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  • Performance

  • Format

  • Tour

  • Auto / Manual Controls

  • Still Features

  • Handling and Use

  • Audio / Playback / Connectivity

  • Other Features

  • Comparisons / Conclusion

  • Specs/Ratings

  • Performance
  • Format
  • Tour
  • Auto / Manual Controls
  • Still Features
  • Handling and Use
  • Audio / Playback / Connectivity
  • Other Features
  • Comparisons / Conclusion
  • Specs/Ratings

Performance

The PV-GS300 packs three 1/6" CCDs with a gross pixel count of 800K. This translates to an effective pixel count on 640K in 4:3 mode and 540K in 16:9 mode. The reduced effective pixel count is an early indicator that this camcorder does not produce true 16:9 video. We’ll get around to testing that in the Wide Angle section below.

We test all of our camcorders at 3000 lux to determine the video performance. At this light level, the picture from the PV-GS300 is very good. Colors are sharply defined and the picture is beautifully crisp. This is, of course, what you should expect from the penultimate camcorder in a manufacturer’s line. Every bit of the spectrum seems to receive equal treatment; the reds are as strong as the blues as the yellows as the greens. It’s refreshing after reviewing an onslaught of low-end camcorders where the picture always shows evidence of over-saturation.

Compared to last year’s PV-GS250, the GS300 seems to produce a sharper image. The GS250 showed significant blurring at the point where different color tiles meet. When zooming in around 500%, the difference between the two camcorders becomes more apparent. It appears Panasonic has overhauled the automatic gain control, and they seem to have done a good job on it. Fine grain noise has increased on the GS300, but it remains difficult or impossible to notice at 100%. The gain has improved the picture’s overall sharpness and boosted the overall brightness of the image ever so slightly.

Holding the GS300’s results up against the new GS500’s supports the claim that the gain has been tinkered with. Though we have not published the GS500’s review yet, we have finished testing, and the same noise / sharpness trends can be found. Panasonic’s adjustments seem to have paid off. The pictures look great, though the GS500’s larger chip sizes (1/4.7" versus 1/6") did make for a sharper picture with less color bleed. The GS500 generally seemed to have a less saturated (read "more accurate") image.

We also compared the GS300 to the top Sony MiniDV of last year, the DCR-HC90, and the second to top Canon, the Optura 60. The Sony was not nearly so bright, and also showed problems with blue noise spreading out into the green and violet portions of the spectrum. The GS300 definitely has it beat for sharpness. The Canon Optura 60, which ranked favorably last year, had approximately equal color balance and brightness, but a more noticeable noise problem, which is of a coarser grain than the noise on the GS300. This noise caused the edges of the color tiles to blur, particularly in the blues and reds. Overall, the Panasonic GS300 outperformed all of these camcorders except its next-step-up sibling, the GS500.

Video Resolution*(15.3)*

The GS300’s video was tested for its resolution by shooting a standard ISO 12233 resolution chart and running stills from that footage through Imatest imaging software. In 4:3 aspect ratio, the GS300 showed lines of horizontal resolution of 491.4 and 312.0 lines of vertical resolution, yielding an approximate resolution of 153316.8.

In 16:9, the GS300 produced 506.1 lines of horizontal resolution and 275.8 lines of vertical resolution, yielding an approximate resolution of 139582.38.

Low Light Performance*(5.5)*

At 60 lux, the PV-GS300 has obviously lost a good deal of its brightness compared to the bright light, 3000 lux test. The noise increases a noticeable amount, but the picture remains very sharp and the camcorder shows no problems focusing. The colors remained evenly balanced.

All Panasonics feature gain control, and what better time to test it than now? We boosted the gain at the 60 lux level to +18dB, the maximum setting. You would expect the picture to blow out at this level, but the control actually seemed to work wonders. Brightness was boosted, but the noise levels remained nearly identical to 60 lux in auto mode. The picture was not as bright as it was at 3000 lux, but neither did the whites blow out, which is a strong point in favor of the gain’s sensitivity.

Last year’s PV-GS250, by comparison, followed suit from its 3000 lux performance. The noise was more noticeable, and the picture not as crisp as the one from the GS300. Color vividness was about the same between the camcorders, but the magenta panel in the GS250 shows a distinct leaning towards red, while it appears more blue in the GS300.

