The image quality of a video camera largely depends on the photosensitive sensor (matrix) used in it. After all, put at least the best processor for digitizing video - if a bad image is received on the matrix, it will no longer become good. I will try to popularly explain what you should pay attention to in the characteristics of the sensor of a video surveillance camera, so that later it would not be excruciatingly painful when looking at the image ...
Matrix type
On the Internet, you will surely find information that CCD (CCD, charge-coupled device) and CMOS (CMOS, complementary metal-oxide-semiconductor structure) photosensitive matrices are used in CCTV cameras. Forget! For a long time there was only CMOS, only hardcore.
CCD matrices, with all their advantages (better light sensitivity and color reproduction, lower noise level) are practically not used in video surveillance. Because the very principle of their operation of CCD matrices - sequential reading of the charge by cells - is too slow to satisfy the demands of fast modern high-definition video cameras. Well, and most importantly, CCDs are more expensive to manufacture, and in today's highly competitive environment, every penny of profit counts. That is why all key manufacturers have focused on the production of CMOS matrices.
There are not so many manufacturers left, by the way. The largest, as of the beginning of 2017, are the following companies: ON Semiconductor Corporation (which at one time absorbed the well-known profile company Aptina), Omnivision Technologies Inc., Samsung Electronics and Sony Corporation. In addition, matrices for their own needs are produced, for example, by Canon, Hikvision.
Young, full of enthusiasm and money, Chinese second-tier chipmakers, such as SOI (Silicon Optronics, Inc.) and others, are trying to create competition for old brands. . But in any case, the emergence of new players in this segment and the intensification of the struggle are not ruled out, because setting up the production of CMOS sensors is not a very difficult task by modern standards.
Major global brands like Hikvision or Dahua usually prefer to work with first-tier or their own sensor manufacturers. Locals behave differently. For example, Tecsar uses reputable sensors from ON Semiconductor, Omnivision and Sony even in inexpensive cameras. In the assortment of other “folk” brands, for example Berger, SOI sensors, etc. are widely represented.
How digital camera sensors are made
CMOS Leadership
CMOS technology provides for the placement of electronic components (capacitors, transistors) directly in each pixel of the photosensitive matrix.
Pixel structure and CMOS matrix
This reduces the effective area of the photosensitive element and reduces sensitivity, plus the active elements increase the level of the matrix's own noise. But the technology makes it possible to convert the charge of the photosensitive element into an electrical signal directly in the matrix and generate a digital image signal much faster, which is critical for video cameras. That is why CMOS is better suited for CCTV cameras where fast frame rates are required.
The principle of operation of CCD and CMOS matrices
Plus, the ability to randomly read CMOS matrix cells makes it possible to literally change the quality and bitrate of the received video on the fly, which is impossible for CCD. And the power consumption of CMOS solutions is lower, which is also important for compact surveillance cameras.
Let there be color
To obtain a color image, the matrix decomposes the light flux into its component colors: red, green and blue. For this, appropriate filters are used. Different manufacturers vary the placement and number of light-sensitive elements of different colors, but the essence of this does not change.
The principle of image formation on a photosensitive matrix:
P - photosensitive element
T - electronic components
How the CMOS camera sensor works and works can also be seen in this video from Canon:
CMOS matrices of all manufacturers are based on the general principles described above, differing only in the implementation details on silicon. For example, in pursuit of cheapness and super profit, chipmakers try to produce matrices as small as possible. Payback is inevitable...
Why big is good
The size (or in other words the format) of the matrix is usually measured diagonally in inches and indicated as a fraction, for example 1/4", 1/3", 2/3", 1/2 inches, etc.
Photosensitive matrix produced by ON Semicondactor for CCTV cameras
Photosensitive matrix installed on the video camera board
Alas, large-format matrices in mass surveillance cameras are now practically not used due to the high cost of both the matrices themselves and the lenses for them, which should have larger lenses and, accordingly, dimensions and cost. Today, matrices of the standard size 1/2 "- 1/4" (these are the smallest) are mainly installed in cameras. When choosing a camera, you need to clearly understand that buying an ultra-cheap model with a 1/4 "SOI-made sensor and a tiny lens with plastic lenses of dubious transparency, you will not be able to create an acceptable quality video monitoring system that could clearly distinguish small details of the captured events, especially when shooting in low light conditions.
Choosing a camera with a 1/2.8" Sony sensor, you will a priori get a much better result in video quality, a camera with such a sensor can already be used in a professional video surveillance system. And the sensitivity of such a camera will obviously be higher, which will allow you to shoot better in low light light: in bad weather, at dusk, in a semi-dark room, etc. With an increase in resolution with the same size of the matrix, the light sensitivity decreases, and this should also be taken into account when choosing. a sensor with a lower resolution and higher sensitivity than an ultra-high resolution camera with a low sensor sensitivity, on which nothing can be clearly distinguished due to noise.
Light sensitivity
The light sensitivity of the matrix determines the possibility of its operation in low ambient light conditions. From the point of view of physics, this looks quite banal: the less light energy is sufficient to obtain an image by a matrix, the higher its photosensitivity. But! Let's be honest, chasing high sensitivity is no longer particularly worth it. The fact is that modern video surveillance cameras safely switch to day / night modes, when the illumination decreases, switching the matrix to a black-and-white image mode with a higher sensitivity. Plus, the automatic inclusion of infrared illumination gives the cameras the ability to shoot perfectly even in complete darkness. For example, in a closed room without windows and with the lights off, when there is not even a question about the level of some kind of external illumination. Light sensitivity remains critical for cameras without IR illumination, but using such cameras in modern video surveillance is almost a bad manners. Although non-illuminated case models are still on sale, of course.
