Video cameras are used primarily in two modes. The first, characteristic of much early broadcasting, is live television, where the camera feeds real time images directly to a screen for immediate observation. A few cameras still serve live television production, but most live connections are for security, military/tactical, and industrial operations where surreptitious or remote viewing is required. In the second mode the images are recorded to a storage device for archiving or further processing; for many years, videotape was the primary format used for this purpose, but was gradually supplanted by optical disc, hard disk, and then flash memory. Recorded video is used in television production, and more often surveillance and monitoring tasks in which unattended recording of a situation is required for later analysis.
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What’s bothering me a lot is that my iPhone 6 seems to record at 1080p, and these movies play fine on my Popcorn Hour C200. Seems a shame to have a brand new camera, and then have it record at a lower setting (720p) than a phone to make things work… Or am I comparing apples to oranges? Is the 720p quality of this camera comparable to 1080p of the iPhone 6. I really hope you can ease my mind here.
By definition, a DSLR features an optical viewfinder that shows you the exact image the camera’s lens is capturing—but not all of these viewfinders are created equal. A mirror directs light from the lens to the viewfinder, which is one of two types. The first, the pentamirror, is generally found on entry-level cameras. This type of viewfinder uses three mirrors to redirect the image to your eye, flipping it so that it appears correct, as opposed to the upside down and backwards image that the lens is actually capturing.
so after YEARS, panasonic have FINALLY made a camcorder that beats my super old canon HF M506. Canon fitted that particular range with a HD CMOS PRO sensor, the same thing in their high end models, and as a result it gave Brilliant picture quality in low light. A few years later i tried Panasonics equivalent on price – the 770’s predecessor, and returned it back as it was worse than the canon. Canon discontinued that range and all their Legria type products since have been fitted with a crap sensor, which is why i had no reason to replace my M506. I just tried the HC V770 today, and 3 major things stand out – better picture quality in low light than my canon, the smartphone remote functionality works perfectly with my HTC One M8 (latest android version), and its lens is much wider angle than my canon (which i use with their optional wide angle attachment….clearly not wide enough). The 1 thing that sucks – Price of batteries. The canon has a bunch of alternative ‘cheapo’ batteries that work perfectly and last – i can’t seem to find ANY for the panasonic, so now i’m going to have to spend another £100 on spare batteries alone. Oh well.
If you want to get super technical, you can even dive into this stuff, but my colleague Chris Heinonen, which is about what distance you have to sit from what size screen to notice a difference in 4k vs 1080 vs 720
If you want a simpler point-and-shoot video experience in a smaller package, the $300 Canon Vixia HF R600 is our runner-up pick. Although the video and audio quality isn’t quite as good as the Panasonic, it’s still light years ahead of a cell phone, and it comes in a compact, easy to use package that will slip into a coat pocket or bag when you aren’t using it. It also captures better quality sound and video than other video cameras.
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The front-facing microphones of the Canon capture decent sound, but there is little stereo separation to produce a more immersive feel. These things aside, the Vixia HF R500 produces clean, attractive video that looks and sounds miles better than what you would get from a smartphone.
Panasonic launched DVCPRO HD in 2000, expanding the DV codec to support high definition (HD). The format was intended for professional camcorders, and used full-size DVCPRO cassettes. In 2003 Sony, JVC, Canon and Sharp introduced HDV as the first affordable HD video format, due to its use of inexpensive MiniDV cassettes.
Our final camera is a ‘bridge’ camera, a type of camera that we don’t normally like very much because the ultra-zoom design forces the makers to use titchy 1/2.3-inch sensors the same size as those in point-and-shoot cameras. You get the look and feel of a DSLR, but you certainly don’t get the image quality. But the Panasonic Lumix FZ2000 (known as the FZ2500 in the US) is different. It sacrifices a huge zoom range in favour of a much larger 1.0-inch sensor – a compromise most serious photographers will applaud. While the zoom tops out at 480mm equivalent, which is relatively short for a bridge camera, that’s still plenty for all but the most extreme everyday use. We’d certainly sacrifice a little for of zoom range for better and faster optics. We love the FZ2000 because it delivers both image quality and zoom range, while also offering full manual and semi-manual controls, the ability to shoot raw files and 4K video.
Thanks again, the 30 min. is the problem with a compact camera and I can’t take pics while filming. The only compact camera that does that is the Olympus MR25. Or, do you know about any compact camera that can film and shoot pics in high resolution with flash? (sorry for my bad English)
Multi-shot exposes the sensor to the image in a sequence of three or more openings of the lens aperture. There are several methods of application of the multi-shot technique. The most common originally was to use a single image sensor with three filters passed in front of the sensor in sequence to obtain the additive color information. Another multiple shot method is called Microscanning. This method uses a single sensor chip with a Bayer filter and physically moved the sensor on the focus plane of the lens to construct a higher resolution image than the native resolution of the chip. A third version combined the two methods without a Bayer filter on the chip.
