- The Best Camera For Video
- 1. Fujifilm X-T3 Best Camera for Video
- 2. Panasonic Lumix GH5S Camera for Video
- 3. Sony A7 III Camera for Video
- 4. Nikon D850 Camera for Video
- 5. Panasonic Lumix G85 Camera for Video
- 6. Sony Alpha a6500 Camera for Video
- 7. Panasonic Lumix G9 Camera for Video
- 8. Black Magic Pocket Cinema Camera for Video
- 9. Panasonic Lumix DMC-GH2 Camera for Video
- 10. Panasonic Lumix S1 Camera for Video
The best cameras for video listed below have been selected by FindTheDecision because of their exceptional video quality, useful functions for filmmaking and user confidence.
It is not necessary to have a large video camera to shoot a video clip, low-budget film or video for vlog. Now any camera is capable of shooting video.
But which one does it better?
To understand this and find the best camera for video, our team spent 58+ hours of viewing.
The Best Camera For Video
Therefore, it’s hard to choose only the best camera for video from the market. Everyone has different reasons for buying a camera for video recording. To help make your choice easier, we have organized the devices by value for money. Here are the FindTheDecision’s top 2 best cameras for video 2020:
1. Fujifilm X-T3 Best Camera for Video
Want to get the best camera for filmmaking on a budget? Look no further than Fujifilm X-T3.
With the release of the new Fujifilm X-T3, you have the opportunity to understand how camera settings affect the image. Also, exposure control by zebra was finally added to the camera, which allowed us to shoot more confidently.
The sensor size of the X-T3 is 23.5 × 15.6 mm (APS-C), which is closer to the standard cinema format Super 35. It is worth noting that the use of full-format Fullframe cameras for video shooting is not always justified.
Small DOF is not used often in open apertures, the margin of the depth of field is more likely to be relevant, especially for sequential shooting. The noise level and dynamic range of the camera are not directly dependent on the size of the sensor. Therefore, the lack of a Fujifilm X-T3 Fullframe sensor is not a critical drawback.
The camera records images in DCI 4K (4096 × 2160), UltraHD 4K (3840 × 2160), DCI 2K (2048 × 1080) and Full HD (1920 × 1080) resolutions. When shooting, the full resolution of the sensor is used in the Open Gate mode (6240 × 4160) with image scaling to the selected resolution.
With high-speed shooting, crop occurs to native resolution. The best recording quality is achieved when using a ten-bit HEVC / H.265 codec in maximum resolution with All Intra frame-by-frame compression and a stream of 400 Mbps. These are the camera settings I used when testing.
The main difficulty in getting acquainted with this best camera for video arises when trying to figure out the image settings menu. Fujifilm traditionally uses the names of its photo and film films to select the image style and gamma characteristics.
The camera manual describes these settings as follows:
- Provia / Standard. Standard color rendering. Suitable for a variety of objects from portraits to landscapes.
- Velvia / Bright. A high-contrast palette of saturated colors suitable for nature photography.
- Astia / Weak. Enhances the range of tones for the skin tones of portraits, while maintaining the brightness of the blue color of the day sky. Recommended for outdoor portraits.
- Classic chrome. Weak color and enhanced shadow contrast for a calm look.
- Pro Neg. Std. Palette of contrasting tones. The range of shades for skin tones is increasing, which is great for studio shooting portraits.
- Pro Neg. Hi. Gives a little more contrast than Pro Neg. Std. Recommended for outdoor portraits.
- Eterna / Cinema. Shoot videos using a palette that has muted colors and deep shadows.
In addition to the above, there are presets for black and white shooting with the ability to simulate color filters, as well as the Sepia mode. The new firmware adds Hybrid Log-Gamma, which supports 4K video recording in HDR format by the international standard ITU-R BT.2100.
The camera is a delicate instrument for experienced hands and professional use. It does not tolerate accidents like vibration / shaking due to the lack of stabilization. But this can not be considered a drawback, the camera is simply not designed for handheld shooting while cycling.