Comparison of matrices from different manufacturers
In general, the rule is this: the higher the illumination, the better the matrix and, accordingly, the camera will shoot. Therefore, it is not recommended to place cameras in semi-dark nooks and crannies, even if they have good sensitivity. Keep in mind that the specifications of camera matrices usually indicate the minimum level of illumination when at least some image can be captured. But no one promises that this image will be even of acceptable quality! It will be disgusting in 100% of cases, it will be difficult to make out anything on it. To achieve at least a satisfactory result, it is recommended to shoot at least under illumination at least 10-20 times greater than the minimum allowable for the matrix.
Manufacturers have come up with a number of technical solutions to improve the sensitivity of CMOS sensors and reduce light loss during image capture. For this, one principle is mainly used: to bring the photosensitive element as close as possible to the microlens of the matrix that collects light. First, Sony offered its Exmor technology, which shortened the path of light in the matrix:
Then, progressive manufacturers unanimously switched to using matrices with backlighting, which allows not only to shorten the path of light through the matrix, but also to make the effective area of the photosensitive layer larger by placing it above other electronic elements in the cell:
Back light technology gives the camera maximum sensitivity. Hence the conclusion - "ceteris paribus" it is better to purchase a camera using a matrix with backlight than without it.
To improve the image in low light conditions for low-sensitivity cheap matrices, camera manufacturers can use various tricks. For example, the “slow shutter” mode, or, more simply, the slow shutter mode. However, the "smearing" of the contours of moving objects already at the stage of fixing the image with a matrix in this mode does not allow us to talk about more or less high-quality video shooting, therefore this approach is completely unacceptable in security video surveillance, where details are important.
A definite breakthrough in image quality was the advent of Starlight technology, which first appeared in Bosch cameras in 2012. This technology, thanks to the combination of a huge light sensitivity of the matrix (of the order of 0.0001 - 0.001 lux) and very effective noise reduction technology, made it possible to obtain very high-quality color images from video cameras in low light conditions and even at night.
Whereas the traditional way of coping with low-light conditions, using IR illumination, can only produce sharp images in monochrome (greyscale), cameras with Starlight technology produce a color image that is much more informative. In particular, in low light, the Starlight video surveillance system can easily distinguish the colors of cars, clothes, and other important features.
Here is a demo of Starlight technology in action:
Results
When choosing a video surveillance camera, be sure to pay attention to the characteristics of the matrix, and not just its resolution. After all, the quality of the image, and hence the usefulness of the camera, will largely depend on this. First of all, you should pay attention to a reliable brand, size and resolution of the matrix, light sensitivity is fundamental only for cameras without IR illumination.
I highly recommend taking a camera with a matrix, on which you can find a sane datasheet with detailed information, and not buying a pig in a poke. For example, you can easily find specifications for matrices manufactured by ON Semiconductor, Omnivision or Sony. But more or less detailed characteristics of SOI matrices cannot be found during the day with a flashlight. There is a suspicion that the manufacturer has something to hide ...
And the general result is this: CMOS matrices have unconditionally won in video surveillance devices and are not going to give up any competing technology in the near future.
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What kind of result can be achieved by switching to a camera with a larger sensor.
There have been many formats in the history of cinema: IMAX, Kinetoscope, Cinemarama, Cinemascope, Ultra Panavision 70 and so on. Among such a variety, Super 35 remains the most common, which has not lost popularity among cameramen and directors since its inception in the early 1980s.
Today, the industry is increasingly using large full-frame sensors around 36 x 24mm, although they can be slightly larger or smaller (but not going as far as 65mm).
Sometimes you can hear the questions: “What is the difference between Super 35 and full frame sensors? And which one is better?" There is a completely accurate answer to the latter: it is impossible to say which of the sensors is definitely better. All of them are just tools to achieve the goals of the authors.
Format, resolution, color depth, frame rate, lens and camera format are all just ways to tell a story. Some tools offer more options: for example, shooting in 4K allows you to significantly rework the image in post-production, crop and change cropping, and RAW files are needed to expand the dynamic range for color correction. There is no general formula that would fit any picture - each project requires a different approach.
No director, director of photography or producer should choose a style simply because Sven Nykvist, Roger Deakins or Freddie Young starred in it. The choice of tools should depend only on your own vision, the conditions in which the shooting takes place. Learn to answer the following questions: “Why do I want to shoot with this camera / lens and in this resolution, why is low depth of field so important to me, why do I need steadicams, why is this particular frame format important to me?”.
Determine what your story is about. Choose the format you like. It is not necessary to adhere to one format throughout the entire tape. Don't be afraid to experiment with aspect ratio, resolution, lenses (prime and zoom, anamorphic and spherical), shoot with film and digital cameras. Don't worry, there are no strict rules in cinema. Well, one thing is still there: the sound must be good.
And yes, situations where you don't have much choice are possible. For example, Netflix requires 4K resolution from its projects. Or maybe you don't have enough budget. But where you can still choose, you need to do it consciously. So you will become better in your business.