The GS500, this year’s top MiniDV cam, had a much stronger showing in 60 lux. There was marginally less noise, but a world of difference in brightness level. The GS500’s larger 1/4.7" CCDs really pays off in low light.

Sony’s HC90 had trouble focusing at 60 lux, but the saturation boost it performed made the picture look brighter than the GS300’s. Finally, the Canon Optura 60 had a much noisier picture, though the colors were stronger. The reds appear more dominant in the Optura’s images.

At 15 lux, much of the PV-GS300’s picture quality has deteriorated. Because the GS300 does not seem to apply an over-saturation as part of its low light correction, distinguishing colors becomes difficult. Noise increases greatly and this time overwhelms the sharpness. This is no longer a useable picture.

The PV-GS250 was a little brighter, with the saturated reds actually coming in handy if you were to shoot a reddish subject at this light level. Noise levels were still higher than the GS300’s. The GS500, on the other hand, produced an image that still provided a significant amount of detail and remained surprisingly sharp. Colors were brighter and noise was less noticeable.

The over-saturation at 15 lux on the Sony HC90 was too much for the image to overcome. There is no balance between colors anymore, just a yellowish band extending past its appropriate areas, yellowing-up the green and green-blues. The Canon Optura 60 had virtually no color information and an abundance of blackish noise.

Wide Angle* (8.8)*

We tested the PV-GS300 for the width of its recording field when zoomed all the way out in both 4:3 and 16:9 modes, in part to determine if the camcorder has true widescreen. The answer is no, the GS300 does not have true widescreen. In 4:3, the camcorder had a wide angle of 44 degrees. In 16:9 mode, the camcorder had a wide angle mode of 46 degrees. This minor difference indicates that the GS300 uses a subtractive (cropping the top and bottom) rather than additive (adding information on the sides) method to achieve a 16:9 frame. A larger difference of 10-14 degrees between 4:3 and 16:9 modes would have indicated true widescreen.

Format

Compression* (8.0)*

The compression found when shooting with MiniDV camcorders is minimal compared to the compression of the MPEG-2 format of DVD camcorders or hard disk camcorders. This means that the PV-GS300 can record higher quality video at a fraction of the price of these up and coming formats. While future DVD and hard drive camcorders could potentially outdo MiniDV, that day has not yet dawned. The PV-GS300 is still able to provide a superior product in this category. Still images are recorded as JPEG files to SD card.

Media* (8.0)*

The PV-GS300 comes with two media options. Video is recorded to 6.35mm MiniDV tape while still images are recorded to SD memory cards. The video compartment is located on the right side of the camcorder while the SD memory card slot is located on the bottom of the PV-GS300. Maximum resolution for still images is 2048 x 1512 and the maximum number of shots recordable to memory card is contingent upon card size, image size and image quality. While neither format is included with the camcorder they are easily found both on and off-line in numerous sources.

Editing* (8.0)*

Installing the included Panasonic MotionDV Studio and Quick Movie Magic software was probably the easiest part of the editing process. A simple icon menu appears and allows the user to select the program they wish to install. Once selected, a simple step-by-step installation setup will quickly usher even the most basic computer users through the process. Upon its completion it is possible to open either program, with the MotionDV Studio software providing the more in-depth editing experience. MotionDV Studio initially looks simple, but for users without patience or experience, it may be wise to use the edit assistant feature.

The first problem encountered was in setting the DV input to recognize the Panasonic camcorder. This is not done by the computer upon opening the program. You must enter the input menu and navigate submenus to open and alter this to the proper Panasonic PV-GS300 setting. The importation of video from the camcorder is awkward and demands that the user to press play and then the capture button. And when ending capture mode the tape doesn’t stop playing automatically, so doing precise capturing is out of the question.