Any professional will dismiss such a trifle because completely different features are more important for him: film modeling, shooting with 10-bit color depth and meticulous settings to reveal the most subtle nuances.
2. Panasonic Lumix GH5S Camera for Video
Want to shoot the highest resolution video? You need the best 4k video camera and here it is.
Contrary to all the trends, pushing manufacturers to new records in the field of matrix resolution, the Micro Four Thirds DSLM camera is content with only about 10 megapixels. Add to this that the Panasonic Lumix GH5s is not equipped with an image stabilizer.
First of all, photographers can ask a question: and what should I do with this ?. Not much. That’s because the Panasonic Lumix GH5s is primarily aimed at video enthusiasts, this best video camera has excellently proven itself.
At the heart of the Lumix GH5s is a 10.2-megapixel Four-Thirds matrix. Thus, here we have only half the resolution of the sister model, Lumix GH5. Connoisseurs of technology are already beginning to foresee the following benefits from this fact: less noisy and at the same time more detailed images.
The manufacturer has made other improvements in the field of signal processing: data containing image information passes through two different loops. Depending on the situation, the camera independently chooses the “Low-ISO” – or “Low-Noise” -path for them.
The manufacturer promises above all an improved dynamic range. To achieve this, Panasonic uses 14-bit color depth in RAW-format files instead of the usual 12-bit.
For photos, this sounds pretty promising. If it were not for one small drawback of the relatively modest image size: with a resolution of 3680×2760 pixels, that is, effective 10.2 megapixels, it has enough potential to work with at least DIN-A4 format.
This best camera for video impresses with Cinema 4K resolution at speeds up to 60 frames per second. If the operator is limited to 30 frames per second, it will be possible to read pixels by 4: 4: 2 color subsampling. This means that in contrast to the more “low-level” 4: 2: 0 variant, twice as much information about the image can be recorded here.
10-bit color depth provides a brilliant and vivid display and is also a basic prerequisite for using videos supporting High Dynamik Range (HDR) technology, which also finds their place on board this camera thanks to the HLG standard. And even a flat Vlog-profile for more freedom in post-production is now immediately predefined.
Also, it refused to set any restrictions on the duration of the clips. Now, instead of the previous “almost 30 minutes”, with the help of Lumix GH5s, users can shoot endless videos.
It quickly becomes clear: the camera for video gives moviemakers a huge number of options so that they can express themselves in a variety of ways and creatively. Added to this are also such ingenious functions, for example, importing and exporting a timecode for synchronizing several cameras and, accordingly, the material captured on them, which will be very useful for post-production.
3. Sony A7 III Camera for Video
What is the best camera for video recording? The Sony A7 III may very well be the answer to this question. Sony’s path to technological leadership in the world of photographic technology was long, thorny and difficult, but here they are at a top position!
The first two full-frame mirrorless cameras with interchangeable Sony lenses – α7 and α7R – showed positive direction in 2013, and then it seemed that this movement could at least last a decade+.
But already the second generation with the α7S model added to them (with a low-resolution sensor, primarily designed for video shooting) made a sharp breakthrough and showed – Yes; so now the mirror leaders in the face of Canon and Nikon have full-fledged competitors that are ahead of them in terms of technology.
The third generation, which started at the end of last year with the α7R III model (with a high-resolution sensor – a significant emphasis on studio and landscape shooting) was a hit. To continue it, the Sony α7 III was created, which is characterized primarily by the ideal balance of its components, and a slightly more moderate price.
The heart of one of the best camera for video is a full-frame 24-megapixel CMOS sensor. It would seem that everything is like in Sony ILCE-7 and ILCE-7M2. Nothing prevented the developer from once again putting a well-proven sensor into the base camera of the series.
But the three Latin letters BSI from the official description of the camera say more: here a new matrix with backlight is used. We have every reason to assume that this is almost the same sensor that is used in the Sony A9, but without a layer of internal memory (makes sense given it is for the basic model of the line).