Full frame and Super35 sensors perceive the image differently. Both are based on the dimensions of classic 35mm film, but the full-frame sensors are larger than Super35. Hence the question: how do they fundamentally differ from each other?
Lauren Simons, Senior Engineer at Canon Americas, put together a quick demo showing the differences between different types of sensors using the Canon C700 FF and two lenses with different focal lengths: permissions."
If you've never heard of the concept of pixel pitch before, it's the distance between the center of neighboring pixels. The smaller the pixel pitch, the denser they are located to each other, the higher the resolution of the matrix - and vice versa. However, higher resolution is not always synonymous with good image quality.
To illustrate the differences between different types of sensors, Simons mounted the C700 FF on a dolly cart and placed the girl in front of the camera against a dark canvas.
In terms of specs, the C700 FF has a 38.1 x 20.1mm sensor with an image field of 18.69 megapixels (5952 x 3140 resolution), or 5.9K. the pixel size is 6.4 by 6.4 microns. Image cropping up to Super 35 takes place already in the camera itself. She also has a Super 16 mode. Simons also used a Zeiss 28-80 mm T2.9 Compact Zoom lens. Thus, he tried to show the differences between different sensor formats as clearly as possible.
Canon C700 FF full frame sensor
Focal Length: 48mm
Distance between camera and subject: 2.4 m
Super 35
Focal length: 48 mm
Distance between camera and subject: 2.4m
If you carefully examine these frames, you will notice that the image captured with a full-frame sensor comes out much wider. Most likely, you already knew this. Simons explains: “The larger the camera sensor, the more space you scan and the more you see in the final frame.”
But does this mean that when shooting with a larger sensor, you get a shallower depth of field? “Not necessarily,” Simons replies.
Take a look at the images below.
Super 35
Focal Length: 48mm
Distance between camera and subject: 2.4 m
Canon C700 FF full frame sensor
Focal Length: 48mm
Distance between camera and subject: 2.4m, 1.45x digital zoom
Note that the second frame has been digitally zoomed (1.45x) to match the first frame. The bokeh effect and compression remained unchanged. “The purpose of the comparison is to show that with a change in the sensor, only the size of the scanned space changes. Other characteristics remain the same,” says Simons.
Now let's take a look at how increased focal length affects the image taken with different types of sensors.
Focal length: 70mm
Super 35
Focal Length: 48mm
Distance between camera and subject: 2.4m
Here the full frame image was taken at 70mm and the Super35 at 48mm (with the model at the same distance). The framing remains identical, but the bokeh effect is much more noticeable, and the depth of field is less. Simons explains: “There is no direct effect of sensor size here. A larger sensor has a larger field of view and so we tend to zoom in to keep the same framing. Therefore, the depth of field is also less.
In the next pair, Simons did not use the zoom, but moved the camera closer to the model.
Canon C700 FF full-frame sensor
Focal Length: 48mm
Distance between camera and subject: 1.8
Super35
Focal Length: 48mm
Distance between camera and subject: 2.4m
Here you can see some interesting details. First, the framing turned out to be almost identical. Secondly, the depth of field in both images is almost the same: it is slightly lower in the full frame version. This can be explained by the shorter distance between the camera and the subject, which brings us closer to the minimum focal length of the lens.
“The most important differences are visible in the foreground, in the background. The full frame image shows more patches of light cast by the light bulbs at the top and bottom of the frame. Take a closer look at the green lamps below and the yellow and blue ones above. In the second image, the lamp in the upper left corner of the frame is not visible. The reverse situation occurs with the foreground. Here we see less on the Super35,” Simons explains.
Simons even came up with a name for this phenomenon: "The Survivor Effect." That's right, it's in honor of Iñárritu's film and cinematographer Emmanuel Lubezki, starring Leonardo DiCaprio. In short, changing the position of the camera causes the foreground to be closer, while the background, on the contrary, is further away. Therefore, the frame comes out deeper and more spacious.
Don't forget that this experiment was done with the Canon C700 FF and Zeiss lenses. It is impossible to say exactly how ARRI, RED, Sony and Panasonic devices will behave in similar conditions. But now you have an idea of how the sensor formats differ.
Canon expands its acclaimed PowerShot G series with the PowerShot G3 X. The PowerShot G3 X is Canon's first compact super zoom model with a back-illuminated inch CMOS sensor that delivers outstanding photo and movie quality and creative possibilities. With top-notch Canon optics, versatile 25x zoom and DSLR-like control, you can easily zoom in on the subjects you want, even when shooting on the go, such as while traveling. Perfect for nature and sports photography, the PowerShot G3 X is the go-to camera for professionals looking for flawless shots.
Key benefits of the PowerShot G3 X
- Large image sensor performance combined with 25x zoom
- Easy shooting, connection and transfer
- Advanced video features for enthusiastic cameramen
- Professional controls for creative shooting
- The highest quality shooting in any conditions
Super zoom for professional-quality shots
The expertly designed PowerShot G3 X has the most outstanding zoom performance of today's compact cameras, so you'll be proud of your photos. The back-illuminated 20.2MP CMOS sensor captures the finest details and subtle hues with ease, while the f/2.8-5.6 9-blade aperture blurs the background beautifully. Whether it's a sports match or a wild animal in the woods, the 25x zoom lets you see every detail with incredible sharpness.