The video is imported with simultaneous audio and listed in a workspace which displays a thumbnail and clip information. This workspace has tabs which allow the editor to also view audio clips, still images, title clips, and other footage either imported from the camcorder, title editor, or other image/audio creation system. The layout is similar to Adobe Premiere in terms of thumbnail, data of file and drag & drop cutting onto the timeline. Clips may be dropped into the timeline and then length may be manipulated by moving the clip end-point in a scrubbing motion until the proper length is set. There appears to be no way to leave blank space within the timeline; when users drag and drop clips, each clip will successively snap to the one previously listed in the timeline. It is possible to alter in and out points by highlighting the edit point and clicking the appropriate button. This is an immediate edit unlike the analogous feature in Final Cut Pro, for which users can select in and out points and then cut, crop and alter after engaging in other processes. Also, unlike Premiere and Final Cut, this program doesn’t allow shortcuts like copy and paste to be applied to clips within the timeline.

The effects and animations available in the video transitions, video effects, and video titles sections are surprisingly not cheesy. While each effect is listed with a helpful and basic icon image, the actual quality of the effect is less assured. The wipe, page peel, fade in, fade out and other settings of this nature are standard and will perform without painful cringing.

The animations found within the video title menu are, to drastically understate it, interesting. They feature monkey-like bouncing children with halos and jump ropes, and they can be accentuated with schmaltzy frames that are unlikely to appeal to even the kitschiest editor. Imagine Precious Moments dolls coming to life and gyrating with the aid of the most primitive CG engine - you get the idea. I found these options most effective when either left out entirely (for serious video) or used to glorious excess. There is no middle ground.

Exporting files can be done easily by selecting the export video setting and selecting between MiniDV, email or video file. This program saves video files as AVI files when saving to computer. This process is straightforward. If users are looking for an editing program where they will use the software to import, cut slightly and export footage, this software could certainly be sufficient. But if in-depth editing, multiple tracks, non-linear and more complex edits are necessary with quality graphics, fades and audio manipulation, it would be wise to look elsewhere. The interface doesn’t really provide quick and easy alterations and anyone who has worked with programs like Final Cut will find the non-intuitive workflow structure irksome.

Tour

**The Front ***(8.5)*

The front of the Panasonic PV-GS300 splits the camcorder into two orbs which separate the left and right sides. This design places the Leica Dicomar 10x optical zoom lens in the upper left corner, surrounding it with a textured ring that is not a zoom or focal ring—rather, it is the lens ring of the camcorder which may be turned and removed so that accessory lenses can be used. The lens on this MiniDV camcorder has a focal length of 3.0 mm to 30 mm with a filter diameter of 37 mm, while the auto iris has a range of f1.8 to f2.8. The PV-GS300 uses an automatic lens cover which snaps over the surface of the lens when the camera is turned off.

 

Beneath the lens ring is the in-camera stereo microphone. To the right of it is the white balance sensor and remote control sensor behind a glossy black square. In its center is the video light for illuminating low light scenes. Above the video light and to the right of the Leica Dicomar lens is the flash for still image mode. This flash is vertical in orientation and will undoubtedly result in unflattering light distribution, harsh shadows, and uneven coverage.

**The Right Side ***(8.5)*

The primary function of the right side of the Panasonic PV-GS300 is to house the MiniDV compartment, opened via a tab on the top of the camcorder. The PV-GS300 has two ports, the A/V-out port and the Mic-in port, located near the front of the camcorder on the right side and hidden by a port cover. There is a comfortable amount of space between each. The port cover has a rubber hinge which connects the bottom edge of the port cover to the body of the camcorder.

Towards the back of the camcorder is a mound around the mode dial, which helps keep the right hand in place during handheld shooting. The in-camera speaker is located on the right hand side, directly in front of the mode dial. It allows users to monitor audio levels while watching videos in playback. Running along the bottom of the camcorder on a horizontal line is the right hand strap, poorly positioned and sized. The placement is too low for the strap to really feel secure, and the strap is too thin, meaning anyone with hands larger than a small marsupial will feel as though the camcorder could easily break away and fall.

**The Back ***(8.5)*

One of the more subtle and unique designs found on this camcorder involves the mode dial. The dial is located on the right side of the camcorder and is placed in the center of the vertical axis. This mode dial has the standard ring control for mode settings, easily switching by rotating it. In the center of the mode dial Panasonic has placed the primary control for manual settings and menu navigation, a small joystick which moves inward as well as in the cardinal directions.