However, problems should not arise with the speed. The matrix is used with the latest BIONZ X image processor and LSI (linear system integrator) preprocessor. Thus, the read speed is doubled, and data processing is 1.8 times compared to ILCE-7M2.
Work at high ISOs of course was also inherited from a reporting fellow, and not from the previous generation of “sevens”. This becomes clear literally after the first frames, where the pictures are very noisy.
The youngest of the latest “sevens” can shoot up to 10 frames/s with both a mechanical, and an electronic and extremely silent shutter. Note that the manufacturer does not declare shooting without a rolling shutter (unlike the Sony A9). The reason is the “ordinary” not multilayer matrix.
In addition, in the comfortable Live View mode, when the photographer sees a live picture on the screen, and not the last frame of the series, he/she can shoot up to 8 frames/s. However, these limitations cannot be called significant. The declared buffer size is also impressive at 89 compressed or up to 40 uncompressed RAW files. These are clearly not amateur level numbers.
One of the best cameras for video can shoot Full HD and 4K from the full width of the matrix. In full-frame mode, pixels are read completely and without combining (binning). This compresses approximately 2.4 times more data than is necessary for recording 4K videos (3840 × 2160), and reduces the moire effect. The bitrate is up to 100 Mbps.
Full HD shooting is also possible with a frequency increased to 100/120 frames/s. It also implements a special mode of fast and slow motion S & Q, which allows you to shoot Slow Motion and interval movies. In addition to the already familiar S-Log2 and S-Log3, HLG (Hybrid Log-Gamma) is supported for shooting in HDR.
The intriguing aspect with the image quality of Sony ILCE-7M3 is very arbitrary. The matrix is new, but a very similar sensor (though with a complex multi-layer structure for faster reading) was found in the Sony A9. With a high degree of probability, the main matrix layer with photosensitive cells and micro lenses was borrowed from there.
The Sony ILCE-7M3 case is made of magnesium alloy. It has become a little thicker and more massive than the “sevens” of the second generation, due to the placement of a more capacious battery NP-FZ100. There is one non-obvious plus in this, which is that the handle has become more oversized.
Holding the camera with one hand is comfortable and convenient. If the handle height is not enough, you can buy the Sony GP-X1EM handle extension. A full-fledged VG-C3EM battery grip with duplication of the main buttons is also available, and makes a good solution for reporting.
4. Nikon D850 Camera for Video
The full-frame SLR Nikon D850 is positioned by the manufacturer as a model for professionals and advanced enthusiasts. Only the Nikon D5 is more professional in the Nikon DSLR line, but it focuses on a different field of application, where it is a quick-fire SLR in an indestructible case designed for reporters.
The Nikon D8 series of cameras is associated with photographers not only with a record resolution, but also with versatility and reliability. These devices can often be found in the hands of professionals, and they’ve proven themselves in different types of shooting such as wedding, studio and landscape.
The resolution of the matrices Nikon D800, D800E, D810 and D810A is 36 megapixels. Nikon D850 received a new back-illuminated CMOS sensor, which was developed by Nikon specifically for this camera. Its resolution is 45.7 megapixels, and we’ve have not seen such a sensor in any other model.
But the innovations do not end there. One of the best cameras for video has acquired a phase-detection autofocus module like the top Nikon D5. Now focusing is carried out on 153 points, 99 of which are cross-type. Improved is the speed of serial shooting, which is now 7 frames per second and as much as 9 frames per second when using the MB-D18 battery pack.
The new focusing module, and the increased speed of serial shooting makes the camera suitable not only for studio or landscape shooting, but also for dynamic reporting. The camera has also been improved in live view mode. Although focusing in it is still carried out only by contrast, the algorithms of its work have been optimized.
Among the Nikon DSLRs in the D850, the first time was the possibility of absolutely silent shooting in full resolution. Another addition is Focus Peaking, which is useful to all lovers of manual optics and manual focus.