The DIGIC 6 processor guarantees experienced photographers fast response, excellent quality and high camera speed, while the HS system allows you to confidently shoot in low light conditions with ISO 12800 sensitivity without losing details. Especially for shooting fast-moving subjects, the PowerShot G3 X has added the ability to continuously shoot at a speed of 5.9 fps. Fast autofocus also contributes to the creation of sharp pictures.
Feel like a director
Videographers can shoot impressive Full HD movies and control settings just like a professional camcorder, with selectable frame rates from 24p to 60p, plus manual control of aperture, shutter speed and ISO. It also captures crystal-clear sound with wide dynamic range and features microphone and headphone jacks and a Live HDMI output so you can watch what's happening on an external monitor in real time. The Intelligent Optical Image Stabilizer with 5-Axis Dynamic Image Stabilization keeps the image sharp even when shooting on the move or out of a car window.
DSLR-level control
Despite its compact size, the PowerShot G3 X has all the features and functions you need. A large, 8cm 1.62M-dot tilting touchscreen lets you choose your best angle, while the EOS-style interface lets you quickly navigate menus. The smooth-running lens control ring can be set to adjust a variety of settings, including focus, while full manual control, RAW shooting and bulb exposure put you in charge of the set. Thanks to the dust and splash resistant housing, you can continue shooting in any weather. It's easy to attach a Speedlite or high-resolution electronic viewfinder to the hot shoe, so you can use the PowerShot G3 X comfortably even if you're used to shooting with a DSLR.
Endless creativity and connectivity
Specifications PowerShot G3 X
| IMAGE SENSOR | |
| Type | Type 1.0 back-illuminated CMOS sensor |
|---|---|
| Number of effective pixels | approx. 20.2M (3:2 aspect ratio) * * Image processing may reduce the number of pixels. |
| Number / effective pixels | approx. 20.9M |
| Color filter type | Primary colors |
| CPU | |
| Type | DIGIC 6 processor with iSAPS technology |
| LENS | |
| Focal length | 8.8-220mm (35mm equivalent: 24-600mm) |
| Scaling | Optical - 25x When using the ZoomPlus function - 50x Digital - Approx. 4x (when using a 1.6x or 2.0x digital teleconverter, depending on the image size selected) Combined - Approx. 100x |
| Aperture | f/2.8-f/5.6 |
| Design | 18 elements in 13 groups (1 double-sided aspherical lens, 2 single-sided aspherical UA lenses, 1 single-sided aspherical lens, 2 ultra-low dispersion (UD) lenses, and 1 ultra-ultra-low dispersion (Hi-UD) lens) |
| Image stabilization |
Yes (with movable lens group), approx. 3.5 steps*. 5-Axis Intelligent Image Stabilizer with Advanced Dynamic IS |
| FOCUSING | |
| Type | TTL |
| AF system/points | AiAF (31-point, face detection, or touch AF with subject/face selection and tracking), 1-point AF (any point or fixed center) |
| Autofocus modes | Single-Shot, Continuous, Servo AF/AE Servo AF*, Touch AF *Some options may not be available |
| AF point selection | Size (regular, small) |
| AF lock | Yes |
| AF-assist beam | Yes |
| Manual focus | Yes, optional manual focus edge contouring, autofocus + manual focus |
| Focus bracketing | Yes |
| Minimum focus distance | 5 cm (wide angle) from the front of the lens 85 cm (tele) from the front of the lens |
| EXPOSURE CONTROL | |
| Metering modes | Evaluative metering (based on face detection AF frame), Center-weighted integral metering, Spot metering (based on center point or Touch AF frame) |
| Exposure lock | Yes |
| Exposure compensation | +/- 3 EV in 1/3-stop increments Manual and automatic dynamic range correction Automatic shadow correction ND filter (3 steps) |
| Auto exposure bracketing (AEB) | 1/3 - 2 EV in 1/3 steps |
| ISO sensitivity |
125, 160, 200, 250, 320, 400, 500, 640, 800, 1000, 1250, 1600, 2000, 2500, 3200, 4000, 5000, 6400, 8000, 10000, 12800* AUTO ISO: 125-6400 (Max. ISO sensitivity and zoom ratio can be set) *ISO sensitivity indicates the recommended exposure value |
| GATE | |
| Speed | 1-1/2000 s (factory default) Bulb, 30-1/2000 s (range varies by shooting mode) |
| WHITE BALANCE | |
| Type | TTL |
| Settings | Auto (including face detection technology with white balance), daylight, shade, cloudy, incandescent, fluorescent, high temperature fluorescent, flash, custom 1, custom 2 Multi-area white balance correction available in intelligent auto adjustment mode White balance compensation Color settings in Stars mode |
| COLOR SENSOR | |
| Type | sRGB |
| VIEWFINDER | |
| Viewfinder | Optional Electronic Viewfinder EVF-DC1 |
| LCD SCREEN | |
| Monitor | 8.0 cm (3.2") diagonal adjustable sRGB PureColor II G (TFT) LCD touch screen. 3:2 aspect ratio. Approx. 1,620,000 dots. Capacitive type |
| Coverage angle | approx. 100% |
| Brightness | Adjustable (5 levels). LCD screen with Quick-bright function |
