Comparison Sony PXW-Z190 vs Sony FDR-AX33

— Amateur. As the name implies, these cameras are designed for relatively simple tasks and normal everyday use — filming family chronicles, solemn events, small documentaries, video presentations, etc. Note that amateur devices can have a fairly wide range of settings and provide high image quality. However, even the most advanced options cannot replace professional equipment; and the general principle of their design is to simplify and facilitate operations. One of the characteristic features of this type of camera is its compact size (although larger than that of the pocket cameras described below), which make it easy to hold the device in one hand. In addition, models with a viewfinder are very rare among them (see "Features"), and models with an interchangeable lens (see below) are not found at all.

— Professional. Cameras designed for professional shooting are outwardly distinguished by their large size — they are noticeably larger than amateur ones, and are often designed to be carried on the shoulder, and not held in hands (although there are compact models comparable to amateur ones). This is primarily due to the abundance of features: models of this type have many additional settings, each of them can be controlled manually, as well as an extended set of interfaces, more capacious batteries, mounts for external microphones, etc. It is also worth noting the p...resence of the devices with interchangeable lenses (see below) in this class . Professional cameras are excellent for TV journalism and filming, but they are poorly suited for personal use. And the point here is not only in large size and high cost: handling such a device requires certain skills, and an abundance of settings can create many problems for inexperienced users.

— 3D camcorder. This category includes all models that have the 3D feature (see below). The specific appearance and functionality of such cameras may vary: some are closer to the amateur models described above, others are closer to professional ones. The same applies to the implementation of 3D: some models are initially equipped with a stereo lens, in others this feature is performed with an adapter mounted on traditional "two-dimensional" optics.

— Pocket. This type can be described as a specific kind of amateur camera, designed for maximum compactness (including, in fact, the possibility of carrying in your pocket). Some pocket models are similar in appearance to the "shrunken to the limit" versions of full-size cameras, others resemble mobile phones with a specific placement of the lens — on the back cover. Anyway, such cameras are extremely convenient to carry and they allow you to always have a recording device at hand, the capabilities of which are significantly superior to those of phones. On the other hand, for the sake of portability, you usually have to sacrifice many specifications — the capabilities of optics, the size of the sensor, etc. — because of this the capabilities of pocket cameras are significantly lower than even amateur ones, not to mention professional ones.

The number of individual light sensors installed in the camera. In our catalog, this parameter is indicated only for models that have more than one sensor.

There are two main varieties of multi-sensor cameras. The first is professional models that carry three sensors on board. Each of them works with only one colour, which allows you to get an image with good clarity and high colour accuracy. Of course, the actual quality of the "picture" largely depends on a number of other parameters, but initially a three-sensor scheme provides better image quality than a single-sensor one.

The second option is 3D camcorders (see "Features"), in which two sensors can be installed — each for its own video channel. See "3D" for more details.

The physical size of the camcorder sensor. It is usually measured diagonally and is indicated in fractions of an inch — for example, 1/3 "or 1/2.33" (the second option is larger, respectively). In addition, sensors of a “photographic” format can be installed in video cameras, in which case the corresponding designation is used — for example, APS-C.

The larger the sensor, the higher the image quality it can provide (all else being equal). This is due to the fact that on larger sensors, each individual pixel is larger, more light falls on it, which increases sensitivity and reduces noise; this is especially important for shooting in low light. For amateur purposes, small sensors are quite enough, but in professional cameras (see "Features") this parameter is at least 1/3". The exception, however, are models with several sensors (see "Number of sensors") in them each individual sensor is quite small, and high quality is ensured by image processing features.

The total number of individual photosensitive points (pixels) provided in the design of the sensor (1 megapixel corresponds to a million pixels). This parameter takes into account both those points on which the light falls, and service points that are not directly involved in the construction of the image. Therefore, in modern video cameras, it is more of a reference than practically significant; the actual image quality depends primarily on the number of effective megapixels (see below).

The number of light sensitive pixels directly involved in the construction of the image. These are the dots on which the “image” projected by the lens onto the matrix falls. In addition to them, there are also service pixels that are not illuminated during camera operation — they provide auxiliary information necessary for processing the resulting image. Also, when calculating effective megapixels, the reserve area required for electronic stabilization is usually not taken into account (see "Image Stabilization").