Not sure I know what you mean by “mains power”; I know the V750K can record tons of video with a 64gb card, but I want to know if I can connect to AC power so it will be continuous, with no pause for changing batteries.
The large-format camera, taking sheet film, is a direct successor of the early plate cameras and remained in use for high quality photography and for technical, architectural and industrial photography. There are three common types, the view camera with its monorail and field camera variants, and the press camera. They have an extensible bellows with the lens and shutter mounted on a lens plate at the front. Backs taking rollfilm, and later digital backs are available in addition to the standard dark slide back. These cameras have a wide range of movements allowing very close control of focus and perspective. Composition and focusing is done on view cameras by viewing a ground-glass screen which is replaced by the film to make the exposure; they are suitable for static subjects only, and are slow to use.
excellent article, thank you! — as i was researching what modem to buy to replace the TW supplied arris DG860A modem/router & learned that most modems are not also routers—–however, i already have an apple extreme A1354 4th gen — & am going to get the sb1461 via amazon —- DESPITE TW’s local (Paris KY) warning that they won’t support any issues i have in setting up a 3rd party modem…. AM I LIKELY TO HAVE AN ISSUE?
The Panasonic 770 camera encodes video using the MPEG-4 AVC/H.264 codec, and unfortunately, this codec is not suitable for editing in most non linear editors including Sony Vegas, Adobe Premiere and Apple . This problem with the Panasonic codec is found throughout the Panasonic camcorder product line.
The earliest cameras produced in significant numbers used sensitised glass plates were plate cameras. Light entered a lens mounted on a lens board which was separated from the plate by an extendible bellows.There were simple box cameras for glass plates but also single-lens reflex cameras with interchangeable lenses and even for color photography (Autochrome Lumière). Many of these cameras had controls to raise or lower the lens and to tilt it forwards or backwards to control perspective.
No on-camcorder microphone can do miracles, though, and if you want to upgrade, the Panasonic is the only one of the cameras we tested that offers both a microphone input and a place to put it—the Canon only had the former, and the Sony neither.
Short answer: you might. Two issues that might affect your results are the shutter speed of a video camera is generally in the 1/30 range — as you know too slow for birds in flight. The other is “scan lines” as video writes images on line at a time — interlacing. This can be combated somewhat by shooting progressive, I have found even that was difficult to generate decent stills. (Source: I was a newspaper photographer with the task of getting decent stills from the HD video we shot. Never did get them.)
It’s hard for me to say for sure, but I think either our main pick, or the cheaper Canon, should do the job. What’s the current camera you’re using? That might give me some indication of where the problems are.
Point and shoots are tiny and generally (with some exceptions) lack a lot of the features of a DSLR. But they have lots of upsides, especially for vloggers who like to take their camera everywhere. A good point and shoot can provide excellent high-resolution images, sometimes offers the manual control of a DSLR, and fits right in your pocket.
Most consumer DSLRs use image sensors that, while much larger than those found in point-and-shoot cameras, are somewhat smaller than a 35mm film frame. This can be a bit confusing when talking about a camera’s field of view, as focal lengths for compacts are often expressed in terms of 35mm equivalency. The standard APS-C sensor features a “crop factor” of 1.5x. This means that the 18-55mm kit lens that is bundled with most DSLRs covers a 35mm field of view equivalent to 27-82.5mm. If you’re upgrading from a point-and-shoot that has a 3x zoom lens that starts at about 28mm, the DSLR kit lens will deliver approximately the same field of view.
The size and complexity of ciné cameras varies greatly depending on the uses required of the camera. Some professional equipment is very large and too heavy to be hand held whilst some amateur cameras were designed to be very small and light for single-handed operation.
Sensor: Full-frame CMOS | Megapixels: 36.3MP | Autofocus: 51-point AF, 15 cross-type | Screen type: 3.2-inch, 1,229,000 dots | Maximum continuous shooting speed: 5fps | Movies: 1080p | User level: Expert
Continuous shooting is measured in frames per second. At minimum, you should look for a camera that can shoot three frames per second, although sports and nature shooters will want to look for a camera that can shoot faster than five frames per second.
Released in 2014, the D810 is Nikon’s top of the line full frame camera and it is a sound option for beginners who are wanting something powerful and looking to learn. This camera directly competes with Canon’s exceptional 5D Mark III — and in some ways it wins. The autofocus on the D810 works great, even in the dark, and it handles high ISOs exceptionally well. It is highly capable at shooting portraits, sports, landscapes, and just about anything you throw its way.
Really sorry to hear you had such a bad time with the Panasonic. Out of curiosity, when you say “white balance issues” what do you mean? Typically, that term means that the camera is guessing what the light source is in a scene incorrectly, and so the whole video comes out with a weird orange or blue color cast. But you also mentioned that the white was blown out, which to me sounds more like a metering problem—where white areas of frame are overexposed. Still an issue, but a very different root cause!