| FLASH | |
| Modes | Auto, forced firing / flash off, low-speed sync |
| Low speed sync | There is. Maximum speed 1/2000 s |
| Yes | |
| Flash exposure compensation | +/- 2 EV in 1/3 steps Face Detection FE, Safety FE, Smart Flash Exposure |
| Flash exposure lock | Yes |
| Manual power setting | 3 levels with built-in flash (19 levels with external EX Speedlite 270EX II and 430EX II. 22 levels with 580EX II, 600EX and 600EX-RT*) *Not all flash functions are supported |
| Second curtain sync | Yes |
| Built-in flash range | 60 cm - 6.8 m (W) / 85 cm - 3.1 m (T) |
| SHOOTING | |
| Modes | Smart Auto (58 scenes recognized), Program AE, Shutter-priority AE, Aperture-priority AE, Manual, Custom 1, Custom 2, Hybrid Auto, Creative Shot, Scene Programs (Sports, Portrait, Smart Shutter Mode (smile, self-timer with blink control, self-timer with face detection), stars (starry nightscape, trails of stars, time-lapse movie of stars), handheld night shot, snow, fireworks), creative filters (high dynamic range (HDR) ), antique effect, fisheye effect, miniature effect, toy camera effect, background defocus, soft focus, monochrome, super bright, poster effect), movie shooting |
| Movie modes | Smart Auto (21 Scenes Recognized), Standard, Program AE, Manual, Portrait, Vintage Effect, Miniature Effect, Monochrome, Super Vivid, Poster Effect, Snow, Fireworks, Short Clip, iFrame Movie |
| photo effects | My Colors (Disabled, Vivid, Neutral, Sepia, Black & White, Positive Film, Lighter Skin Tone, Darker Skin Tone, Vivid Blue, Vivid Green, Vivid Red, Custom) |
| Shutter modes | Single frame, auto, continuous, continuous with autofocus, self-timer |
| Burst shooting | approx. 5.9 fps* with autofocus: approx. 0.3.2 fps (all speeds are valid until the memory card is full)**, *** * Continuous use of the burst function requires compatible SDHC/SDXC UHS Class 1 memory cards, the total number of shots taken varies depending on the subject. ** Under conditions where the flash does not fire. *** Depending on access speed / memory card capacity / compression settings. |
| RECORDING PIXELS/COMPRESSION | |
| Image size | 3:2 - (RAW, L) 5472 x 3648, (M1) 4320 x 2880, (M2) 2304 x 1536, (S) 720 x 480 4:3 - (RAW, L) 4864 x 3648, (M1) 3840 x 2880, (M2) 2048 x 1536, (S) 640 x 480 16:9 - (RAW, L) 5472 x 3080, (M1) 4320 x 2432, (M2) 1920 x 1080, (S) 720 x 408 1:1 - (RAW, L) 3648 x 3648, (M1) 2880 x 2880, (M2) 1536 x 1536, (S) 480 x 480 4:5 - (RAW, L) 2912 x 3648, (M1) 2304 x 2880, (M2) 1232 x 1536, (S) 384 x 480 Playback size reduction (M2) |
| Compression | RAW, Superfine, High |
| Video | (Full HD) 1920 x 1080, 59.94/50/29.97/25/23.98 fps (HD) 1280 x 720, 29.97/25 fps (L) 640 x 480, 29.97/25 fps Star time-lapse (Full HD) 30/15 fps Miniature effect (HD, L) 6 fps, 3 fps, 1.5 fps Hybrid Auto (HD) 29.97/25fps iFrame Movie (Full HD) 29.97/25fps |
| Movie duration | (Full HD and HD) Up to 4 GB or 29 min. 59 s* (L) up to 4 GB or 1 hour (Star Lapse Movie) up to 128 sec. * For maximum recording time (HD) 1280 x 720, memory cards of the following type are required: bit rate class 4 or higher. (Full HD) 1920 x 1080 - Bit rate class 6 or higher. (iFrame) 1280 x 720 - Speed class 6 or higher. |
| FILE TYPES | |
| Photo format | Compression format JPEG (Exif 2.3 compliant / Design rule for Camera and DPOF version 1.1 compliant), RAW (14bit, Canon original RAW 2nd version), RAW+JPEG |
| Video | MP4 [Video: MPEG-4 AVC / H.264, Audio: MPEG-4 AAC-LC (stereo)] iFrame |
| DIRECT PRINT | |
| Canon printers | Canon SELPHY compact photo printers and Canon inkjet printers with PictBridge support |
| PictBridge | Yes (via USB or Wireless LAN) |
| OTHER FUNCTIONS | |
| GPS | GPS via mobile phone (connected to a compatible smartphone) |
| Removing red-eye | Yes, in shooting and playback modes |
| My Camera/My Menu Functions | Customization of the "My Menu" function is available |
| My category feature | |
| Intelligent Orientation Sensor | Yes |
| bar graph | Yes, real-time histogram |
| Playback Zoom | approx. 2x - 10x multiple |
| Self-timer | Distribution of images by category |
| Menu languages | English, German, French, Dutch, Danish, Finnish, Italian, Greek, Norwegian, Portuguese, Russian, Swedish, Spanish, Ukrainian, Polish, Czech, Hungarian, Turkish, Chinese (Simplified), Chinese (Traditional), Japanese, Korean, Thai, Arabic, Romanian, Farsi, Hindi, Malay, Indonesian, Vietnamese, Hebrew |
| INTERFACE | |
| A computer | Hi-Speed USB connector (MTP, PTP) DIGITAL |
| Other | HDMI micro connector, Audio/video output (PAL/NTSC) External microphone (3.5mm stereo mini jack) Headphone output (3.5mm jack) |
| For connecting to a computer/other devices | Wi-Fi (IEEE802.11b/g/n), (2.4 GHz only), NFC enabled* * Wi-Fi usage may be restricted in some countries and regions. Wi-Fi support varies by device and region. More information can be found at www.canon-europe.com/wirelesscompacts |
| MEMORY CARD | |
| Type | SD, SDHC, SDXC (UHS Speed Class 1 compliant cards) |