The focus stacking function is also new, where the device independently makes a series of frames, which focus the lens with a given step at different distances. Such an opportunity will delight subject is ideal for interior and landscape photographers who are constantly faced with the problems of the Depth of field shortage.
How are things with video? It offers 4K video recording at 30 frames per second without crop! In addition, there is a function of accelerated shooting Full HD with a frequency of up to 120 frames per second to create a spectacular slow motion. One of the best cameras for video Nikon D850 is protected from moisture and dust, and there are a lot of rubber seals in the design of the device. This equipment is ready to work in the most difficult weather conditions.
The design of a professional camera should be ergonomic and functional. It’s like a sports apparatus, where showcasing impeccable execution of functions is paramount, and everything else is secondary. The Nikon D850 looks brutal, which is the tradition of top-end DSLRs from Nikon.
5. Panasonic Lumix G85 Camera for Video
The new Lumix DMC-G85 in the device line is roughly between the GX8 and G7. It provides a much more advanced user experience, and a more durable magnesium alloy case than the G7, but without the 20MP resolution from the GX8. Despite the fact that the shape of the case is very similar to the G7, one of the best cameras for video turned out to be much more durable and better.
The housing is protected from moisture and dust, and a new shutter block is hidden, which reduces the vibration of the camera when triggered in a mechanical mode. Also, the shutter may offer the use of the first curtain in electronic form. The rear touch screen has a resolution of 1,040,000 pixels and a variable angle.
The viewfinder received a resolution of 2,360,000 points. In general, the viewfinder is better optimized for those who wear glasses. The layout of the rear panel of the camera is made in the style of G7, GX8 and GH4, so the controls will be familiar to those who have already used the Lumix system.
The top plate is pretty standard for Lumix cameras. There are two control disks on it. The built-in flash can be used as active light or to control other flashes. The disc on the left provides access to the shutter control. High-speed shooting mode allows you to shoot at speeds up to 9fps, and accommodates a series of up to 200 photos in JPEG format or 40 raw RAW files. A 4K symbol indicates that the camera will operate in 4K photo mode.
One of the best camera for video also shoots videos in 4K resolution with moving focus from the closest to the farthest point. Then you can select any point that will be in focus and save the selected frame. The same video can be used to create a focus stack. The mode is good only for static objects. There is also a mode that simply saves all frames from a short 4K video in JPEG format at 8MP resolution.
The camera has contacts for attaching an additional handle with a duplicate set of controls for the vertical orientation of the camera. There’s also an onsite release adapter for connecting power from the network. For power, a 1200mAh DMW-BLC12E battery is used, which is used on the GX8 as well.
The waterproof case contains Micro-HDMI, USB, a microphone jack and a port for a remote control. There is no headphone jack, but now you can transfer video to an external monitor via HDMI while recording a clip with 4: 2: 2 compression to a memory card. On the other side of the camera lies an SD card slot, which has been moved from the battery compartment under a separate cover.
Panasonic claims that the new energy-saving mode allows the camera to take as many as 900 shots instead of the standard 320 frames on a single charge by reducing the amount of time the display works. Eco mode disables the rear screen during shooting, and works most efficiently for those using the viewfinder.
6. Sony Alpha a6500 Camera for Video
Which camera is best for video and photography? Reflecting on this question, we came to the conclusion that the Sony Alpha a6500 is the camera that is best suited to answer this question.
The Sony a6500 is the flagship of the line of mirrorless cameras with an APS-C format sensor. Along with it are on sale a6000 and a6300 models. Each model is the best camera for video for its audience segment.
Someone needs an affordable camera (a6000), someone is fond of video and wants to shoot with a resolution of 4K (a6300), and someone even has the most advanced camera with built-in stabilizer, and the latest news in the photography world.
The Sony a6500 got a deeper grip with a slightly thickened handle compared to the a6300. Thanks to this, working with telephoto lenses has become even more convenient. The camera has 9 function buttons, so you get several modes to choose from. Moreover, for one button, there may be different functions for the shooting mode and viewing mode. The C1 and C2 keys have been moved to the top panel, and closer to the shutter button.