What makes it unique is the angle at which the control is placed. Panasonic has angled the bottom of the control towards the front of the camcorder, allowing easier access and control with the thumb of the right hand when compared to other manufacturers who typically place this control at a ninety degree angle. This little small tilt makes a big difference in speed of manipulation.

To the left of the mode dial is the kidney shaped record button for the PV-GS300. To its left is the battery, which may be disengaged via a tab positioned on the bottom of the camcorder. The right hand strap has an eyelet located to the right of the battery pack near the bottom of the camcorder.

Above the battery pack is the electronic color viewfinder which can be extended away from the camcorder so that the battery pack doesn’t get in the way. When the viewfinder is pulled from the camcorder, the viewfinder adjustment control is visible, located on top of the viewfinder barrel for easy access. To the right of the viewfinder is the clearly labeled, although, somewhat undersized menu button for the PV-GS300. The on/off slider switch is located directly above the menu button and may be controlled by pressing the blue button in the center of the slider while simultaneously sliding the control horizontally to the left or the right.

**The Left Side ***(8.5)*

The left side of the Panasonic PV-GS300 features a well sized 2.7-inch LCD screen which flips open via a sturdy hinge located on the front edge of the LCD frame. Although the back edge is angled and textured for easy opening, the LCD can also be accessed by pulling on the top or bottom edge of the frame. The LCD screen can pivot 270 degrees, allowing properly oriented frontal viewing.

In the LCD cavity, exposed once the screen is flipped open, are a few controls and two ports located near the center and back. Closer to the back of the camcorder is the USB 2.0 Hi-speed compliant port as well as a FireWire DV in/out port. The auto/manual focus control switch is located next to these two ports and is easily engaged by the left hand during shooting. Beneath this switch is the Power LCD control which allows the user to brighten the LCD for shooting in less-than-ideal lighting situations. Towards the bottom of the camcorder, beneath these two controls, is the reset feature which returns the camcorder to its original control structure. On the base of the camcorder, on the left side, is the SD memory card slot, covered by a light-gray rubber cover that snaps cleanly away from the camcorder to reveal the slot beneath.

 
*Top and bottom *

The Top* (8.5)*

The top of the camcorder places a shoe for accessories very close to the back edge of the camcorder, directly adjacent to the viewfinder. To the right of the cold shoe is the Photo Shot button which allows users to capture still images to memory card. This still image control is comfortably accessed by the index finger of the right hand and won’t impede the functionality of the zoom toggle, positioned directly in front of it. The zoom toggle is also comfortably placed for access with the index finger and although not nearly as sensitive as the ones found on Canon camcorders, the PV-GS300’s toggle has a relatively good reaction sensitivity though the slow end of the speed range seems almost non-existent.

The open/eject tab for the MiniDV tape compartment is placed on the right side near the front of the camcorder and easily slides to allow the tape compartment door to open and the cassette to eject easily. This control is clearly labeled by a full-text description which is protected by a quarter of an inch of clear plastic, so users don’t need to worry about fading over time with heavy use.

Auto / Manual Controls

Picture & Manual Control
Automatic Control (5.0)

The PV-GS300 has a clearly marked auto mode switch inside the LCD cavity. In auto mode, your troubles concerning exposure, shutter speed, gain, focus – all things except pointing and hitting record – are over. When in auto mode, certain manual controls and parts of the administrative menu are inaccessible. For instance, you do not have access to shutter speed, iris, or gain, and you cannot select any of the scene modes. A breakdown of the menu structure can be found below in the Manual Control Section.

On the whole, the auto control on the GS300 is very good. The changes in exposure and white balance tend to come gradually, over the course of 3-5 seconds, but the shifts are accurate when they get there. Rarely, in fact, have I seen an auto white balance this good. Rooms with mixed lighting particularly tend to confuse camcorders, but the GS300 found a suitable tone for every subject in a room of mixed lighting.

The aperture range has decreased from last year, and it is smaller than it is on the GS500. The GS250, GS400, and GS500 all have an F1.8 – F16 range. The GS300 has a F1.6 – F16 range, which reduces the sensitivity by a 1/3 F-stop. The GS300 has also lost the automatic neutral density filter found on the other three camcorders. A neutral density filter reduces light, which can be helpful in brightly lit environments.