| SUPPORTED OPERATING SYSTEMS | |
| PC and Macintosh | Windows 8 / 8.1 / 7 SP1 Mac OS X 10.8/10.9/10.10 To connect to a PC via Wi-Fi: Mac OS X 10.8.2 or later / 10.9 / 10.10 For Image Transfer Utility: Windows 8 / 8.1 / 7 SP1 only Mac OS X 10.8.2 or later / 10.9 / 10.10 |
| Software | |
| Other | CameraWindow DC Map Utility Image Transfer Utility |
| Photo processing | Digital Photo Professional RAW Software |
| SOURCE OF POWER | |
| Batteries | Rechargeable lithium-ion battery type NB-10L (battery and charger included) |
| Battery Life | approx. 300 frames Eco mode: 415 frames approx. 360 min. reproduction |
| AC power supply | AC adapter ACK-DC80 sold separately |
| ACCESSORIES | |
| Cases/Straps | Soft Case DCC-2300 PowerShot Accessory Organizer |
| Canon Lenses | Lens hood LH-DC100 Filter adapter FA-DC67B (compatible with Canon 67mm thread filters: PL-C B circular polarizing filter, protection filter) |
| Flash | Canon Speedlite (including 270EX, 270EX II, 320EX, 430EX, 430EX II, 580EX, 580EX II, 600EX, 600EX-RT*) Speedlite Transmitter (ST-E3-RT, ST-E2), Speedlite Bracket SB-E2, Off-Camera Shoe Cable OC-E3 * Not all flash functions are supported |
| Remote control/switch | Remote control RS-60E3 |
| Power supplies and chargers | AC Adapter ACK-DC80, Charger CB-2LCE |
| Other | Electronic Viewfinder EVF-DC1 (type 0.48), aspect ratio 4:3, approx. 2,360,000 points, 100% overview Interface cable IFC-400PCU Canon HDMI Cable HTC-100 |
| PHYSICAL CHARACTERISTICS | |
| Operating conditions | 0-40°C, 10-90% humidity |
| Dimensions (W x H x D) | 123.3 x 76.5 x 105.3mm |
| The weight | approx. 733 g (including battery and memory card) |
Drawing up a review Konstantin Birzhakov, June 19, 2015
According to the official website of Canon
The author of the review cannot be held responsible for the accuracy of information taken from open sources.
Not all novice users know what the physical size of a matrix is. Many people confuse it with resolution, but they are two different things. At the same time, the physical size of the matrix is one of the most important parameters of the camera, which affects the quality of images.
Before proceeding to the consideration of the influence of the size of the matrix on photographs, we first consider what kind of matrices are.
Sometimes it is not easy to find out which matrix is on a particular camera. Sellers in stores often simply do not know this, and manufacturers rarely indicate this information. Why? This riddle.
And yet, what is the physical size of the matrix?
As many might have guessed, the physical size of the matrix is its length and width, measured in millimeters.
Historically, in the specifications, manufacturers indicate the physical size of the matrix in the reciprocal of inches, and not in millimeters. It looks like this: 1/3.2 is 3.4*4.5mm.
Often, even in inches, the matrix size is not indicated in the specifications, although the trend is beginning to change. In the announcements of new cameras, you can often find this information, but it is not a fact that it can be found in the instructions for the camera. In cases where the size is unknown, you can use the calculation. A table with standard values \u200b\u200bmakes this lesson easier:
The first column contains the values of the physical size of the matrix. The second column indicates the corresponding size in inches. The third column contains information on how much the 35mm frame diagonal is larger than the sensor diagonal. To make the calculation, you will need two values, which are always indicated in camera specifications. These are the equivalent focal length and focal length. All the necessary information should be in the technical documentation and on the lens. If the focal length and the equivalent focal length are known, the calculation is easily made by dividing the second by the first. The result of the calculation will be the value of the coefficient KF.
Example: having F = 7 - 21mm, and Feq = 35 - 105mm, two formulas can be obtained. You can divide either 35/7 or 105/21. The result of both actions will be KF = 5. According to the table, we find the closest value to the calculated one and obtain the information we are interested in. In our case, this is the physical size of 1 / 1.8″ or 5.3 * 7.2mm.
Consider matrices by standard sizes:
- The smallest matrices - 1/3.2″. They are used most often in cheap compact cameras. Their aspect ratio is 4:3 and the physical size is 3.4*4.5mm.
- matrices 1/2.7″ with an aspect ratio of 4:3 and a physical size of 4.0 * 5.4 mm are also used in low-cost compacts.
- 1/2.5″ matrices belong to the same camera segment as the previous two positions. They have an aspect ratio of 4:3 and a size of 4.3*5.8mm.
- Matrices size 1/1.8″ with an aspect ratio of 4:3 and a geometric size of 5.3 * 7.2 mm are used in more expensive compact cameras. They can be found in devices of the middle and above the average price range.
