But if you’re interested in the more artistic side of filmmaking, where you can use interchangeable lenses and get a narrow depth of field, and you are willing to work around the focusing problems and record video in shorter chunks, a DSLR might be a better bet.
I do not mean to keep jumping from a model to another but just want to get something and stay with it because I ill always capture in the same location and trying to get best option as possible, especially that I am from EGYPT and a friend in USA will bring it with him so I can not return it if it is not what I want so I am googling to the best of my knowledge.
A ciné camera or movie camera takes a rapid sequence of photographs on image sensor or strips of film. In contrast to a still camera, which captures a single snapshot at a time, the ciné camera takes a series of images, each called a “frame” through the use of an intermittent mechanism.
All of these video cameras fit well and are comfortable in the hand, and your fingers fall naturally on to the control buttons and adjustable hand straps for different sized hands. The Panasonic adds a number of extra options, with a dial just behind the screen that you can use to access its manual settings, which some other camcorders lack.This definitely makes it easier to use for more serious shooters who want to get in and control the video capture process themselves.
A digital camera or digicam is a camera that captures photographs in digital memory. Most cameras produced today are digital, and while there are still compact cameras on the market, the use of dedicated digital cameras is dwindling, as digital cameras are now incorporated into many devices ranging from mobile devices to vehicles. However, high-end, high-definition dedicated cameras are still commonly used by professionals.
If you can track one down for cheaper, last year’s Panasonic HC-V750K is essentially identical to the V770K. Excluding some rather minor features you’re probably unlikely to rely on (a new HDR video mode, a switch from mini HDMI to micro HDMI), they’re pretty much the same camera. So if you can find last year’s model for a notably lower price somewhere, then it’s probably worth picking up.
In all of the tests, it was the Panasonic that did the best across the board. It produced the sharpest footage in bright light—capturing small details such as grass and tree bark that add realism to a video; it had the best stabilization; and it generated the least noise in low light. It also did the best job capturing motion, producing smooth, clean video that still contained a good level of detail.
Sensor: APS-C CMOS | Megapixels: 24.2MP | Autofocus: 45-point AF, 45 cross-type | Screen type: 3-inch articulating touchscreen, 1,040,000 dots | Continuous shooting speed: 6fps | Movies: 1080p | User level: Beginner/enthusiast
Why this randomly gets turned off isn’t clear, but its’ likely that users either disabled the camera at some point or perhaps were hiding other apps and included the Camera app erroneously. Some users report this happened without any user intervention, which is a curious observation.
The K-1 offers a rugged build and a full-frame sensor at a relatively affordable price. It’s not cheap, but it compares favourably with the likes of the Nikon D810, Canon EOS 5D Mark III and Sony Alpha 7R II. Pentax’s Pixel Shift Technology is clever, and it’s great that the company has managed to produce a mode that can be used when the camera is handheld, although the impact is subtle. Less of an all-rounder than the 5D Mk III, the K-1 makes an excellent camera for landscape, still life and portrait photography, or any genre that doesn’t require fast autofocus and which benefits from a high pixel count for detail resolution.
To the best of my knowledge, if you’re going to switch to a video camera to better follow the action, you’re going to need someone manning the thing and tracking the puck as it moves—which means you’re less able to watch the game unfold as a spectator. There might be a way if you record the entire game from a wide-angle to just zoom/crop down on the puck and follow it that way, but that’ll lead to a certain amount of quality degradation since you’re essentially blowing up a low res section of the video.
Though some digital cameras are offering 720p video recording, very few compact can match the higher quality 1080p video recorded by even mid-level camcorders. Even in standard definition, the gulf in quality can be significant. Standard definition camcorders will capture video at a higher bit rate than a digital still camera.
These slimline shooters pack zoom lenses, which set them apart from smartphones, but for the most part use dated CCD sensor technology, which limits image quality when shooting at high ISO settings and cuts the maximum video quality to 720p. But if you’re looking for a small camera to carry on vacation or nature walks, you still have a few inexpensive alternatives to a smartphone.
Jump up ^ JEIDA/JEITA/CIPA (2010). “Standard of the Camera & Imaging Products Association, CIPA DC-009-Translation-2010, Design rule for Camera File system: DCF Version 2.0 (Edition 2010)” (PDF). Archived from the original (PDF) on 2013-09-30. Retrieved 2011-04-13.