Though the scene modes cannot be accessed when in auto mode, scene modes are essentially "automatic controls," so we’ll talk about them here. Scene modes are preset exposure options meant to get the best picture out of very specific lighting situations. On this camcorder, they include Sports, Portrait, Low Light, Spotlight, and Surf & Snow. Most of the time, a user with minimal knowledge of manual controls can do a more accurate job than the scene modes. But in a pinch, they work just fine.

There are also a number of other controls that we can consider automatic. These are controls that you can turn on and off, but that is typically the extent of your input. Soft Skin mode searches for "certain" skin tones in the picture and automatically adjusts to reduce blemishes. Be sure to call the manufacturer to find out exactly on which skin tones this feature actually works.

MagicPix is Panasonic’s name for their low light mode. There are actually two modes in MagicPix: standard and 0 Lux MagicPix. In the first mode, the camcorder works off of the existing light in the environment to try and get a picture. In 0 Lux mode, you can flip the LCD outward towards the subject to add some light. Both modes work by slowing down the charge of the CCD to approximately 30x its normal speed. The result is a seriously blurred picture for any moving object. The manual suggests using a tripod. We suggest turning on the light.

Overall Manual Control (7.5)

The GS300 has the manual control options you should expect to see on a $700 camcorder. This should not come as a surprise, because all Panasonics are strong in this category. The GS300 offers control over iris, shutter speed, gain, and focus. The navigation and menu layout are more or less the same through every one of their consumer camcorders this year, MiniDV and DVD alike.

There are two menus, which we dub manual control and administrative. The administrative menu is called up by pressing the Menu button located on the rear of the body. Here you will find most of the controls that you would not need close at hand: recording speed, aspect ratio, clock set, digital zoom on/off, still picture quality, etc. Navigation through this menu is done with the joystick, also located on the rear.

The manual control menu is accessed by pushing in on the joystick. This menu takes up only a small portion of the lower right side of the screen, so you can see changes in the picture immediately. There are a lot of features here, and in order to keep the menu small, it is split up into 4 or 5 "pages." Pushing down on the joystick scrolls through each page. Page 1 offers Fade on/off and Backlight Compensation. These controls can be turned on or off; they don’t offer any control beyond that. The third option on page 1 is Info. This handy little feature gives you an explanation of what all these tiny icons mean, correcting an annoying aspect of Panasonic camcorders from years past.

Page 2 of the manual control menu offers Soft Skin mode and Tele Macro. Page 3 is MagicPix. Page 4 is Recording check, which plays back the last recorded image for 2-3 seconds, and Black Search, which searches for the next part of unused tape.

Page 5 will not appear unless you are in manual mode. Here you’ll find the real manual controls: white balance, shutter speed, and iris. Each of these controls is also controlled with the joystick and has a wide range of increments to make for a very detailed control.

A screenshot wih the manual control menu in the lower right

There is a Page 6, too, for Focus. It appears when you push down on the auto/manual focus switch located inside the LCD cavity. This is the only "dedicated button" for a manual control on the body.

Maneuvering around in the manual controls is a cinch with the joystick, which is probably the best possible navigation system in the kingdom of consumer camcorders. It has the Sony touch screen LCDs and JVC touch pads easily beat. Canon saw the light too and started installing joysticks on their ZR camcorders this year.

Zoom (7.0)
The zoom control on the GS300 is well placed for the index finger and allows variable speed control depending on finger pressure. I was able to detect about three different zoom speeds. The control device is a sliding switch rather than a raised pivoting toggle switch. The latter tends to afford smoother control. A sliding switch, unfortunately, has a tendency to rock the body of the camcorder, thus upsetting the frame’s balance. The GS300 can reach an optical zoom of 10x and a digital zoom of 700x. 

*Zoom Power/Ratio (10.0)
*The PV-GS300 has an optical zoom of 10x. The digital zoom has a maximum of 700x, but it can be capped at 25x. By comparison, last year’s GS250 is exactly the same, and this year’s GS500 has a 12x optical zoom.