The a6500 has an electronic OLED viewfinder with a resolution of 2.36 MP and a magnification of 1.07x. The refresh rate is 100 fps (you can set it at 50 frames per second). Touch screen has one feature. When you shoot from a low point, rotate the screen and try to set the focus point by touching the screen, your finger will overlap the sensor and the camera will switch to the viewfinder at the crucial moment. Disabling the sensor function each time is inconvenient.
But Sony has provided a small life hack. When the screen leans back to a horizontal position, the sensor stops working. Everything ingenious is simple. The nozzle on the eyepiece of the viewfinder remained as deep, which allows you to work in bright sunshine without exposure. When aiming through the viewfinder, you can control the focus point using the touch screen.
In this case, you do not need to specify the absolute location, but move the point with your finger on the screen. For example, control the mouse cursor using the touchpad. In one of the best camera for video, Exmor AOS-C format CMOS sensor (23.5 × 15.6 mm) with a resolution of 24.2 MP is installed. The matrix is protected from dust by antistatic coating and ultrasonic cleaning.
In practice, this resolution is quite enough for commercial work and especially for home use. The shooting speed reaches 11 fps. The buffer holds up to 100 frames in RAW + JPG format. The dynamic range of 14 steps allows you to work flexibly with the files obtained during the shooting.
The Sony a6500 received a five-axis stabilizer, which has been waiting for so long in this series of cameras. Interestingly, the camera has not increased in size compared to the a6300, in which there is no stabilizer. According to our estimates, the stabilizer gives a gain of 2.5–3 steps.
This is not a record, but a very good indicator for such a compact camera. Doubling the effect when using the stabilizer in the camera and lens did not work. It will probably be implemented in the future. We won’t go far, and we will consider this issue as an example of photographs by professional photographer Dmitry Mukhin, who used the Sony 6500 on his trip to Italy, and kindly agreed to supplement our technical article with interesting details.
The working ISO is similar to the a6300 camera, and is at the level of 3200 units. In certain lighting conditions, you can use 6400 and 12800. For example, if the photo was shot with ISO 6400. The noise level is quite low, which allows you to shoot at high sensitivity values not only on trips, but also in commercial projects.
One of the best cameras for video is equipped with a Bionz X processor. Its power is enough to convert the image from the matrix to 4K on the fly. It works just as fast with photos. During the test, there was never a situation when the camera could not performance the task well.
7. Panasonic Lumix G9 Camera for Video
The Panasonic Lumix DC-G9 is a mirrorless hybrid camera, which thanks to a number of characteristics, including unique ones claims to be a high professional status of a reportage camera. And I had the opportunity to verify this from personal experience.
The manufacturer is positioning this camera for wildlife photography and action photography, which can include sports and any shows with dynamic action. Therefore, in the test, I will focus on those characteristics of the camera that provide such capabilities. What are these characteristics?
Let’s start with burst shooting. The camera is capable of performing it in continuous focus mode with a very high speed of 20 frames/s. Most professional cameras are not capable of delivering the same speed even in single-frame autofocus mode. And with the Lumix DC-G9, when using the 4K photo mode, it will be possible to shoot a series with a speed of even up to 60 frames/s.
This high shooting speed is supported by the presence of two slots for fast SDXC memory cards of the UHS-II class 3 type, very fast contrasting autofocus with the proprietary DFD technology (Depth from Defocus) and a capacious memory buffer.
Shooting sports and wildlife using telephoto lenses will be supported by an optical image stabilization system in one of the best camera for video, which is based on a sensor shift. Paired with lenses in which its own stabilization system is built in, the camera is able to work in a 5-axis hybrid stabilization mode with a declared efficiency of 6.5 exposure levels.
The Panasonic Lumix DC-G9 is equipped with a Micro Four Thirds Live MOS sensor with an effective resolution of 20.3 MP, which does not have a smoothing filter, but increases the resolution of the camera.
