Comparison Panasonic HC-X1500 vs Panasonic HC-VXF1

— 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 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).

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.

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.

The highest frame rate provided by the camera when shooting video. The minimum frequency for normal viewing is the classic 24 fps used in cinema. At the same time, most modern video cameras are capable of providing up to 50 – 60 fps, and even higher frequencies can be used for the slow motion effect.

In fact, this indicator is important primarily when shooting dynamic scenes. The higher the frame rate, the smoother the fast motion will look in the frame, the less jerky it will be and the more pleasant the overall impression of the image will be. The reverse side of this is an increase in the size of recorded files (all other things being equal). Therefore, the frame rate can be made adjustable so that the operator can choose the best option for a particular situation.

The data transfer speed provided by the camera when recording video. This parameter is also called bitrate (i.e., the number of bits per unit of time). For any file format used for recording, the general rule is that the higher the bitrate, the better the image quality (especially for formats that use lossy compression). On the other hand, high speed have appropriate requirements for the capabilities of the memory cards used — for more details, see "Memory card support"; and it increases the size of the file accordingly. Therefore, many modern camcorders are able to work with different bitrates; this allows you to choose the best option depending on what is more important for you at the moment — maximum quality or the ability to work with a slow card.

At the same time, we note that in terms of quality, this parameter is important mainly for professional video shooting. If you need a camera for amateur purposes, there is no need to look for the maximum bitrate: after all, such models (and memory cards for them) cost accordingly.

The lowest illumination of the scene being shot, at which the camera is able to provide an image of normal quality. Note that in devices with a night view function (see below), this parameter can be specified in different ways. In some models, minimal illuminance is implied, in which the camera can shoot without backlight and at the same time maintain colour reproduction (as in normal daytime shooting); in others — an "absolute" minimum of light, below which it is impossible to use even the night mode. This point should be clarified according to the official documents of the manufacturer.

Anyway, the lower this indicator, the less light the camera needs to work and the better it handles with shooting at dusk or even at night. Thanks to the use of special technologies, some models are able to work even in complete darkness, with an illumination of 0 lux; this is due to the fact that modern sensors are able to perceive infrared radiation invisible to the eye. However, more often than not, shooting still requires a certain amount of light — at least tenths of a lux. For comparison: an illumination of 0.1 lux approximately corresponds to a lunar night with a “half” phase of the moon, and 1 lux is comparable to a bright full moon in southern latitudes.

The range of shutter speeds in which the camera is capable of operating during the shooting process.

Initially, shutter speed is the time during which light affects the photosensitive material (film) when shooting a single frame. For digital sensors, this is the period of time during which an image is read from the sensor to build a separate frame. When shooting video, this interval cannot be more than 1/n, where n is the frame rate (see above), but it can be less — for example, shooting at a frame rate of 30 fps and shutter speed of each frame 1/60 s. There are no such restrictions for the photo mode.

Long exposures are good because they allow the sensor to take in more light — accordingly, the “picture” is brighter, which is especially important in low light. At the same time, they increase the likelihood of getting a blurry image — due to the rapid movement of objects in the frame, the operator's hand shaking and other random camera movements that even the stabilization system is unable to compensate for. This effect can be useful for artistic motion blur, especially when shooting video, but in photo mode it is most often undesirable. Fast shutter speeds, on the other hand, allow you to get clear shots, but with less light, and in the case of video, even with the effect of sharp, jerky movements.

Accordingly, different exposure time options will be optimal for each situation, and the wider their range, the more opportunities the came...ra has to adjust to specific conditions.

Presets and white balance adjustment modes provided by the camera.

White balance is a characteristic that describes the qualities of the lighting of the scene and the distortion that this lighting introduces into the colours perceived by the camera. Its used because modern digital sensors are unable to independently adjust to different light sources, as the human eye does. In fact, this means that the same object shot under lighting with different colour temperatures (for example, under a “warm” incandescent lamp and a “cold” fluorescent lamp) will look different without adjustment. To avoid this, the white balance setting is applied.

The main options for such a setting used in modern cameras are as follows:

— Auto. In accordance with the name, in this mode, the camera electronics independently evaluates the specifics of the illumination of the scene being shot and makes appropriate corrections to the colour reproduction. This adjustment is the most convenient for the operator, because. does not require any additional actions from him — everything is done by automation. At the same time, no such adjustment system is perfect, and does not always provide 100% white balance for the current situation. Therefore, even in the simplest models like pocket ones (see "Features"), this option is rarely the only one, not to mention professional equipment.

— Presets. The ability to select white balance from several options that correspond to...standard shooting conditions — for example, “sunny day”, “cloudy”, “fluorescent lamp”, “incandescent lamp”, etc. Such a system is quite simple even for inexperienced users and at the same time quite reliable and versatile, although its specific capabilities directly depend on the number of presets.

— Manual. Manual white balance setting assumes that the operator himself “tells” the camera which object to consider pure white — based on this, the electronics calculate the lighting characteristics (unlike automatic mode, when the reference object is also determined without user involvement). The easiest way to do this is to use a regular sheet of paper, but the procedure also works with neutral grey objects. Manual mode allows you to very accurately set the white balance for a particular scene, but it requires some time and appropriate skills — and therefore is used mainly in professional camcorders.

— Temperature control. This function allows you to set a specific value for the colour temperature of the light source (in kelvins) — it is this temperature that will correspond to the white balance when shooting. This setup format is faster and more convenient than manual setup, but is not widely used. This is due to the fact that it is well suited only for studio conditions, where the characteristics of each light source are precisely known — in other cases, manual adjustment is usually more reliable.