Italian surrealist psychological comedy-drama film directed and co-written by Federico Fellini. Troubled Italian filmmaker Guido Anselmi struggles with creative stasis as he attempts to get a new movie off the ground. Overwhelmed by his work and personal life, the director retreats into his thoughts, which often focus on his loves, both past and present, and frequently wander into fantastical territory. As he tries to sort out his many entanglements, romantic and otherwise, Anselmi finds his production becoming more and more autobiographical. In the time it takes to complete a single project a director will don countless hats and faces, 8 & ½ centered around the demands of this position and the chaos that transpires on a given film set. Born January, 20th, 1920, Fellini started working on movies in the capacity of a screenwriter, his earliest works including varying radio sketches and recipiency of his first screen credit for 𝑻𝒉𝒆 𝑷𝒊𝒓𝒂𝒕𝒆'𝒔 𝑫𝒓𝒆𝒂𝒎 in 1940. Shortly thereafter Fellini found himself continuously having more responsibility put on his plate, with some assignments requiring him to provide labor he hadn’t expected before: example of which being when he had to some acting of his own while 𝑳'𝑨𝒎𝒐𝒓𝒆 (1948) was in production. These roles run amok in 8 & ½, eventually culminating in Guido’s hesitancy to hand full reign of a given task to a given (But seemingly qualified) colleague, his worry somewhat rooted in the anticipated receptiveness of his anticipated audience to his final product; likewise, this disposition is further informed by what Fellini’s perceived as overt failures prior to the 8 & ½, as 𝑽𝒂𝒓𝒊𝒆𝒕𝒚 𝑳𝒊𝒈𝒉𝒕𝒔 (1950) left him with debts that took a decade to resolve on the account of it being poorly received. So begs the question at the root of Guido’s tangential laments and ruminations: Should movies be made primarily for an audience as a remote victory or reflective of its crew as a personal disaster? 8 & ½ opens on Guido Anselmi: Marcello Mastroianni bringing just the right amount of cool and cosmopolitan with an almost hitman disposition; as the production he is in charge of unfolds his appearance cracks under the pressure of this creation, in due time revealing someone that isn’t as confident as he appears and further upon at great risk of sinking in to an otherwise listless existence. Anselmi’s woes are interspersed with what can only be described as hazy dreams, the latter more overtly inspired by the subjects of religion and a pair of parental figures whom remain unimpressed by their sons’ abilities after having already passed away. Further investigation reveals to what extent these may be manifestations of insecurity on Fellini’s behalf; prior to working on films Fellini enrolled in a law school for the sake of pleasing his parents (though no record exists of him ever attending a class), and in spite of considering himself to be Catholic he avoided former activity in a corresponding church. No-one can speak with confidence as to what drove this refusal, except to say on the topic of faithfulness in the context of his marriage he was a known transgressor: so much so that in spite of marrying Giulietta Masina in 1943 he attended the funeral of his father with an identified mistress in 1956. Whether out of embarrassment, shame, or whatever else may be attributable, Guido’s stream of consciousness (And disloyalty to his partner Luise), as it play out in 8 & ½ is a muddle of personal experiences, and then some as evidenced by Fellini’s own comments aside: 𝑰𝒕 𝒊𝒔 𝒏𝒐𝒕 𝒎𝒆𝒎𝒐𝒓𝒚 𝒕𝒉𝒂𝒕 𝒅𝒐𝒎𝒊𝒏𝒂𝒕𝒆𝒔 𝒎𝒚 𝒇𝒊𝒍𝒎𝒔. 