Former Facebook exec Owen Van Natta will take the CEO job at a music discovery site called Playlist, a move that had been speculated last week, after he did not end up taking another position as head of MySpace Music.

Van Natta’s arrival at Playlist was not the only news for the Palo Alto, Calif.-based start-up–former AOL exec Bob Pittman’s Pilot Investment Group is also investing an undisclosed amount of money in Playlist. Pittman will also join its board.

Playlist has previously raised several million dollars, said sources, but the new funding is many times that, to total about $18 to $20 million.

The move to Playlist is an interesting one for Van Natta, who has looked at a number of jobs since leaving the high-profile social-networking site earlier this year.

He has talked to a wide range of companies, sources said, including Microsoft (MSFT) and a range of start-ups, as well as with MySpace, which is owned by News Corp. (NWS). (News Corp. also owns this site).

Those talks between Van Natta and MySpace to run its new music initiative did not pan out for a variety of reasons.

But he has long expressed a desire to become a CEO of a company, rather than just head to another executive job within a larger company, so the move to run a start-up is not a surprise.

In an interview this afternoon, Van Natta told me he got very intrigued by the possibilities at Project Playlist, which was the first iteration of the start-up and in which he is an investor, due to its viral growth.

And, indeed, Playlist has grown quickly to become one of the larger music communities on the Web, claiming that more than 38 million music fans monthly, sharing playlists via its Web site and also widely distributed embeddable widgets. The site has tens of millions of daily page views, according to surveys.

To get to those big-scale numbers, Playlist essentially has offered users a giant linking service for music, not unlike Google (GOOG) with all information, pointing users to promotional, free and sometimes illegal music and music video tracks all over the Web.

Those links to illegal music have resulted in a lawsuit aimed at Playlist from the music industry, sources said, a sadly typical experience of many online music services.

The usual tactic for the music giants: Sue first and shake down later.

Under Van Natta, I would guess, Playlist is likely to reach out to music companies and strike deals.

The company also needs to settle on its main business plan, which appears to me to have been less important than its explosive growth.

Playlist currently does have some small amount of advertising on the site, and seems to be making most of its scratch from sending leads to ringtone sellers.

Van Natta did not want to reveal specific strategies for Playlist going forward, only noting the opportunity is large.

“Discovery around music is exploding on the Internet,” said Van Natta. “And the company that does the best job of taking advantage of that is really going to be huge.”

That said, there have been a lot of music-aimed efforts like Playlist in the music space, with a lot of different business plans and varying degrees of success, ranging from the Apple (AAPL) behemoth iTunes site, which sells single songs, to the CBS (CBS) music service, Last.fm, which relies more on advertising revenues.

Other contenders in the space include the Rhapsody subscription service from RealNetworks (RNWK), music discovery service iLike and many others. MySpace has also waded deeply into the music space, and Facebook is also reportedly weighing its own service.

Van Natta was one of Facebook’s earliest and most prominent execs, serving in jobs like COO and also Chief Revenue Officer while there.

He came to Facebook in the fall of 2005, after a stint as VP of Worldwide Business and Corporate Development at Amazon, and was part of the founding team of A9, the Amazon search company.

“I am excited to be building a company again,” said Van Natta, who has taken many months off since he left Facebook in February.

In its ongoing renovation of its offerings–last month it began rolling out a new homepage–Yahoo is unveiling a new online calendar, with a passel of new bells and whistles, to a small group of users worldwide.

At first, the beta–current users can register to try it here–will take place in the United States, Brazil, India, Taiwan and the United Kingdom.

Overall, it is a good-looking, simple and clean design–that will eventually be extended to all of Yahoo’s 8.1 million calendar users worldwide.

It is also Yahoo’s first attempt at leveraging and integrating technology from its $350 million acquisition of open-source email and calendaring company Zimbra just over a year ago.

And, incredibly, although Yahoo’s is the top online calendar in the world, it has been 10 years since the Internet giant updated it.

That lack of innovation has resulted in major inroads in recent years by newer entrants like Google, whose calendar launched with more modern features, like color-coding, easy sharing and drag-and-drop functionality.

With its renovation, which is based on open standards, the updated calendar from Yahoo (YHOO) now has these kinds of features and also works more seamlessly with Yahoo’s powerful email product, Yahoo! Mail, which has 278 million users.

The new Yahoo calendar is built on the Zimbra platform, which uses Ajax functionality in its online calendars and iCalendar (iCal) and CalDAV3 standards.

That makes it interoperable with other online calendar services, including those from Mozilla, Apple, Microsoft, Time Warner’s AOL and Google.

One of the cooler features is the ability to zoom-in and zoom-out from a monthly wall calendar view to a single event.