- Matrix size 2/3″ has an aspect ratio of 4:3, and the physical size is 6.6 * 8.8 mm. Often they are used in expensive compacts with non-replaceable optics.
- Matrices size 4/3″- physical size 18 * 13.5 mm and aspect ratio 4:3 are used in expensive cameras.
- DX, APS-C - This is a 3:2 aspect ratio matrix format with a size of about 24 * 18 mm. These matrices are used in semi-professional and professional SLR cameras. They are widely used due to their relative cheapness and good image quality.
- full frame the matrix has a size of 36 * 24 mm. Its aspect ratio is 3:2, and in size it corresponds to a 35 mm frame. Such matrices are expensive to manufacture and are used in professional photographic equipment.
- medium format matrices have a format of 60 * 45 mm with an aspect ratio of 3:2. Such matrices are stitched together from several simpler ones, which certainly affects the cost of such production. They are used exclusively in expensive cameras.
Having dealt with the main dimensions, it is worth talking about what exactly they affect.
First of all, the size of the matrix affects the dimensions and weight of the camera. The size of the optical part directly depends on the size of the matrix, and from this we can draw the appropriate conclusions.
Also, the size of the matrix is an indicator of the digital noise that will be transmitted to the pictures.
Digital noise significantly spoils photos, creating the impression of a mask of dots and scratches superimposed on the picture.
Noise can occur for many reasons. This may be a defect in the matrix itself, which manifests itself in the leakage of current that breaks through to neighboring pixels. Also, the appearance of noise may be due to the heating of the matrix.
Noise performance is affected by both the physical size of the sensor and the size of the pixels. The larger the matrix, the more light hits it. Accordingly, more useful information. The use of large matrices allows you to get a brighter image with natural colors.
With a large pixel size, the insulation layer between them is also larger, and therefore the leakage current decreases.
To better understand the concept of pixel size, just imagine two matrices of the same size. On one matrix there are 4000 pixels (4MP), and on the second 8000 pixels (8MP). Imagine now the difference in the isolation layer between each pixel for the first and second case.
It is worth noting that small-sized matrices receive little light, and, accordingly, the useful signal is not great. It needs to be amplified, and along with useful information, noise is also amplified.
Summing up, we can highlight the fact that a larger amount of light falls on a large-sized matrix. Accordingly, the picture will be brighter and clearer. Increasing the size of the sensor increases the cost of its production, and, consequently, cameras with large physical sensors will cost much more than their compact counterparts.
Any choice is a comparison, we all periodically have to compare. It is a thankless task, and most importantly, it requires starting points: what can be compared with what, albeit with a stretch, and what can be put side by side incorrectly.
As a first (and often the main) factor for digital cameras, you can use the physical size of the photosensitive sensor (aka "matrix"). To group all the variety of existing sizes, I propose to use the weight categories of professional boxing (English correspondences from the World Boxing Association (WBA).
At first I wanted to limit myself to the size of digital camera matrices, but then I decided not to limit myself in anything and added a little about film: there is nothing new and standards are not taken from the ceiling. Most of the usual sizes (not taking into account the matrices of compact cameras) came from film times, and in some cases ("Large format") they still remain there: I hope that in 5 years (if earthquakes, floods and tsunamis do not interfere) we will see matrices digital cameras, in size related to "heavyweights" - large format. In the meantime, he - heavy and large - remains the lot of very few filmmakers. The rest of the formats and sizes "familiar" to advanced amateur photographers - one way or another - correlate with the dimensions of the film. New and unusual (from Nikon 1 / CX and less) were absent in film times and standardization is yet to come. Confusion and vacillation will come to naught: the time will come when the cost of the matrix will drop to a level where it will be easier to meet the standard than to try to add a fraction of a millimeter and go to a higher class.
The multidirectional development is interesting: at the dawn of photography (with the growth of the quality of photosensitive material), the sizes decreased, in our digital age, on the contrary, the development of technology allows increasing the size of matrices.
It turns out the following (for today, tomorrow everything can change):
- Heavyweight (large format)
- First Cruiserweight (medium format)
- Light heavyweight (35 mm)
- Super middleweight (APS -H)
- Middleweight (APS-C) + Foveon
- Super Welterweight (4/3 and micro 4/3)
- Welterweight Welterweight (Nikon 1/CX)
- 1st Welterweight Super lightweight (2/3")
- Lightweight (1/1.6)
- 2nd Super featherweight (1/1.7")
- Featherweight (1/1.8 inch)
- 2nd Bantamweight Super bantamweight (1/2")
- Bantamweight (1/2.3 and 1/2.33 inches)
- 2nd Super flyweight (1/2.5")
- Flyweight (1/2.7 inch)
- 1st Light flyweight (1/3" and 1/3.2")
Minimum weight Minimumweight (anything less than 1/1.32 (1/1.36, 1/4, 1/6, 1/8, 1/10)
Nothing is perfect and I had to voluntarily combine some cameras that differ in size of matrices: APS-C from Canon, Nikon and Fauveon's APS-C from Sigma.
Ebony SV2024
Heavy weight.
King, simply king - format cameras or large format.
Large format cameras are called cameras that work with films (or plates) measuring 9 * 12 cm or more. Historically, all photography began with large format cameras, with medium format and film coming later. Standard sizes: 9*12 cm, 13*18 cm, 18*24 cm. Pavilion, reproduction and other special format cameras can use flat sheet film or glass photographic plates 10*15 cm, more.