𝑻𝒐 𝒔𝒂𝒚 𝒕𝒉𝒂𝒕 𝒎𝒚 𝒇𝒊𝒍𝒎𝒔 𝒂𝒓𝒆 𝒂𝒖𝒕𝒐𝒃𝒊𝒐𝒈𝒓𝒂𝒑𝒉𝒊𝒄𝒂𝒍 𝒊𝒔 𝒂𝒏 𝒐𝒗𝒆𝒓𝒍𝒚 𝒇𝒂𝒄𝒊𝒍𝒆 𝒍𝒊𝒒𝒖𝒊𝒅𝒂𝒕𝒊𝒐𝒏, 𝒂 𝒉𝒂𝒔𝒕𝒚 𝒄𝒍𝒂𝒔𝒔𝒊𝒇𝒊𝒄𝒂𝒕𝒊𝒐𝒏. 𝑰𝒕 𝒔𝒆𝒆𝒎𝒔 𝒕𝒐 𝒎𝒆 𝒕𝒉𝒂𝒕 𝑰 𝒉𝒂𝒗𝒆 𝒊𝒏𝒗𝒆𝒏𝒕𝒆𝒅 𝒂𝒍𝒎𝒐𝒔𝒕 𝒆𝒗𝒆𝒓𝒚𝒕𝒉𝒊𝒏𝒈: 𝒄𝒉𝒊𝒍𝒅𝒉𝒐𝒐𝒅, 𝒄𝒉𝒂𝒓𝒂𝒄𝒕𝒆𝒓, 𝒏𝒐𝒔𝒕𝒂𝒍𝒈𝒊𝒂𝒔, 𝒅𝒓𝒆𝒂𝒎𝒔, 𝒎𝒆𝒎𝒐𝒓𝒊𝒆𝒔, 𝒇𝒐𝒓 𝒕𝒉𝒆 𝒑𝒍𝒆𝒂𝒔𝒖𝒓𝒆 𝒐𝒇 𝒃𝒆𝒊𝒏𝒈 𝒂𝒃𝒍𝒆 𝒕𝒐 𝒓𝒆𝒄𝒐𝒖𝒏𝒕 𝒕𝒉𝒆𝒎. 8 & ½ in its infancy came to Fellini in 1960, at that time described as being about a man with an unidentified profession suffering from creative block on the account of his life being disrupted by a “not-too-serious disease”. Given the go ahead to start production in 1962, Fellini would eventually draft a letter confessing that he had “lost his film” with the intent of abandoning the production, this action interrupted by a request to launch the celebration of it; it was only then that Fellini decided to tell a story about a director who know longer knew what kind of film he wanted to make. Both a sign of the times and personal preference, 8 & ½’s dialogue was edited and finalized in its post-production phase: a practice that allowed for the use of less experienced actors at the cost of them needing more direction on set in addition to the dubbing of related noises after the fact. In light of this, and perhaps needless to say, what 8 & ½ reflects in regards to stifled expressiveness feeds into its otherwise harebrained pacing, not to mention the drab of its monotone landscape. During the earlier part of Fellini's career his film related assignments took on an ulterior motive: they allowed for him to avoid the draft associated with a declaration of war made against France and Britain on Benito Mussolini’s behalf, and was something that would inform the nature of his work until approximately 1945. The extent to which this habit of coming on board any given film-related opportunity affected the entirety of his filmography was never addressed - much less inquired about - though it would be appropriate to underscore what this had to have demanded in light of reception that was unpredictable. The good news is that by the time 8 & ½ was released Fellini had made well-enough of a name for himself given the broad applicability of the themes he entertained, though this established competency made him no more immune to the demands made by the Production Studios he’d end up collaborating with: this is most reflected in 8 & ½’s conclusion, as it was originally intended to implicate suicide more explicitly as a ‘viable option’ for Guido. Fairly describable as a tangled mess of hope, fantasy, and some extent delusion, 8 ½ walks that fine line between pleasing the masses and rubbing its own ego, and perhaps that’s why it was robbed of its working title, ‘𝑻𝒉𝒆 𝑩𝒆𝒂𝒖𝒕𝒊𝒇𝒖𝒍 𝑪𝒐𝒏𝒇𝒖𝒔𝒊𝒐𝒏’; but, then again, maybe that’s what happens when art imitates life and vice versa.
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Reviewed in the United States on May 13, 2024
R
Verified Purchase
Randy Keehn
Lowell, US
★★★★★ 5
How Good is Great?