In addition, Yahoo’s new calendar can integrate pictures from its Flickr photo community and also has a “to-do” list.

As the beta is rolled out further in the coming months, Yahoo will add additional synching and event discovery features.

I talked about all this today with Yahoo SVP Scott Dietzen, who came to the company with the Zimbra acquisition and now is in charge of all communications products at Yahoo.

Here is the video interview I did with him:

And here are the screenshots of the new calendar, along with one of the old calendar, for comparison (click on images to make them larger):

The old main Yahoo calendar

The new main Yahoo calendar

The “zoom” feature

The integration with Flickr

The Upcoming.org integration

As technology continues to shrink, more features are being packed into these small mobile devices, making navigation and ease-of-use more important. This week, I tested the Motorola ROKR E8, which costs $199 with a two-year T-Mobile service agreement and makes a real attempt to be more user-friendly. The device, which comes out on July 7, isn’t much bigger than a typical cellphone but its standout feature is its keyboard, which dynamically changes to accommodate whatever you’re doing at the time, revealing only buttons that would be of use to that particular function.

The secret sauce on the ROKR E8 is its keyboard, which changes when it’s used as a phone, music device and camera.

The surface of the ROKR E8 has no physical keys at all. In its off or resting state, in fact, it’s just a black surface with rows of tiny, unlabeled bumps. But this surface is actually divided into two: The top half works like a typical cellphone display while the bottom half projects virtual keys onto its surface and uses the rows of bumps to give these keys a physical presence.

When making a call or sending a text message, the ROKR’s surface displays a regular phone keypad. But as soon as a music shortcut button is pressed, the surface morphs into five buttons for music navigation: play/pause, seek forward, seek backward, shuffle and repeat. Pressing another shortcut button to start the ROKR’s camera mode shows four buttons for zooming in or out, switching to playback mode or changing to video. Motorola (MOT) calls this its ModeShift technology. Though the lower half of the ROKR can be considered a touch device, objects can’t be manipulated with gestures like pinching or dragging as with the Apple (AAPL) iPhone’s multitouch screen.

Overall, I found that the ROKR E8′s dynamic keyboard gave me a real advantage in figuring out how to use the multi-functionality of the phone. Its changing keyboard eliminated a lot of guesswork and time that I may have spent hunting through menus for a command. And true to its name, the ROKR (pronounced “rocker”) is focused on its music phone functionality with an FM radio, a neatly organized music menu and a speaker that has convincingly simulated surround-sound effects.

But this ROKR didn’t always jam out in perfect pitch. A touch-sensitive semicircle in the center is meant to make scrolling through long lists easier — much like Apple Inc.’s iPod wheel. But because this tool on the ROKR isn’t a full circle, scrolling felt unsatisfying. You also can’t buy songs with the ROKR, or even mark songs for purchasing later on a PC.

And while the morphing buttons look futuristic and hip, I experienced a few instances when the phone was slow to react after I touched a button, as when I touched the seek forward button while listening to music or when I chose to open an MMS message I sent to a friend.

Twenty-two tiny bumps dot half of the ROKR’s surface, and the surface below each bump vibrates when it’s touched to provide sensory feedback. Nothing is ever physically pressed down, though the vibration response leads you to think otherwise.

A smart switch on the side can be held down to turn it on or off, or switched into the upward position to lock the device, preventing accidental calls or battery drain.

The ROKR E8 runs on T-Mobile’s (DT) GPRS/EDGE connection, which felt sluggish at times. And not even the dynamic keyboard on this device could help make email or instant messaging easier.

It has a two-megapixel still camera with an 8x digital zoom that can change into video-camera mode in one step. Two gigabytes of memory are built into the ROKR, and more memory can be added via a microSD card slot, which is hidden beneath a back panel. A one-gigabyte microSD card comes with the ROKR. Without this card, the internal memory will hold about 1,500 songs.

With help from a USB cord and Windows (MSFT) Media Player 11, I transferred over 200 MP3s onto my ROKR. Album art that transferred with my songs appeared on-screen as songs played, and the speaker gave off a powerful sound. Built-in stereo Bluetooth can send tunes to Bluetooth-enabled stereo speakers, and it took me just a few seconds to pair my ROKR with Motorola’s EQ5 speakers.

A preloaded program by Shazam lets users hold the ROKR up to any speaker playing a song, and in 30 seconds, identifies the track title, artist, and album art. I held the ROKR up to my alarm clock radio and it worked perfectly. But once these songs are recognized, the track data can’t be used to buy the song or even to transfer a request to buy that song to a PC for buying online at another time.