For convenient sighting, this mirrorless mirror is equipped with a swiveling 3-inch LCD screen with a touch layer, as well as a large electronic viewfinder with an OLED matrix, a resolution of 3.68 MP and high magnification (0.83x for 35 mm equivalent).
For operational settings, the camera has a large number of reprogrammable controls, which makes it as convenient as the top-of-the-line SLR cameras. Before proceeding to a detailed acquaintance with the Panasonic Lumix DC-G9, I also mention the ability to record 4K video, and the presence of wireless functions.
The case of one of the best cameras for video based on a cast magnesium frame has moisture and dust protection. In addition, the camera can operate at temperatures up to -10 ° C. Therefore, you can take the Lumix DC-G9 on camping trips and expeditions, where it will be able to withstand inclement weather conditions.
In size (136.9 x 97.3 x 91.6 mm) and weight (658 g), the Panasonic Lumix DC-G9 differs little from SLR cameras with APS-C sensors, except that the height of this camera is slightly smaller and the depth (due to the large handle -grip). I think that it will be comfortable for owners of DSLRs to shoot with a Lumix DC-G9 camera, and they will get used to it very quickly. In addition, the stiffness and solidity of the camera can be increased by attaching a battery pack.
The electronic viewfinder does not want to be called otherwise than “chic.” It is equipped with an OLED matrix that provides high brightness and accurate color reproduction, and a high resolution of 3.68 megapixels and a large increase (0.83x for the 35 mm equivalent) allows you to see the smallest details of the scene.
Compared with the last generation EVI with a resolution of 2.36 megapixels, this one is a big leap in terms of comfort. I also mention the high speed of updating information in the viewfinder, which is a convenient soft eyecup and diopter correction. The Panasonic Lumix DC-G9 camera uses contrast-type autofocus, which is not the usual one, but with the proprietary DFD technology (Depth from Defocus).
This one uses the base of the blur pattern for all compatible Panasonic lenses at all focusing distances. Therefore, according to previously taken pictures, the automation instantly calculates the necessary direction and distance of movement of the focusing group of lenses. Thanks to this, the autofocus in our camera is extremely fast and clear.
The ability of one of the best camera for video to shoot in series depends on the type of shutter used (mechanical or electronic), the selected focus method (single / manual or tracking / continuous), and the selected shooting speed (high, medium and low).
When using a mechanical shutter, the burst speed for single-frame AF (AFS) reaches 12 frames/s (there are settings of 7 and 2 fps) and 9 frames/s (there are settings of 7 and 2 fps), with continuous AF (AFC) . The electronic shutter expands these capabilities to 60 frames/s in AFS mode and 20 frames / s in AFC mode.
8. Black Magic Pocket Cinema Camera for Video
You take the camera in your hands, and immediately realize that the design of the product corresponds to the best camera for video. It is moderately portable, small, stylish. The grip, despite its compact size is very comfortable. This is facilitated equally by a convenient protruding battery grip, and a rubberized coating of the front side, which from a half meter looks like velvet.
On the front side is nothing but the inscription BlackMagic Design, mount and button to disconnect it. By the way, the mount here is MFT, but because of the size of the matrix, you can put absolutely any lens through the appropriate adapter. All faces, except the right, are coated with metal, which improves the strength of the chamber. There are also metal chassis inside.
Buttons are minimal, so ergonomic lovers of the DSLR will not be very comfortable. Above is a tripod socket and four buttons namely Play, Back, Forward and Rec. At the bottom, you will find a tripod socket, and a cover under which the battery is hidden, a USB connector and an SD card slot.
The back panel is made of soft-touch plastic that does not collect fingerprints. Most of it is taken up by a matte screen with a diagonal measure of 3.5 “and a resolution of 800×480 pixels. All buttons are pressed very clearly, with a pleasant click that encourage you to click again and again.