I purchased this DVD because of its' sustained superior ratings in the Sight and Sound survey every decade of the best films of all time. Obviously, there must be something very great about this movie. There is but but there are some second thoughts that plagued me along the way. First of all, I am always impressed by a film's ability to hold our attention. This is often where the skill of film editing is best appreciated. I confess that I found myself looking for some scenes in "8 1/2" to move along. This is a cerebral movie, not an action movie but there seemed to be a fair amount of redundancy. Secondly, I was surprized by the sound work on this movie. I made a quick glance at a few other reviews but didn't see any similar comments. Thus I don't know if it was just my copy. However, the sound didn't match up with the film very well at all. This gives the movie an odd appearance of being an Italian movie dubbed in Italian. Was I missing something? Finally, the message in this film, for me, was "to your own self be true" which is certainly a valid philosophy; just ask Socrates. However, it was stretched to come across as "accept me for who I am, not whom you want me to be". This message is still a valid philosophy but a bit harder for some of us to accept. Having said all of that, let me praise the movie; (I DID give it a "5" after all). The acting is terrific; especially Marcello Mastroianni whose air of detachment fit the movie so well. The photography (B&W) was excellent, as well. The story is one of a director who has lost his own direction. As he stumbles aimlessly along supposedly putting together a film, his inteactions with others and his reminiscences give us an insight to his confusion. His world is overwhelming him and he can't figure out where to turn. He is much the victim of himself (which makes the message that much harder to swallow). As his crisis reaches its' own crisis, the movie rights itself with his discovery of his own self-awareness. Everything comes together at the end with a message of hope (primarily for the director). The beauty of the movie is how we are able to follow the character's collapse and rebirth. It is also in the way we can see the rest of the world through his own eyes. This is the sort of movie that will expand with each re-viewing. The DVD contains a second disc with information and reviews about the movie and the Director. This is a good movie that caught me off-guard because I was victimized by too much advance hype. I understand the hype but it would have been better to discover it for myself. Discover it for yourself and it will be a movie you'll remember.
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Reviewed in the United States on April 4, 2004
Y
Verified Purchase
yummymayo
Carnegie, US
★★★★★ 5
BD Version.
One of my top five films of all time. I won't speak much about the film itself, under the assumption most readers have already seen it. You can be guaranteed a fantastic film if you haven't seen this yet. As far as the BD itself, the transfer is absolutely fantastic! The DVD version itself already had a pretty pristine transfer, but of course with the BD upgrade the resolution and detail is so much better, and of course comes loaded with extras and an accompanying booklet that is actually quite thorough and should be considered an item in itself, and not just a supplement to the disc. I haven't watched them all, but the extras that are bundled with the film are plentiful and quite informative. Often times with extras you feel as though it is just filler and fodder (let's be honest, it usually is) but at least Criterion makes a conscious effort to make it interesting. I'd say the extras are worthwhile, and also an upgrade from the DVD version. The biggest difference I noticed from my first viewing is that the subtitles are slightly changed from the DVD version, and also theatrically. There are probably lots of different translations, but it IS different from the DVD but not drastically. The same point is made, but just using a different delivery. Not sure how I feel about some of the changes, but I probably just got used to the previous translation. I'm not sure where some of these discrepancies or complaints are coming from that have surfaced recently, but my copy was packaged in the special made Criterion jewel cases, NOT the cardboard ones, and of course not the actual blue ones. For a while, with some of the earlier releases, Criterion was releasing its BDs in cardboard slip case and digi-pack format which angered a lot of customers who spoke their voice and got them to upgrade to the now standard jewel cases. A good move in my opinion, but now I'm stuck with Third Man and 400 Blows in cardboard. Reportedly, you can send in the old cases to get upgraded to new ones, but it'll cost you 5 bucks each, so... I think I can live with it.
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Reviewed in the United States on January 24, 2010
A
Verified Purchase
Andy
Dallas, US
★★★★★ 5
Sublime Masterpiece Is One Of Criterion Collection's Finest
This is one the Criterion Collection's best and most impressive Blu rays and one of my favourites. A defining work of cinematic genius, and crowning achievement of Italian master director Federico Fellini. The first truly "Felliniesque" of his films, a complex semi-autobiographical carnival mirror of artist as film maker, an unsurpassed portrait of the creative process, with a film within a film and dream and fantasy structure, it's difficult to understate the seminal impact on cinema. An astoundingly choreographed, highly stylized, fully realized, deeply personal work of artistic subconscious and expression. Extraordinary in all regards, filled with memorable and iconic scenes. One of the perfect films that is magical and magnetic, as compelling and entertaining each and every time. I must confess that La dolce vita is my favourite film (it's a bit more accessible) , but acknowledge 8 1/2 as the greater artistic work. This Criterion Collection Blu ray is truly outstanding. the film looks excellent, and contains great extra content, including a scholarly audio commentary that is highly recommended, three interesting documentaries, interviews, photo gallery and a fine essay booklet. An essential. All of Fellini's films are also recommended. This disc is also part of Criterion Collection's Essential Fellini box set, superb for those looking to collect a large portion of the director's works.
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Reviewed in the United States on March 10, 2022

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