The ROKR’s FM radio will work only if its included stereo headset is plugged in because the headset has the radio antenna. But once the headset is plugged in, the radio will play via the ROKR’s speaker.

The ROKR E8 has an audio technology called Crystal Talk, which Motorola says allows your phone to perform better in loud environments. Even if the person on the other end of your phone is in a noisy place, the company says Crystal Talk will raise the volume to improve the call. I tested this by speaking to someone on the ROKR while turning a hairdryer on beside the phone. I then used a regular Razr cellphone. The person on the other end said that the ROKR sounded slightly, but noticeably, better.

Motorola’s ROKR E8 is a head-turning phone with many built-in advances that give it a smarter interface. One might wonder what other ModeShift functions the company will integrate into its devices in the future, such as a full QWERTY keyboard. The overall idea of a dynamic keyboard is a step ahead for small devices. It forces the phone to work more intuitively and improves navigation while looking stylishly sleek at the same time.

Edited by Walter S. Mossberg.

Write to Katherine Boehret at mossbergsolution@wsj.com

But to the style-conscious set, the Flip looked like a clunky Fisher-Price toy — especially when compared with a sleek, new iPod or more-sophisticated digital cameras — and was too thick to comfortably slip into a pocket. Last fall, Pure Digital introduced an enhanced version: the Flip Video Ultra, but its biggest aesthetic difference was new orange, pink and green colors.

Today, the company will begin sales of its $180 Flip Video Mino (pronounced “minnow”), the hippest offering yet from Pure Digital. This 60-minute Flip includes many firsts for the company: rechargeable batteries; touch-sensitive buttons rather than old-school, push-down buttons; and a thinner build that measures 40% smaller, overall. The Flip Mino is also the first one in the family to enable publishing to MySpace (NWS); prior software limited Web-site sharing to YouTube (GOOG) and AOL (TWX) Video.

I’ve been using a glossy, black Flip Mino (it also comes in white) for the past two weeks and it looks much cooler than older models. Its newly positioned USB adapter pops up from the top of the camera like something from a Swiss Army Knife. The Mino offers features such as the ability to lock the delete button, so no one accidentally deletes your videos, and mute all camera sounds, so as to record silently during quiet moments like wedding ceremonies or speeches.

I brought it along with me almost everywhere I went because of its small size and light weight, even fitting it into a thin clutch purse with a cellphone and BlackBerry (RIMM). I used the Mino in various situations ranging from bright, scenic outdoor settings to indoors while eating dinner in a candle-lit restaurant. Overall, I was pleased with the sound and picture quality of the Mino, and I found its built-in software, which automatically starts when the camera plugs into your Mac (AAPL) or Windows (MSFT) PC, to be a pleasure to use.

Today, Pure Digital Technologies introduced its $180 Flip Video Mino, a thinner, more stylish version of its point-and-shoot camcorder.

It took just a few minutes to trim excess footage from my videos before saving them to my computer or sharing them with friends and family. Another way to share videos from the Flip Mino is via Pure Digital’s server, which sends emails with embedded video links, saving upload and download time on both ends. Though I didn’t publish any of my videos on a public Web site, AOL, MySpace and YouTube were just one step away.

The Flip Mino’s touch buttons, while stylish, were difficult to use at first. I missed the tactile feel of physical buttons as I tried to hold this small video camera and press the zoom buttons using just one hand. The new, touch-sensitive buttons weren’t as satisfying and stable to use, and I pressed them accidentally more than a few times. For instance, the Zoom Out button is directly below Record, making it easy to mistakenly touch it. After about a week of using the Mino, I grew more accustomed to using these new touch buttons, but it shouldn’t take so long to make the adjustment.

Just looking at the Flip Mino’s fresh new exterior makes it hard not to think about the things that this redesigned camcorder is still lacking, like a larger viewing screen (the Mino screen is 1.5 inches, no larger than that of the Flip Ultra), high definition video and wireless sharing capability. These features would likely raise the price and/or tax the battery, and many users of the Flip flock to it for its low price and simplicity. Still, Pure Digital says that it will offer HD video and a larger screen on a product within a year, and is looking into features that might include wireless transferring.

I grew fond of the Mino’s rechargeable battery. Whenever I plugged this gadget into my computer to transfer videos, my Mino charged up via USB without me having to think about it. A full charge lasts four hours and recharging a dead battery takes about three hours.

Pure Digital says that the sound quality and lighting are improved in this model. Like previous models, this Flip records in 640×480 pixels at 30 frames per second.

The Mino didn’t have a problem with lighting in most situations; indeed it did a nice job of capturing images of my family sitting around a table in a restaurant with little more than candlelight to brighten the picture. It doesn’t use a flash or a built-in light, but instead uses automatic sensors to adjust to various levels of light.