Since I was one of the whiners about how outdated the old review was, I’m happy to get to be the first to say thank-you for this review. I’ve been struggling to decide what to do to video my son’s soccer and football games (trying to get offers from college now seems to entail a lot of sending highlight videos to target schools). That means low light, long zooms, but NOT long duration. Was looking at your super zoom point and shoot suggestion as well as buying a used, older prosumer 3CCD, 12X zoom MiniDV (which should have great focus and light sensitivity, but significantly lower resolution as HD 3CCDs are still pretty spendy). The low price of the Canon seems to make it a no-brainer.
DSLRs have another big advantage over point-and-shoots—speed. The time that it takes between hitting the shutter button and the camera capturing a picture, referred to as shutter lag, and the wait time between taking photos—recycle time—are often concerns with compact cameras. DSLRs generally focus very quickly and deliver shutter lag that is nearly immeasurable.
Hrm…Sony’s Handycam is my reference model for this class of camcorder products, and while I thought it was definitely quite good for what it does, I am glad there are much better alternatives out there – because frankly, the touchscreen interface on the Handycam sucked, and the amount of options you got was laughable. Night shots definitely weren’t great, and maybe the image stabilization algorithms have come a ways since like 2-3 years ago across the board, but that wasn’t great either.
Unlike analog formats, digital formats do not experience generation loss during dubbing; however, they are more prone to complete loss. Although digital information can theoretically be stored indefinitely without deterioration, some digital formats (like MiniDV) place tracks only about 10 micrometers apart (compared with 19–58 μm for VHS). A digital recording is more vulnerable to wrinkles or stretches in the tape which could erase data, but tracking and error-correction code on the tape compensates for most defects. On analog media, similar damage registers as “noise” in the video, leaving a deteriorated (but watchable) video. DVDs may develop DVD rot, losing large chunks of data. An analog recording may be “usable” after its storage media deteriorates severely, but slight media degradation in digital recordings may trigger an “all or nothing” failure; the digital recording will be unplayable without extensive restoration.
The Canon 80D would be sufficient, certainly. It sounds like you are trying to fit a lot into the frame, so a wide angle lens is needed. What I would think about next is lighting. Unless you have really good natural light in your office, I’d consider this: https://www.borrowlenses.com/product/FotodioX-C-318RLS-Flapjack-BiColor-LED-Ring-Light-Kit
Rode VideoMic Pro+ Shotgun Microphone: This mic is particularly well suited for audio capture for DSLR and mirrorless camera video projects thanks to a 20bd pre-amplifier that boosts the mic signal enough for these cameras to detect, preventing unwanted automatic gain inputs which has caused noise to be audible with prior microphones.
But wait! “Megapixels” are a misleading marketing ploy: what really matters is the size and quality of the image sensors themselves. Generally, the bigger the sensor, the better the pictures. Comparing the raw technical data, the Canon Ixus claims a 1/2.5″ CCD while the LG has a 1/3.06″ CMOS (a newer, somewhat different type of sensor chip). What do those numbers actually mean? Sensor measurements are based on needlessly confusing math that I’m not going to explain here, and you’ll have take it on trust that both of these cameras have tiny sensors, about half the size of a pinkie nail (measuring less than 5mm in each direction), though the Canon sensor is significantly bigger. The Digital Ixus, though eight years older than the LG smartphone, and with apparently half as many “megapixels,” has a significantly bigger sensor chip and one that’s likely to outperform the LG, especially in lower light conditions.
If you want a camera that’s easy to use, tough enough to be tossed in your purse, backpack, or glove box, and that takes good pictures, too, then the Nikon CoolPix A900 Digital Camera is your go-to choice. I’ve owned three variations of this camera and each was my go-to for the casual photography that comes with nights out at bars or concerts, day hikes, trips to the zoo or beach, and so on. If I hadn’t dropped my first CoolPix camera in a stream in L.A.’s Griffith Park and dropped the second on Constitution Avenue in downtown D.C., I would likely still be using the first one I ever bought. It’s a testament to the quality of these cameras that I keep coming back to them, and a testament to my own bad luck when it comes to my accidental destruction of cameras. The compact, rectangular Nikon CoolPix A900 slips into a small bag or even into your pocket, yet the lens extends far enough out for an impressive 35x optical zoom. Paired with a 20-megapixel sensor, that zoom capability allows for great shots snapped from near or far.