Focus (5.0)

The big loss, a carry over from the GS250, is the absence of a focus ring. It’s a feature that is infinitely handier than a joystick-controlled adjustment, and we’re sorry to see it go.

The manual focus on the GS300 is engaged by pushing down on the auto/manual focus switch located inside the LCD cavity. When engaged, the manual control appears with MF- and MF+ signs. Shift the joystick left and right until the picture is in focus. There are a number of things wrong with this system, and we were really hoping an upper-end Panasonic might have avoided them. Firstly, there is no numerical indicator to tell you where in the focus range you are. Secondly, the resolution on the LCD is not great, nor is it on the viewfinder. But these are the only viewing devices you have to judge the image by. Thirdly, of course, there is no manual focus ring. You will however find such a feature on the GS500.

Exposure (Aperture) (5.5)

When in manual mode, the GS300 does give you aperture control, found on page 5 of the manual control menu. The scale consists of F/1.8 (Open), F/2.0, F/2.4, F/2.8, F/3.4, F/4.0, F/4.8, F/5.6, F/6.8, F/8.0, F/9.6, F/11, F/14 and F/16. There is one intermediary step between each full stop. Unlike in the focus adjustment submenu, you cannot push and hold the joystick to scroll through the iris control. You must push the joystick each time. As mentioned above, last year’s GS250 and this year’s GS500 both have one larger aperture setting, F/1.6.  This is a great range of options, and the fact that you can make adjustments independent of shutter speed (as opposed to Canon's Aperture and Shutter Priority modes).

*Shutter Speed (7.0) *

The shutter speeds are located in the same place and controlled in the same way as aperture. Shutter speeds range from 1/60, 1/100, 1/120, 1/180, 1/250, 1/350, 1/500, 1/750, 1/1000, 1/1500, 1/2000, 1/3000, 1/4000 and 1/8000 of a second. This is an excellent range of options for shutter speed, and easily located via the joystick. Again, this is a much better system that a priority mode, as found on Canon's Optura 60, which does not allow you to set the shutter speed and aperture independently.

White Balance (7.0)

The white balance has four modes: auto, indoor, outdoor and manual. White balance controls are also located on page 5 of the manual control menu and modified via the joystick. As described in the Automatic Control section above, the automatic white balance is excellent. Manual white balance is just as simple and effective. Simply find your white target, choose manual white balance, and press up on the joystick. It takes 1-2 seconds, then it is set.

Gain (7.0)

Manual gain on the GS300 can only be accessed once the iris is opened fully to F/1.8, which appears as "OPEN" in the text onscreen. If you try to open the iris any further (done by pushing right on the joystick) the gain begins to increase. Gain ranges from 0dB to 18dB. It moves in 1dB increments, though you’ll only ever see every 3rd dB appear on the display: 3dB, 6dB, 9dB… up through 18dB. This level of control in gain is something that you won’t see on any other consumer camcorder.

Other Manual Control (0.0)

There is no other manual control on the PV-GS300.

Still Features

Still Features* (9.0)*

The Panasonic PV-GS300 allows you to capture stills to SD card in both 4:3 and 16:9 aspect ratios at various resolution sizes. All photos can be captured in either normal or high quality. In 4:3 mode, resolution sizes include 2048 x 1512 (3.1MP), 1600 x 1200 (2MP), 1280 x 960 (1MP), and 640 x 480 (0.3MP). In 16:9 mode, still resolution choices include 2048 x 1152 (2.4MP) and 640 x 360 (0.2MP). All of these choices are made in the administrative menu, accessed by pushing the Menu button on the rear of the camcorder.

All of the same manual control options you know and love from video mode can be found here as well: iris, shutter speed, gain, white balance. You also get all the same automatic controls like Tele Macro and scene modes. Some of the controls are modified in still mode, however. The lowest shutter speed setting is now 1/30, and the highest is 1/2000 of a second. Aperture, white balance, and focus are the same.

There is a burst mode on the GS300, referred to in the manual as a RapidFire Consecutive Photoshot, but you must be in the very smallest resolution settings – 640 x 480 or 640 x 360 – to use this feature. It can take up to 10 stills at 0.5 second intervals. If the shutter speed is reduced to 1/30, the interval speed increases to 0.7 seconds.