This svelte camcorder seemed to handle noise more evenly than I remembered in prior Flip models. It didn’t make my voice sound unbearably louder than everyone else’s, even though I was closest to the camera’s microphone, yet it managed to detect voices across the room. I did have some trouble on a windy day: While recording a quick video of a golf course in San Diego, wind audibly muffled my voice during a few moments in the video.

Along with the delete-lock and sounds-off settings, this Mino has a few other tricks up its sleeve. Each of the touch-sensitive buttons is designed to glow only when usable, so as to better help people who might not know which buttons to press while using this camcorder. For example, only the zoom buttons glow while recording since the other buttons (volume, play/pause and delete) can’t function in this setting.

Shortcuts built into each button provide more functions: Holding the play/pause button down will set the playback mode to play all videos on the Mino; holding the seek ahead or seek back buttons while watching a video will fast-forward by seconds within that video; pressing the record button as the camera starts up opens up the settings menu.

In conjunction with the Flip Mino’s introduction Wednesday, prices of the former Flip Ultra model will drop to $150 for the 60-minute model. The Flip Ultra 30-minute model will be phased out, as will the Flip Classic, which will cost $130 for a 60-minute unit.

Though the Flip Mino’s touch-sensitive buttons look great, they aren’t as functional as they needed to be. But if you really want a sleek, hip-looking gadget, you’ll learn to adjust to these new buttons. No matter which Flip you choose, Pure Digital’s software changes the way people capture and share videos, and that’s a great thing.

Edited by Walter S. Mossberg

• Email mossbergsolution@wsj.com

When the moment comes to take the perfect picture of a snowy mountaintop, Fourth of July fireworks or soccer goal in midkick, most people forget about these features or don’t know how to use them. And while many digital cameras can now detect faces and make sure they are in focus, they can’t tell whether that face is smiling or not. The results aren’t bad, but they could be much better.

Sony’s Cyber-shot DSC-W170 uses Smile Shutter Mode to snap pictures when a subject smiles.

This week, I tested three new digital cameras that claim to do the thinking for you. Some digitally analyze the scene you’re about to capture, automatically choosing the setting that would take the best picture. Others can detect when a subject is smiling so as to automatically know when to snap the photo. One camera even attempts to digitally alter frowning faces into smiles, with amusing results.

I tried out Sony’s $300 Cyber-shot DSC-W170, Kodak’s $250 EasyShare Z1085 IS and Olympus’s $200 FE-340. Only the Sony (SNE) includes all three of the aforementioned features; the Kodak (EK) has scene detection, and the Olympus (OCPNF.PK) camera has built-in smile detection. I found the automatic scene detection offered in the Sony and Kodak cameras to be the most useful feature for everyday photos. It improved my photos and didn’t require any extra adjustments. I handed the cameras to other people to take pictures, without having to change any settings.

The automatic smile detection offered in the Sony and Olympus cameras was fun to use and could be especially helpful for families whose young kids never seem to smile at the right moment. But it didn’t work consistently and had trouble detecting my bearded boss’s smile and even that of a beard-free colleague.

I found Sony’s frown-fixing tool, which is called Happy Face Retouch, to be rather unusual. It took already captured images of my friends’ faces and turned their frowns or ambivalent looks into smiles, but didn’t adjust the subjects’ eyes. Though this was good for laughs, the eerie-looking grins pasted on faces reminded me of painted-on clowns’ mouths. And some attempts to retouch a face couldn’t detect the face to alter it. But a handful of the Happy Face Retouches looked somewhat natural.

Similar Specs

These cameras boast many similar specifications. All three use 5x optical zoom lenses, and the Sony Cyber-shot DSC-W170 and Kodak EasyShare Z1085 IS each have 10.1 and 10 megapixel image sensors while the least expensive Olympus FE-340 has 8 megapixels. The Sony and Olympus both have generous 2.7-inch viewing screens and almost identically sleek builds, though the Sony is the only one of these three cameras to have an optical viewfinder.

The Kodak’s viewing screen is slightly smaller than the other two digital cameras, measuring 2.5 inches, but its build isn’t nearly as compact as the others. It reminded me more of small, high-end SLR camera, with its comfortably large hand grip, a settings knob on the top edge of the camera, and a protruding zoom lens.

Sony’s Happy Face Retouch feature digitally changes facial expressions into smiles, but all it did was make me look unnatural and awkward.

Kodak’s EasyShare Z1085 IS takes Secure Digital (SD) memory cards, which are more common than the Memory Stick and xD cards that work in the Sony and Olympus cameras, respectively.