The value of the number of effective pixels for different modes of operation of the camcorder will also be different. For example, when recording video, many cameras use multiple pixels to build a single dot on the image; this is due to the fact that the sensor resolutions significantly exceed those required for video shooting (for example, the Full HD standard technically corresponds to only 2.07 megapixels). As a result, the image quality depends more on the sensor size (see above) than on the resolution. And among sensors of the same size, high resolution allows user to get better colour rendering and higher clarity (however, not always — a lot also depends on the peculiarities of image processing). If we are talking about photography, then more megapixels means a higher resolution of the resulting image, but the quality of such a picture can be relatively low due to the increased noise level and low sensitivity of each individual pixel.

Focal length of a standard video camera lens in terms of a 35 mm full-frame sensor. This parameter is also called the "equivalent focal length" — EFL.

The focal length itself is the distance from the optical centre of the lens (when focus to infinity) to the sensor, at which the sharpest image is obtained on the sensor. It is one of the key characteristics of any lens, because. determines the viewing angles, the degree of approximation and, accordingly, the specifics of the use of optics. At the same time, it is impossible to compare different options in terms of the actual focal length: the laws of physics are such that with different sizes of sensors, the same focal length will give different viewing angles. Therefore, EFL was adopted as a universal characteristic and criterion for comparison. It can be described as the focal length that a 35mm lens with the same viewing angles would have.

The larger the focal length, the narrower the viewing angle will be and the higher the degree of approximation of the visible scene. Optics with EFL up to 18 mm belongs to the class of ultra wide-angle ("fisheye") and is used primarily to create artistic effects. Distances up to 40 mm correspond to "wide angles", 50 mm gives the same degree of approximation as that of the naked eye, the range of 70-100 mm is considered optimal for portrait shooting, and large values allow the use of optics already as a telephoto lens. Knowing these provisions, one can approximately...evaluate the capabilities of the lens and its suitability for certain tasks; there are more detailed recommendations, they are described in special sources.

Also note that modern video cameras are usually equipped with lenses with a variable focal length (zoom), which allows you to change the degree of approximation and viewing angle; see "Optical Zoom" for details.

Aperture of a standard video camera lens.

This parameter describes how much the lens attenuates the light output. Usually it is written as a ratio between the diameter of the active hole and the focal length of the lens, while the first value is taken as one and denoted as f — for example, f/1.8 or f/5.6. Moreover, the smaller the number in such a record, the higher the aperture ratio: for example, in our example, the first option is “lighter” than the second. Also note that most lenses with a variable focal length (see above) also have a variable aperture — in such cases it is indicated by the range from maximum to minimum (from a smaller number to a larger one).

A high aperture ratio is important primarily when shooting in low light conditions: it allows you to capture an image without “lifting up” the sensor sensitivity and without creating additional artifacts in the form of noise, and in the photo shooting mode, you can also work with shorter shutter speeds (which is useful for dynamic scenes). In addition, the higher the aperture, the lower the depth of field and the easier it is to get a blurry background. Note that for simple everyday tasks this parameter does not play a decisive role, but in professional shooting it can be very significant.

The degree (multiplicity) of image magnification provided by the operation of the lens system in the lens itself, without additional digital processing (see "Digital zoom"). Optical zoom involves changing the focal length (see above): the longer the focal length, the smaller the viewing angle and the larger the objects visible in the frame. And the zoom multiplicity corresponds to the ratio between the maximum and minimum value of this distance. For example, in a 24 – 120 mm system, this parameter will be 120/24 = 5x. However, it is not always appropriate to choose a high zoom camcorder.

The advantage of optical zoom over digital zoom is, first of all, high image quality: regardless of the degree of zoom, the camera uses the entire effective area of the sensor. At the same time, zoom indicators can reach several tens of times, which is more than enough for camcorders of any class. Therefore, this format is the main one today; it is not used only in some models of pocket cameras (see "Features"), where it is not possible to install a large lens with a zoom lens.

For modern models, the value of this parameter at the level of 10 – 12x is considered standard.

The degree (multiplicity) of zoom provided by the camcorders due to software methods, without changing the focal length of the optics (see "Optical zoom"). The key principle of such an zoom is that part of the image from the sensor is "stretched" to the entire frame. This somewhat worsens the “picture” — after all, not all effective pixels take part in its formation; and the higher the zoom, the worse the quality becomes. On the other hand, this method does not depend on the specifications of the lens and works even with the simplest lenses that do not have zoom lenses, and it is much easier to achieve high magnification than with the optical method.

In modern camcorders, there are two options for using digital zoom. So, among pocket devices (see "Features"), it may be the only available option — not all of them are equipped with zoom lenses. And in full-size models, digital zoom usually complements optical zoom and turns on after the lens reaches the limit of its capabilities.

Note that when shooting 3D (see above), this feature may not be available, and in professional models it is often not used at all.