Hasselblad H4D-40
First heavyweight.
A little closer to the people - medium format.
Medium format cameras use film types 120 and 220. The frame size can vary: 45*60, 60*60, 60*70, 60*80, 60*90 mm and 60*120 mm, it is important that one of the sides of the frame is 6 cm - the width of the film. (The actual frame size is somewhat smaller than indicated: for example, for a 45 * 60 format, the image field dimensions are: 40-42 * 55.5-57.5 mm; for 60 * 90 - 55.5-57.5 * 86-88 mm). Type 120 film was introduced by Kodak in 1901. In 1965, type 220 film was introduced - type 120 film doubled in length.
Now medium format is represented by cameras using film or digital backs and fully digital cameras with matrices similar to medium format. The most "film" sizes of matrices are found in Mamiya/Phase One 645 - from 44*33 mm to full-fledged 53.9*40.4 mm. There are matrices from Kodak with a size of 48 * 36 mm. The "people's medium format" - Pentax 645D - is equipped with a 44 * 33 mm matrix, the "anti-people" Leica S2 - 45 * 30 mm.
Light heavyweight.
Traditional and well-known "35 mm".
The frame size is 24*36 mm and corresponds to the traditional frame size of 135 film, which appeared in 1934. In digital photography, cameras with a sensor of this size are commonly called full-frame (Nikon D3 and D700, Canon EOS 5D, 1Ds or Sony A900), and in film times they were called "small format" or "narrow film".
Frame diagonal - 43.2 mm. Area - 864 sq. mm.
The Leica lineup includes the Leica M9, the only rangefinder digital camera with a full-frame sensor to date.
Canon 1D mark IV
Second Middleweight.
APS-H (Advanced Photo System-H)
Named by analogy with the film APS -H frame (30.2 * 16.7 mm). The "analogy", however, is weak - the film frame had an aspect ratio of 16:9. APS -H is an extremely small detachment of matrices due to the use of only Canon (crop factor 1.3) with weak support from the rangefinder Leica M 8 with an 18 * 27 mm matrix (crop factor 1.33).
Pentax K-5
Average weight.
APS-C (Advanced Photo System-C)
Film APS-C (Kodak type 240 film was released in 1996) was designed to defeat and "kill" the 35mm format. The frame size was 16.7*25.1 mm. Area 419 sq. mm. Frame diagonal 30.1 mm, crop factor - 1.4. It was not possible to win, and soon the "figure" actively moved to the masses. Today - probably - the most common sensor size for digital SLR cameras. There are two and a half options:
with a crop factor of 1.5 (Nikon, Sony, Pentax) Dimensions Nikon DX 23.6 * 15.8 mm. Area 373 sq. mm. Diagonal 28.4 mm.
with crop factor 1.6 (Canon EF -S) Size 22.3 * 14.9 mm. Area 329 sq. mm. Diagonal 26.7 mm.
and half: Foveon Sigma SD: 20.7 * 13.8 with an area of 286 sq. mm. Crop factor 1.7.
The crop factor is calculated very simply: you need to divide 43.2 mm (diagonal of a full-frame 35 mm) by the diagonal of the matrix of the camera in question.
By the way, there is also the Leica X 1, equipped with an APS -C - 23.6*15.8 mm CMOS sensor - probably the most expensive compact digital camera, and the amazing Fujifilm X 100.
First Middleweight
4/3 and Micro 4/3.
From Olympus and Panasonic. Size 17.3*13.0mm. Area 225 sq. mm. Diagonal 21.6 mm. Aspect ratio: 4:3. The crop factor is almost exactly 2. The sensor is almost 4 times smaller than a full-frame sensor in terms of area, which allows you to make cameras that are compact in size and weight-friendly.
The "standard" was laid down by "half-frame" cameras using ordinary 135 film, but exposing only half of the frame sized 18 * 24 mm, which became a breakthrough in the ongoing struggle for compactness and miniaturization in film times. A standard 35 mm film cassette fit twice as many frames (72 on 36-frame film, 48 on 24-frame). The frames had a vertical (portrait) orientation, as opposed to the standard 35mm landscape (horizontal) orientation.
Welterweight.
Nikon 1/CX
More recently, Nikon 1 / CX appeared with a 13.2 * 8.8 mm matrix and an area of 116 square meters. mm. Crop factor 2, 7. In the naming system adopted for compact digital cameras, it would become "inch" or 1/1 inch.
First Welterweight.
2/3 in.
Size 8.8 * 6.6 mm with a diagonal of 11 mm and an area of 58 square meters. mm. Crop factor 3.9. Prior to the advent of the Nikon CX system, it was considered the "top" option for compact digital cameras. Examples : FujiFilm X10, X-S1, Sony Cyber-shot DSC-F717 and F828, Minolta DiMAGE 7Hi and A1, Nikon Coolpix 5000.
A light weight
1/1.6 inch
Dimensions 8.08*6mm or 8.07*5.56 for 1/1.63 inch. Diagonal 10.4 mm, area 52 sq. mm. Crop factor - 4.2.
Examples: FujiFilm FinePix F 50FD , Olympus XZ -1, Leica D -lux 4, Panasonic Lumix DMC Lx -3
Second Featherweight
1/1.7"
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