The Kodak and Sony digital cameras have different names for their automatic scene-detection features. By default, the Kodak camera works in Smart Capture Mode, which includes intelligent scene detection, capture control and image processing. I focused on the camera’s scene detection, which automatically determines whether the photo should be taken in Macro, Text (for shots of text in a book, for example), Face, Landscape or Night settings.

Icon on the Screen

I snapped pictures around Washington, D.C., noting a tiny icon on the camera’s screen that indicated which of the five scene modes was being used to capture the photo. A flower icon indicating Macro appeared on my screen when I stooped to get a close-up shot of a tulip, and an icon of a dark sky and stars showed on the screen when I took photos at night. The camera’s flash, focus and exposure changed according to the type of photo.

The Sony camera uses what it calls Intelligent Scene Recognition to decide which settings should go along with certain photos. Like the Kodak, icons on the Sony’s screen indicated the scene settings that were automatically deemed appropriate, including Backlight, Backlight Portrait, Twilight, Twilight Portrait and Twilight Using a Tripod.

The Sony’s Intelligent Scene Recognition isn’t on by default like Kodak’s feature. Instead, it must be turned on from within a menu, but once on, it stays on until you turn it off. ISR can be used in either Auto or Advanced mode; Auto takes a single photo with automatically determined settings, while Advanced takes two shots — one with manual settings you can choose and another shot immediately following the first with automatic settings according to what the camera thinks is best.

I experienced surprising results with the Sony Cyber-shot DSC-W170 and Olympus FE-340 while testing their automatic smile-detecting functions. My friends thought I was joking when I told them the camera would take their picture only if they were smiling. When the flash went off multiple times as they kept smiling, they were intrigued by this feature.

Sony’s version, which it calls Smile Shutter Mode, is easy to switch into by turning a dial on the camera to a smiley face. Once this setting is chosen and the camera’s shutter button is pressed, the Cyber-shot will search for smiles in its subjects, and will take photos whenever it detects a smile. Settings within this mode can be set to specifically detect an adult’s smile or a child’s smile, and the degree of smile can be set to low, medium or high; I kept things simple by leaving the smile detector on default settings.

Capturing Smiles

Olympus calls this feature Smile Shot, capturing three rapid shots in a row to make sure everyone’s smiling. The idea of taking three shots would be extra helpful with an indecisive baby, but most of my friends were able to hold their smiles, which produced three almost exactly identical shots each time someone smiled. Smile Shot is harder to get to in a pinch compared with the Sony: it’s buried in a list of 13 settings on the Olympus when the camera is set in Scene mode.

The Olympus seemed to be a bit slower than the Sony when it came to detecting smiles, but both had trouble with bearded men and even some folks without beards. And people felt silly standing around with a smile on their faces waiting for the camera to finally work. Closed-mouth, no-teeth smiles were harder for these cameras to detect, but not impossible. In group situations, the Olympus camera will focus on whoever’s face appears largest, which could mean the person closest to the camera, while the Sony takes a picture whenever anyone in the group smiles.

Putting a Happy Face On

If someone isn’t smiling, Sony’s Happy Face Retouch tool can come in handy, but don’t count on liking the results. In a group shot of five friends, two people who weren’t smiling put a bit of a damper on the whole shot. I used Happy Face Retouch, but it picked up on only one of the nonsmiling faces, turning a confused look into a smile that looked passable. But other results weren’t usable. A serious-looking shot of me deliberately not smiling looked freakishly unnatural after the touch-up, mostly because the rest of my face didn’t join the smile. I looked more like someone who had received too many Botox treatments.

Sony says that, in group shots, it can detect and change up to eight faces, but in my tests it usually changed only one. This retouching tool is also difficult to find: It took me 16 button presses to change each image into a smile — or what Sony calls a smile. A few times, Happy Face Retouch couldn’t identify a face in the photo, even when just one person stood in the frame.

These digital cameras took good photos, overall, and are fun to use because they take pressure off the photographer. I found the automatic scene-detection tools of the Kodak and Sony to be the most realistic and useful offerings, and I’m sure it won’t be long before automatic scene detection becomes as commonplace as an automatic flash.

The chart below compares features of the three cameras described. Click on it to make it larger.

• Email mossbergsolution@wsj.com

Digital Cameras

Megapixels: This term describes the highest resolution photo a camera can take. Often mistaken as the most important factor in a digital camera, a high megapixel count — such as 10MP or more — isn’t necessary for the average user unless he or she plans on heavily editing or enlarging photos. Most new digicams offer between five and eight megapixels, which is usually more than enough.