In one of the best cameras for video, a Super 16 format matrix with a physical size of 12.48 × 7.02 mm is installed as a photosensitive element. Resolution – 1920×1080 pixels, and the crop factor is 2.88. The processor version is unknown, but according to personal feelings, this is not at all important. The camera just flies, both when turning it on and off, and when navigating through the menu, recording video, watching material or changing settings.
All videos are written only with Full HD, progressive, frame rate ranges from 23.98 to 30. Not a lot, but there are time lapses that do not kill the shutter. The shooting range is from 1 frame to 10, from 1 second to 10, from 10 seconds to 60, and from 1 minute to 10. There is plenty to choose from for any needs.
The ability to write video is present in two variants of the dynamic range – Film and Video. At the same time, in the first mode, the picture turns out to be very Flat, or flat, low-contrast and unsaturated, but all 13 stops of the dynamic range are present. This makes it possible to stretch even the most difficultly lit scene at the post-production stage, remove noise or simply change the color.
The second option is Video, which will reduce DD to Rec709, but will simplify the posting phase to render picture that is of a high-quality color, so you just need to tighten the saturation or throw LUT if desired.
The ISO range is from 200 to 1600. 800, which can be considered an ideal working value. It is this ratio of light/noise that will be optimal. Although you can shoot at 1600 ISO, the ugly noise is removed very easily at the post, and after the same experience of noise reduction, the video with DSLR is elementary, with minimal loss of quality. By the way, it is possible to enclose a substrate in the form of a film grain under such values , and the effect is excellent.
9. Panasonic Lumix DMC-GH2 Camera for Video
Both in terms of design and in terms of performance, the GH2 does not bring any surprises, it is very similar to the previous G-series cameras (with the exception of the smallest and most elegant GF, now GF2). This is all the same snap, well-arranged device, where there are no frills, but there is only a constructive need.
Materials: matte plastic, non-slip inserts under the skin. Holding the camera in your hand is very convenient and pleasant. The arm protrusion is large enough, but not overly done. However, what is there to go broke, everything was about the same as in G2, with the exception of inserts under the skin.
By the arrangement of functional elements, which is the same G2 with variations. Variations are in the number of points on the selector of shooting modes, and in the function key instead of the iAuto button (which is logical, because it was useless). A memory card is inserted on the right next to the battery bottom. The touch screen rotates in two planes, and you can read more about that below.
Dimensions: 124×89.6×75.8 mm. This is the largest camera in the G-series, but the difference with them is uncritical. Weight: 609 g (SD card, battery, 14-42 mm lens), 904 g (SD card, battery, 14-140 mm lens), 392 g (body only). But the GH2 weighs significantly more, especially with a 14-140 lens (with which I tested the camera) almost a kilogram. For a camera of this format – essentially, the hand gets tired after holding it for a certain period of time.
In terms of the interface as a system and the design of the on-screen menus, in the Lumix G series little has changed since the time of the first mirrorless mirror in the world, the G1. They showed and told more than once that the branched menu system is executed quite clearly, but it is difficult to get confused.
However, there are some problems with the order of choosing a value or setting and switching to the general menu, you have to make too many clicks. But there is an excellent quick menu complete with three function keys at once. The build quality is excellent, and the camera seems very reliable.
Viewfinder resolution – 1530000 points is an increase compared to previous cameras in the series. The lag in relation to real-time events has also decreased. There is a diopter adjustment. In general, this is a wonderful electronic viewfinder, one of the best of its kind. But not a full-fledged replacement for the optical one, such a replacement is hardly possible at all.
In terms of functionality, the Panasonic Lumix GH2 is an ordinary modern camera. It takes photos and videos, without additional features, such as wireless modules, an integrated projector or on-board GPS. This is a somewhat an old-fashioned camera, which, of course relates more to creative tools, by which we are used to understand SLRs, rather than to the category of self-valuable devices that serve specific purposes.
But one of the best cameras for video is equipped with an overly powerful body kit of all kinds of electronic tricks to speak of it as a camera that “does not prevent” the photographer from taking beautiful pictures. No, the GH2 is eager to help. At the expense of shooting speed.
