Comparison Panasonic DMC-G90 body vs Panasonic DC-G9 body

The presence in the camera of a special mechanism for cleaning the matrix from dust and other contaminants.

This function is found only in models with interchangeable lenses — "reflex cameras" and MILC (see "Camera type"). When replacing the lens in such cameras, the sensor turns out to be open, and the probability of its contamination is quite high; and extraneous particles on the matrix, at best, lead to the appearance of extraneous artifacts, at worst, to damage to the sensor. To avoid this, cleaning systems are provided. They usually work on the principle of ultrasound: high-frequency vibration "resets" debris from the surface of the sensor.

Note that no cleaning system is perfect — in particular, such systems are “too tough” for condensate, salt deposits and other similar contaminants. So the matrix may still need manual cleaning (ideally, in a service centre). Nevertheless, this function allows you to effectively deal with at least dust, which greatly simplifies the life of the user.

The highest number of shots the camera can capture “in one shot” when shooting in RAW format continuously (see “Recording in RAW Format”).

The technical features of modern digital cameras are such that during continuous shooting, photos have to be recorded in a special buffer, and only then, after the end of the series, they can be transferred to a memory card. This buffer has a limited size, so the number of frames in one series is also limited. At the same time, we note that this indicator is usually indicated for shooting at the highest possible resolution (see "Maximum image size"); at lower resolutions, the volume of each image is reduced, and the number of frames in the series may be more than stated in the specifications.

RAW images take up more space and require more processing power than "finished" JPEGs. Therefore, the number of frames in a series of this format is usually lower than that of JPEG. However, there are exceptions — usually these are cameras that have two separate buffers (for RAW and JPEG).

The maximum resolution and frame rate of video captured by the camera in Full HD (1080p).

The traditional Full HD video resolution in this case is 1920x1080; other options are more specific and practically do not occur in modern cameras. Regarding the frame rate, it is worth noting first of all that a normal (not slow-motion) video is shot at a speed of up to 60 fps, and in this case, the higher the frame rate, the smoother the video will be, the less jerks will be noticeable when moving in the frame. If the frame rate is 100 fps or higher, this usually means that the camera has a slow-motion video mode.

The maximum resolution and frame rate of video captured by the camera in the Ultra HD (4K) standard.

UHD 4K refers to resolutions with a frame size of approximately 4,000 horizontal pixels. Specifically, in cameras for video shooting, resolutions of 3840x2160 and 4096x2160 are most often used. Regarding the frame rate, it is worth noting first of all that a normal (not slow-motion) video is shot at a speed of up to 60 fps, and in this case, the higher the frame rate, the smoother the video will be, the less jerks will be noticeable when moving in the frame. If the frame rate is 100 fps or higher, this usually means that the camera has a slow-motion video mode.

File formats in which the camera can record video. Given that the footage is designed to be viewed on an external screen, you should make sure that the playback device (DVD player, media centre, etc.) is able to work with the appropriate formats. At the same time, many camera models themselves can play the role of a player by connecting to a TV via an audio / video output or HDMI (see the corresponding paragraphs of the glossary). And if the video materials are to be viewed on a computer, you should not pay special attention to this parameter at all: problems with format incompatibility in such cases rarely occur, but are usually solved by installing the appropriate codec.

Restrictions on the length of the recorded video provided in the design of the camera. In some models, the recording time is limited in time (for example, 30 minutes) — thus, to record a longer video, it will have to be split into separate clips. In others, the duration depends only on the amount of free memory — you can record as long as there is enough space. There is also a combination of these options; in such models, video recording stops as soon as either of the two limits is reached.

— USB C. A universal USB interface that uses a Type C connector. USB ports themselves (all types) are used mainly for connecting the camera to a computer for copying footage, managing settings, updating firmware, etc. Specifically The Type C connector is comparable in size to earlier miniUSB and microUSB, but has a reversible design that allows the plug to be inserted in either direction. In addition, USB C often operates according to the USB 3.1 standard, which allows for connection speeds of up to 10 Gbps - a useful feature when copying large amounts of content.

- HDMI. A comprehensive digital interface that allows you to transmit video (including high resolution) and audio (up to multi-channel) over a single cable. The presence of such a port makes it possible to use the camera as a player: it can be directly connected to a TV, monitor, projector, etc. and view your footage on the big screen. In this case, broadcast capabilities can include not only video playback, but also demonstration of captured photos in slide show mode. HDMI inputs are present in most modern video equipment, and connection is usually not a problem.
Nowadays, there are several versions of the HDMI interface on the market:

• v 1.4. The oldest version currently relevant, released in 2009. However, it supports 3D video, is capable of working with resolutions up to 4096x2160 at a speed of 24 fps, and in Full HD resolution the frame rate can reach 120...fps. In addition to the original v.1.4, there are also improved modifications - v.1.4a and v.1.4b; they are similar in basic capabilities, in both cases the improvements affected mainly work with 3D content.
• v2.0. Significant HDMI update introduced in 2013. In this version, the maximum frame rate in 4K has increased to 60 fps, and support for ultra-wide 21:9 format can also be mentioned. In update v.2.0a, HDR support was added to the interface capabilities; in v.2.0b this function was improved and expanded.
• v 2.1. Despite the similarity in name to v.2.0, this version, released in 2017, was a very large-scale update. In particular, it added support for 8K and even 10 K at speeds up to 120 fps, and also further expanded the capabilities for working with HDR. This version was released with its own cable - HDMI Ultra High Speed; all features of v.2.1 are available only when using cables of this standard, although basic functions can be used with simpler cords.

— Headphone output. Audio output allows you to connect headphones to the camera. As a rule, it is represented by a classic 3.5 mm mini-jack. The presence of such a connector provides the ability to monitor sound during video recording in real time. This is especially important when filming interviews, vlogs and other similar projects.

— Microphone input. Specialized input for connecting an external microphone to the camera. External microphones are significantly superior to built-in microphones in sound quality. Firstly, they are not so sensitive to the camera’s “own” sounds - from buttons, control wheels, focus motors, etc. (and if the microphone uses a long wire and is not attached to the body, these sounds will not be heard at all). Secondly, external microphones themselves have more advanced characteristics. On the other hand, their use is justified mainly for professional video recording; therefore, the presence of a microphone input, as a rule, corresponds to advanced video recording capabilities

The number of focus points (autofocus) provided in the design of the camera.

The focus point is the point (more precisely, a small area) in the frame from which the autofocus system reads data for focusing. The simplest systems work with a single point, but their capabilities are very limited, and this option is practically not found today. Modern digital cameras have at least three focus sensors, and in the most advanced models this figure can reach several dozen.

The more autofocus sensors there are in the camera, the more advanced its autofocus capabilities will be, the more specific techniques it allows you to use. In this case, the selection of specific points used can be carried out both automatically, simultaneously with the choice of the subject program, and manually (however, the second option is more typical for professional cameras). In addition, the abundance of focus points has a positive effect on the quality of the tracking autofocus (see "Autofocus Modes").

In general, more focus sensors are generally considered a sign of a more advanced camera; however, differences in quality become really noticeable only if the difference in the number of points is significant - for example, if we compare models with 9 and 39 points. A lot also depends on the location of the points in the frame - it is believed that sensors distributed over a wide area work better than densely located in the center of the frame, even if their number is the same.

This setting can be simplistically described as the amount of magnification provided by the viewfinder relative to how the image appears to the naked eye. The features of modern viewfinders are such that most of them have crop values less than 1 — that is, it somewhat reduces the visible “picture”.

In general, the larger this parameter, the larger the objects look in the viewfinder and the easier it is to focus through it.