Optical or Digital Zoom: Optical zoom, determined by the physical movement of a lens, matters much more than digital zoom, which digitally alters an image using the camera’s internal computer. Camera companies still try to confuse potential buyers by listing a camera’s total zoom, or the optical and digital zooms multiplied together. Ignore total zoom numbers and instead focus on optical, which now averages around 5x for many new cameras.

Image Stabilization: When generously sized LCD viewing screens started replacing optical viewfinders, they also forced users to hold their cameras at arm’s length, making for plenty of blurry photographs. To remedy this, camera manufacturers have added image stabilization, tools once found only in high-end SLR models. Optical (also called “mechanical”) and digital image stabilization correct for unsteady hands and moving subjects, respectively. Cameras with both types advertise dual image stabilization, which corrects for both situations and costs more.

Mobile Devices

HSDPA and EVDO: HSDPA, or High Speed Downlink Packet Access, is the name for AT&T‘s 3G, or third generation, mobile network that operates at roughly the speed of a slower DSL in a home. HSDPA is available in most major metropolitan areas and is seen as the competitor to Verizon and Sprint’s EVDO (Evolution Data Only) networks, though the popular iPhone runs on AT&T’s network using Wi-Fi and EDGE technology rather than HSDPA.

Multi-Touch Technology: Most popularly found on Apple’s iPhone and iPod touch, multi-touch is starting to show up in other products, such as in Microsoft‘s Surface, a coffee-table-like computer. Rather than just responding to on-screen touches, this technology enables moving, resizing and zooming pictures and Web pages using one or more fingers simultaneously. Look for many more devices — mobile and otherwise — to incorporate multi-touch in the future.

GPS: Global Positioning Systems are most often found in cars — either built-in or on portable devices from companies like Garmin and TomTom. These gadgets use satellite technology to determine geographic location, and high-end models even display Web content like news and weather along with directions. GPS integration in mobile devices can be used to plot routes in cars, can help users find nearby businesses while on the go and can link friends by showing one where the other is located and what they’re doing.

Digital Music

DRM: Digital rights management is a set of standards that protect the intellectual property rights of online content like music and videos, preventing it from being illegally distributed across the Web. In the past year, Vivendi‘s Universal Music Group, Apple and (most recently) Sony BMG said they will start selling DRM-free versions of songs, often for a higher price. In Apple’s iTunes store, these files are called “iTunes Plus” and aren’t restricted like other iTunes content.

MP3: MP3 files are open, without any DRM restrictions. Files that you rip (copy) from your own CDs are usually converted into MP3s, though iTunes users can automatically rip tracks into that program’s special format, called AAC. MP3 files can be uploaded to social-networking sites for sharing with friends and online communities.

These file types are protected by rights that tie them to specific players. Generally, AAC files make up the majority of tracks sold on Apple’s iTunes store and play only on Apple’s iPods; WMA files are Microsoft’s version of proprietary files.

Wi-Fi

The popularity of Wireless Fidelity, or Wi-Fi, brings this technology to more and more portable devices like the iPod Touch and Microsoft Zune and gives companies good reason to incorporate Wi-Fi receivers in new computers — laptops and desktops alike. While available in many flavors, different letters like b, g, a and n stand behind Wi-Fi’s more technical name, 802.11, to help discern one version from another according to characteristics like speed and compatibility. The latest version, “n,” offers the greatest range and speed, and “n” devices are usually compatible with earlier versions.

Televisions

HDTV: High-definition television has now become the standard, capable of displaying vastly better pictures, provided the source is also HD. Today’s more popular flat panel HD televisions are LCDs, or liquid crystal displays, though plasmas still hold their own. Recording HD content can’t be done with a regular digital video recorder; instead, a special HD recorder is required to capture this higher quality content.

480p vs. 1080i vs. 720p vs. 1080p: These numbers refer to the resolution, or sharpness, of a digital display, while “p” stands for progressive and “i” stands for interlaced. A resolution of 480p, known as EDTV or Enhanced Definition TV, is found most often in low-end plasmas or LCD screens. A TV with a resolution of 1080p is currently considered the Holy Grail, and costs the most. But 1080p pictures usually can’t be distinguished from less expensive 1080i or 720p pictures by average viewers at the typical distances from which most folks watch TV.

Blu-ray vs. HD DVD: Blu-ray and HD DVD are incompatible high-definition disc formats that continue to fight a seemingly endless battle to replace the DVD. The Blu-ray camp is led by Sony and the HD DVD camp is led by Toshiba. The two formats aren’t so different, technically speaking, but their very existence is confusing to consumers. The recent decision made by Time Warner‘s Warner Bros. to use Blu-ray gives Sony’s side a boost, and now Viacom‘s Paramount is rumored to be switching to Blu-ray from HD DVD. Dual-format players from Samsung and LG offer some solace.