Here, perhaps lies the main advantage of the GH2 compared to both its predecessors and competitors. This camera focuses almost instantly in under at 0.1 seconds. There is no difference when focus mode is on. There is no reason to doubt this figure, because the camera really focuses very quickly.
It needs to take a couple of seconds to turn on. Also, the shooting speed is 120 fps. Despite the fact that the resolution of photographs has also increased. In general, there is nothing to complain about here, the GH2 can argue with these parameters with most cameras on the market including professional ones. Excluding only elite DSLRs.
The maximum movie length is 120 minutes in AVCHD format. We also note the advanced tele-conversion function, which virtually increases the zoom range by 2.6 times, which allows using the 14-140 mm lens in AVCHD/FSH mode to achieve the equivalent of a maximum focal length of 728 mm, in SSVCHD SH mode – 1092 mm, in Motion JPEG mode HD/WVGA – 1092 mm, and in Motion JPEG VGA / QVGA – 1344 mm. However, the shooting quality drops somewhat in this mode.
10. Panasonic Lumix S1 Camera for Video
The era of mirrorless cameras has already come, where large manufacturers began to actively release their devices with some incredible price tags, for which you can really give your money since they are the best cameras for video.
This kind of camera allows you to shoot at the limit of technical capabilities and here you can’t find fault with your camera. Today we look at the next monster of photography, which is ready to surprise even the most avid professionals.
The main feature of this camera can be called its sub-frame matrix with a resolution of 24 megapixels. This is a professional solution that is ideal for using high-quality lenses, plus the matrix itself captures significantly more light, making photos brighter and more interesting.
Professional photographers, which is important use exclusively full-frame cameras as their matrix allows you to capture frames of maximum quality. Plus, lenses with such a matrix give a more effective picture. For processing photos of one of the best cameras for video, the Venus proprietary processor is responsible, which has long proved itself to be the best as it copes with its tasks perfectly.
And you will work with the frame on a large display with a diagonal of 3.2 inches with touch control. All in the best traditions of the company. The appearance of the novelty makes us think that the previous design decisions of the company were very successful, and they simply decided to finalize them.
If you look at the same GH-5 for example, and then at the Panasonic Lumix S1 camera, you will notice a lot of similar solutions. A handle is quite conveniently implemented, on which there is a tuning wheel, and a little higher at an angle is the shutter button.
A little higher on the end of the camera are three buttons for setting white balance and ISO, and a display with indicators is also located there. On the opposite side of the camera end there is a scroll wheel for shooting modes, and it is framed in orange to enhance the effect.
On the front side there is a display with the ability to change the angle, and there is a rather large viewfinder, and several controls. Convenient, simple and understandable, plus the corporate identity of the company is preserved.
The camera can shoot in a fairly wide range of photosensitivity from 100 to 51200 ISO. That is, you can even get a good picture even at night with a very high ISO value and slow shutter speed. Although, of course, noise cannot be avoided in this case.
The camera has an image stabilization system on the sensor, so that you can shoot smoother frames and not worry about shaking the camera. This will be useful, because the Panasonic Lumix S1 can shoot video in 4K at 60 frames per second, which will be enough for most users.
The developers decided to attract not only professional photographers, but also those who shoot video at the professional level. Naturally, they ask for a decent amount of money for such a high-quality camera, and one of the best cameras for video, the Panasonic Lumix S1 costs $ 2,500. And this is only for the carcass, while you still need to buy at least one high-end lens. The glass costs about the same as the camera itself.
We add here a couple of memory cards, accessories and a flash, and it turns out an extremely expensive set, but it costs well worth the money. With this camera, you can shoot masterpieces, get a ton of positive emotions from it, and enjoy the way your photos look even without processing.
I hope we helped you choose the best camera for video.
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I’ve been a photographer since 2006, and have experience using cameras and lenses from many brands. I’ve entered many photography competitions, including the 2018 35AWARDS, and I’ve won many photography prizes. I have over 20K Instagram followers, and I hope to reach a global audience.