There are also models out there with even larger image sensors and shorter zooms or no zoom at all. You can get a small camera with an SLR-sized APS-C image sensor and a fixed focal length lens, and there are even a couple of options ut there with larger full-frame sensors.
Older digital camcorders record video onto tape digitally, microdrives, hard drives, and small DVD-RAM or DVD-Rs. Newer machines since 2006 record video onto flash memory devices and internal solid-state drives in MPEG-1, MPEG-2 or MPEG-4 format. Because these codecs use inter-frame compression, frame-specific editing requires frame regeneration, additional processing and may lose picture information. Codecs storing each frame individually, easing frame-specific scene editing, are common in professional use.
Type: Mirrorless | Sensor size: Micro Four Thirds | Resolution: 16.1MP | Lens: Micro Four Thirds | Screen type: 3.0-inch tilting touchscreen, 1,370,000 dots | Viewfinder: EVF | Maximum continuous shooting rate: 8.6fps | Movies: 4K | User level: Beginner/enthusiast
Sony released the first consumer camcorder in 1983, the Betamovie BMC-100P. It used a Betamax cassette and rested on the operator’s shoulder, due to a design not permitting a single-handed grip. That year, JVC released the first VHS-C camcorder. Kodak announced a new camcorder format in 1984, the 8 mm video format. Sony introduced its compact 8 mm Video8 format in 1985. That year, Panasonic, RCA and Hitachi began producing camcorders using a full-size VHS cassette with a three-hour capacity. These shoulder-mount camcorders were used by videophiles, industrial videographers and college TV studios. Full-size Super-VHS (S-VHS) camcorders were released in 1987, providing an inexpensive way to collect news segments or other videographies. Sony upgraded Video8, releasing the Hi8 in competition with S-VHS.
A DSLT uses a fixed translucent mirror instead of a moving reflex mirror as in DSLR. A translucent mirror or transmissive mirror or semi-transparent mirror is a mirror which reflects the light to two things at the same time. It reflects it along the path to a pentaprism/pentamirror which then goes to an optical view finder (OVF) as is done with a reflex mirror in DSLR cameras. The translucent mirror also sends light along a second path to the sensor. The total amount of light is not changed, just some of the light travels one path and some of it travels the other. The consequences are that DSLT cameras should shoot a half stop differently from DSL. One advantage of using a DSLT camera is the blind moments a DSLR user experiences while the reflecting mirror is moved to send the light to the sensor instead of the viewfinder do not exist for DSLT cameras. Because there is no time at which light is not traveling along both paths, DSLT cameras get the benefit of continuous auto-focus tracking. This is especially beneficial for burst mode shooting in low-light conditions and also for tracking when taking video.
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DSLR cameras with high-definition video were also introduced early in the 21st century. Although they still have the handling and usability deficiencies of other multipurpose devices, HDSLR video offers the shallow depth-of-field and interchangeable lenses lacking in consumer camcorders. Professional video cameras with these capabilities are more expensive than the most expensive video-capable DSLR. In video applications where the DSLR’s operational deficiencies can be mitigated, DSLRs such as the Canon 5D Mark II provide depth-of-field and optical-perspective control.
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As an update – I’ve been very happy with the Cannon R500, added a 3+ hour aftermarket battery for $30 or so. The biggest drawback for shooting sports is that is doesn’t support an external control. This makes is pretty difficult to smoothly zoom while shooting on a tripod.
The collodion wet plate process that gradually replaced the daguerreotype during the 1850s required photographers to coat and sensitize thin glass or iron plates shortly before use and expose them in the camera while still wet. Early wet plate cameras were very simple and little different from Daguerreotype cameras, but more sophisticated designs eventually appeared. The Dubroni of 1864 allowed the sensitizing and developing of the plates to be carried out inside the camera itself rather than in a separate darkroom. Other cameras were fitted with multiple lenses for photographing several small portraits on a single larger plate, useful when making cartes de visite. It was during the wet plate era that the use of bellows for focusing became widespread, making the bulkier and less easily adjusted nested box design obsolete.