Email: mossbergsolution@wsj.com

Today, parents can use sleek, light video cameras that capture and record high-definition footage directly onto tiny memory cards, which hold much more than an old VHS tape. Yet many people hesitate to buy new camcorders, scared off by steep prices and intimidating technology.

This week, I tested a simple video camera that fits into the palm of your hand and lets you record footage almost as easily as you share or save it: the Flip Video Ultra from Pure Digital Technologies Inc. (www.theflip.com). This rectangular-shaped video camera comes in two models that capture 30 or 60 minutes each and cost $150 and $180, respectively. Both models are available starting today from stores like Amazon.com and Best Buy.

The Flip Video Ultra’s front has a camera lens and microphone; the back, a 1.5-inch viewing screen, four directional arrows, delete and play buttons. A USB plug pops out from its side so you can connect it directly to a computer’s USB port without cables.

Special software that opens when the camera attaches to a computer walks users through sharing or saving clips in a few straightforward steps. And if that’s still too complicated, the device can be dropped off at affiliated stores (like CVS) where footage is extracted and turned into a DVD.

This tiny video camera made it a pleasure to record startlingly good footage for a camera of its size both indoors and outside. It’s designed to be held comfortably in front of you, which didn’t make me feel removed from the event I was recording like many other video cameras. Not without flaws, the Flip’s 2x digital zoom isn’t ideal for shooting from afar, and on more than one occasion its software froze up on Windows PCs and Apple Macs. But once I got going, I started shooting videos in a new way, unobtrusively using it and then fitting the Flip into small purses. Saving and emailing footage was a breeze after a few initial hiccups.

Flip Video Ultra from Pure Digital Technologies

This gadget, however, is not only non-HD, its footage isn’t as high resolution as that of a standard camcorder. Its quality is great for email and Web posting, but won’t fill up a big TV or satisfy serious amateurs. This is the Flip’s tradeoff for size, price and simplicity.

The Flip Video Ultra is an improvement on the Flip Video, which Pure Digital introduced in May. Though it costs $30 more, the newer version features higher-quality sound and video (footage is half as compressed as that on the old Flip), a transflective screen with a better resolution and improved video-processing technology. The new Flip also integrates direct uploads to YouTube in its software program.

I took the new Flip along with me on a business trip to California and carried it around Washington, D.C., shooting in different environments: inside a dark auditorium at a press event; outside at dusk overlooking the San Francisco skyline from a rooftop barbeque; in my house at nighttime; and during a visit to Google headquarters with my boss, Walt Mossberg. The Flip worked well in each situation.

This video camera measures roughly four inches high by two inches wide and an inch deep, and the 60-minute version comes in black, white, pink and orange; 30-minute models only come in black and white. Though the Flip Video Ultra doesn’t have a flash, it’s designed to perform well under circumstances with low light because Pure Digital assumes most users will be recording indoors. It captures in 640×480 resolution at 30 frames per second.

I used the 60-minute Flip. In capture mode, an on-screen message tells how many minutes remain on the camera. In playback mode, captured clips are labeled with duration and numerical order, such as “Video 21 of 24.” Hitting the Delete button twice while a clip is on screen erases it.

In a couple instances when I wanted to shoot something farther away, I was a little dismayed by the video camera’s weak zoom. But in most situations I was recording things that were nearby, so this issue wasn’t a big deal. Parents who are heading to dance recitals with this Flip will need seats in the front.

The exciting part of capturing video is sharing it with others, and Pure Digital’s built-in software does a superb job of this. I plugged my Flip into four computers running Microsoft’s Windows XP and Vista and Apple’s Mac OS X operating systems and opened the camera’s software to see thumbnail images of my clips. Each clip can be played or selected for saving or sharing. Only on Windows XP did the software automatically open when I attached the camera; opening it on the other platforms required extra steps.

The Save Videos option asked me to choose whether I wanted to save clips to my computer or if I wanted to save them in a smaller format for emailing to someone else. Saving these videos took a little time, but nothing that was too much of a hassle.

Sharing videos took a little longer. Three choices within the Share Videos menu offered to walk me through the steps for sharing videos via emails with links, in an electronic greeting card with embedded video or online using YouTube or other Web sites.

The first time I plugged the Flip into each computer I went through a few extra set-up steps to get the software started. I encountered a few instances during which sending videos to friends via email took a little longer than I expected. Once, on my iMac, it took more than 30 minutes to send a video that was two minutes and 36 seconds. But this was the exception; most of my videos that were roughly that long or shorter took only about five to 10 minutes to be sent.

