Good Video Camera For Beginners – With the development of mirrorless camera technology, the distinction between stills and video cameras has become increasingly blurred. Today, there are many mirrorless still / video cameras available that can shoot footage comparable to the quality of professional video equipment, but at a fraction of the cost.
In this guide we’ll explain the key technologies and features of today’s hybrid still/video cameras, to help you make the right buying decision. To help you navigate the jargon-heavy world of video, we’ve created a glossary of terms that you’ll find at the end of this article.
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The most common video specification you’ll see for a camera is the output resolution, usually 1080p/Full HD, 4K or even 8K on the latest cameras. The latest TVs can display 1080p/Full HD, and the ability to display 4K video, which doubles the resolution, is becoming more common. Shooting 4K footage offers some flexibility during the editing process, even if your final output is 1080, but the files tend to be larger and require more storage and a more powerful machine to edit.
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This is really bigger with 8K capture: if you output 4K video, it gives you some creative flexibility (in terms of cropping or stabilizing your image), but the storage and processing requirements are greater. Most people will find better quality 4K more useful than 8K footage most of the time.
Four times the resolution of UHD 4K 1080/Full HD. UHD 8K is again four times the resolution.
This is the most common resolution used in video. Full HD (High Definition), also called ‘1080’ is 1920 x 1080 pixels. While 4K can refer to DCI (4096 x 2160 pixels) or the more common UHD (3840 x 2160 pixels), 8K also has DCI and UHD versions, which double the resolution in each dimension to 8192 x 4320 pixels and 7680 x 4320 pixels respectively. each. .
An important consideration beyond the quoted output resolution is how the image is captured: the best cameras take a resolution higher than 4K and downscale to give a high-detail 4K output, but other models must sub-sample (take only a few lines in). their sensors), or lumping pixels together) that produce less-detailed results that are more prone to glitches. Finally, some cameras have to crop and use a smaller area of their sensor, which reduces quality (especially in low light), and means your image is more ‘zoomed’ than your camera’s photo mode, thus making it so. difficult. Get a wide angle view. This is a detail that most manufacturers don’t disclose, so you’ll have to learn the lingo and read reviews to be sure.
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A final factor to consider is shutter rolling: a bright, jello-like distortion of a subject that moves quickly across the camera. This is because the camera takes video one line at a time, scanning the sensor: on a slow camera, there is a greater risk of your subject moving and being in a different position while the camera is taking. bottom of each frame. In general, cameras with small sensors can read quickly, so this problem is less.
Most videos are recorded at approximately 24 frames per second or 30 frames per second (25 fps is the standard for broadcast TV outside of North America). But many cameras offer faster frame rates, which can be used in a number of ways. 60p footage can do a better job of depicting motion, so it can be a great way to capture action. An alternative is to capture at 60p or faster and then slow it down to 24 or 30p, to give a slow motion effect. Most cameras can’t offer fast frame rates at their highest resolution, but 1080 captures at 120 fps or faster aren’t uncommon, which can be great if your project isn’t 4K.
Another detail to check is whether the camera has recording limitations. Some models can only record for 29 minutes and 59 seconds (old restrictions related to import duties), but most are limited because high-resolution video capture produces a lot of heat.
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The processing required to capture video generates heat, and most cameras/video cameras are not very efficient at dissipating this heat, eventually having to be turned off to cool. Pro video cameras have cooling fans, but most still/video hybrids simply try to transfer this heat to the camera body panel, where it can escape to the environment. The best of this design can continue shooting for an extended period of time, while other models allow you to disable their overheating limit (or, at least, make them less harsh). This is rarely a problem if you plan to shoot a lot of short clips to edit together, but it will prevent you from running the camera at something like a school recital, especially if you’re trying to shoot in 4K or higher. Faster frame rates can cause similar headaches in terms of heat and storage.
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Once you’ve found a camera that shoots great images at the resolution you want, a key factor to consider is audio. Most viewers are more forgiving of bad-looking images than bad-looking videos, and that’s easy to see if most of your experience is photographic.
A microphone input socket should: The camera’s internal microphone can be a common object that can get on the hands or clothing of the operator, so you want to be able to connect an external microphone. The next most valuable feature is a headphone socket so you can check the volume level and monitor for background noise: the human brain is great at filtering out the sound of cars passing by or airplanes flying overhead, but you won’t be you. audio Can remove it from the recording, when you look back at the footage.
The biggest difference in modern cameras is how reliably their automatic focus works when shooting video. Unlike still photography, video captures all the camera’s attempts to focus, as well as those moments in focus, so you need a decisive and reliable camera if you want to trust autofocus when recording.
The best players reliably track your chosen subject (especially a human subject), and let you decide whether they should refocus quickly (to keep a moving subject in focus), or slowly and smoothly, when you want a single subject. to other things. Autofocus depends on the design of the camera and the lens you’re using, so a degree of research (and, perhaps, testing) should be done before you decide to rely on autofocus.
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The small AF / MF switch in the middle of the image represents the classic video dilemma: trust the autofocus or control yourself. Most modern cameras make autofocus more reliable.
The alternative to autofocus is, as you might expect, manual focus. This is how many professional videos are still shot. Most modern cameras allow you to use autofocus to set your initial focus position, before you start recording, and then provide a ‘focus peak’ function that highlights the edges of the focal point in your scene. When using a suitable lens (ideally with a linear focus response, where the focus always changes by the same amount when you turn the focus ring) and a little practice, manual focus is quite effective, but many things can be adjusted so that you have to focus too often. Don’t focus.
Focus peaking adds a red highlight to the highest-contrast (sharpest) parts of the image, making it easier to see what you’re doing if you’re manually focusing on a shot.
In addition to peak focus, most cameras allow you to ‘punch-in’ to the video: provide a magnified view of part of the scene to check critical focus. While almost all cameras will shoot before you record, only a few will let you zoom in to double-check your focus while you’re recording, which is a useful option.
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Another video tool to check out when researching video cameras is the option to overlay a zebra pattern on the screen that shows a certain brightness. This is a useful tool for determining exposure, and can be adjusted to check for overexposed areas or to check that you’re exposing skin tones correctly (getting the exposure right is more important in video than in photos, where you can shoot raw. save some latitude for consistency).
One detail that won’t be mentioned on the camera manufacturer’s website is whether exposure and other settings carry over from still to video shooting. Ideal photo settings are often very different from ideal video settings, so we like to separate exposure mode, white balance and focus.
Even with separate (or separable) settings for image and video, it’s not uncommon for you to need to add a dark (neutral density) filter to your lens when switching from still images to video capture, but it can help you avoid having to constantly adjust your settings. again. And more to come
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