Editing footage in Pure Digital’s software works for average users who might do some simple editing, like shorten a video or cut out a certain part. Easy-to-use slide bars adjust start and end times for videos, and edited versions of clips can be saved in addition to the originals. The company says that if clips are converted to standard Windows or Mac formats they should be editable in any standard video- editing software.

Muvee software is also built into Pure Digital’s software to let Windows users choose a bunch of clips, select music and a theme for the movie and watch as an automatically organized montage of clips plays.

Pure Digital plans to continuously issue software updates; the next is coming at the end of the month. But as is, this tiny video camera delivers a remarkably good picture on a device that anyone can use. With this product, Pure Digital Technologies again shows the value of simplicity, this time with the bonus of better technology.

Email mossbergsolution@wsj.com

Such Web-based software has existed for years, but it was clumsy, slow and simplistic — no match for locally installed software. Common techniques, such as dragging items around the screen, were impossible. Seeing the results of an action often required the Web page to reload.

Now, developers are churning out Web-based applications that are so fast, rich and smooth they can hardly be distinguished from standard programs. And because they live online, these Web applications can be constantly updated; can run on both Windows and Mac computers; and can be easily integrated with other Web sites and services.

One of the best examples of these slick new Web-based application is Picnik, a sophisticated, photo-editing application offered free of charge at picnik.com. I have been testing Picnik and I like it a lot. It’s a fast and impressive program for tweaking and improving your photos, then posting them to popular photo Web sites, saving them to your own computer, emailing them, or even printing them.

Picnik, which comes from a small Seattle company called Bitnik, isn’t meant to compete with Adobe Photoshop, or to serve professional photographers or dedicated hobbyists. Instead, it’s for the same casual photographer who would use the limited editing tools in Apple’s iPhoto or Microsoft’s Windows Vista Photo Gallery.

Picnik isn’t a place to store your pictures, or a way to organize them — yet. The company says it will consider adding these features down the road. For now, it is focused on being an editing complement to popular Web services — such as Yahoo’s Flickr, Google’s Picasa Web Albums, and the independent Facebook — that already allow for storing and organizing photos. You could also easily use it as the main editor for photos you store on your hard disk.

The program is currently in beta, or test, phase, though in my tests it worked smoothly and surely. During this beta period, all of its features are offered for free. Later this summer, the company expects to end the beta period and begin charging something like $20 or $25 a year for access to some of the more rarified special effects that Picnik offers, though the core editing and sharing functions, and some of the effects, will remain free.

In my view, Picnik has a beautiful and responsive user interface that worked perfectly on the multiple Windows and Macintosh computers I used to test it. It worked equally well in the latest versions of the three best-known Web browsers: Microsoft’s Windows-only Internet Explorer, Mozilla’s Firefox (on both Windows and Mac) and Apple’s Safari (on both Mac and Windows.)

Picnik uses a simple tabbed interface across the top to navigate among its major functions. Edits and changes are previewed in real time, instantly, without the need for a page refresh or reload. Actions are confirmed with translucent messages that pop up on the screen and fade gracefully.

Any edit or special effect can be undone or redone instantly, all the way back to the original version of the picture, which Picnik retains on its servers during the editing process.

For example, you can zoom in or zoom out on a picture with a slider that works just as it would in a local program — the effect is immediate, with no jerkiness. If you wish to crop a picture, a pane representing the region to be included in the crop is superimposed on the photo. Everything inside the pane is sharp and clear, and everything else is faded a bit. This pane can be dragged, or resized, in real time.

Another example: If you want to tint a picture, the program shows you a color palette with a white dot you can move around the palette to pick your tint. As you do this, or move a slider that controls the intensity of the tint, the changes are instantly previewed in the picture.

None of this is unusual for a standard photo program installed on your computer, but it is impressive to see these effects happen so quickly and interactively in a program functioning over an Internet connection.

Picnik’s makers have struck partnerships with Flickr, Picasa and Facebook, and you can easily fetch pictures from these sites and post new pictures or edited versions of the originals back to the sites. You don’t need to switch to the sites themselves, they appear inside the Picnik Web page.

You can also upload pictures for editing from any other Web site, or from your hard disk, and you can email pictures to friends or to a wide variety of other sites, such as PhotoBucket, SmugMug and Snapfish.

The designers of Picnik have done such an elegant job that I wish the site would allow storage of photos, or organization of photos across your multiple online accounts and your hard disk. If you want to see how good a Web application can be, take Picnik for a spin.

• Email me at mossberg@wsj.com. Find all my columns and videos online free at the new All Things Digital Web site, http://walt.allthingsd.com.