There is a flash located in the front of the body, to the right of the lens. The flash can be set to on, off or automatic. It can also be adjusted to three brightness settings, indicated in the administrative menu as a lighting bolt icon with -, +, and ±0. The GS300 also comes equipped with a red-eye reduction feature, which causes the flash to go off two times prior to image capture.

Still Resolution* (7.6)
*We tested the GS300 for its still resolution by taking stills of a standard ISO 12233 resolution chart and running the stills through Imatest imaging system. All stills were shot in the maximum setting of either 2048 x 1512 (4:3) or 2048 x 1152 (16:9). In 4:3 mode, the GS300 produced an approximate resolution of 762050.75 (with an average of 0.69% clipping). In 16:9 mode, the GS300 produced an approximate resolution of 478577.0 (with an average 0.82% clipping).

Clipping occurs when in Imatest an image is has too much contrast. It can affect the accuracy of the score. We increased the luminance multiple times in order to avoid the error, but it did not help.

Still Performance* (6.5)*

Though the PV-GS300 offers a number of resolutions for its stills, high resolution doesn't mean that pictures will look very good. And to be honest, they don’t. The stills, as you can see, are entirely washed of color. It bears so little resemblance to the quality of the video performance that it seems to come from another camcorder entirely. In all fairness, the processes by which a camcorder processes stills and videos are totally different. But if they’re going to offer still functionality, they should do it right.

The sharpness of the photos is just fine. There is plenty of detail and clean lines. But the color balance seems way off. This was taken in full auto, which adjusted to F/2.8 and a 1/06 shutter speed. But even at this level, the whites are close to blowing out in certain areas, and the picture is devoid of color saturation. All around, a poor performance.

By comparison, the GS250 looks very similar. There is a little more blue present, and the picture looks slightly darker. If possible, the Sony HC90 looks even duller. There is a strong push in grey and yellow at the sacrifice of every other color. The Optura 60 was also dull. In fact, holding the GS300 up against the competition almost makes it look good. But it’s not. This is no substitute for a dedicated still camera.

Handling and Use

Ease of Use* (6.0)*

The GS300 is as easy to use as is any Panasonic camcorder. For the completely uninvolved shooter, there is a clearly marked switch inside the LCD cavity for automatic mode. Once the switch is flipped, you troubles are over. Even the white balance, which we recommend all people learn, is very good.

For those even slightly more interested in tackling the menu, the first time can be a little confusing. I’ve described the menu layout in the Manual Controls section. In short, there are two menus: administrative and manual control. The administrative menu is all text, and simple to understand. The second menu is icon-oriented, and ascertaining the meaning of the icons could make for an interesting dissertation on semiotics. Thankfully, Panasonic took note and implemented a Info function that explains each icon and its purpose. This is found in "page 1" of the manual control menu (read the Manual Control section for more on this).

The GS300 can’t really compare with Sony for ease of use, but it is about even with Canon, whose Auto mode is much the same as Panasonic’s auto mode.

Handling* (8.5)*

The GS300 handles very well for a camcorder of its considerable performance. The body is compact, measuring 61mm (2.4 inches) wide x 32mm (1.26 inches) tall x 91mm (3.58 inches) long. It has shrunk considerably since the PV-GS250, particularly in height. While most manufacturers have chosen to slim down their camcorders in width, Panasonic is of the belief that low, fat bodies are easier to handle. I agree. A low body gives you plenty to grip, and the added ridged surface on the top and right sides make you realize how slippery the smooth surface of other camcorders can be.

The joystick on the rear of the body is the main attraction for handling. While some people staunchly refuse to accept them, this is probably the best navigation system available for consumer camcorders. Pro cams have plenty of room for dedicated buttons, but a body like the GS300 will never have enough room, so you can count that out. What about a less obtrusive touch pad, like on the JVC Everios? The controls are typically far too small. Touch screen? Not even close. We’re often skeptical of touch screens, but for good cause. First, the icons are necessarily large, and therefore mask much of the picture. Secondly, you are required to get your sticky, greasy finger prints all over the primary device you’re using to judge the quality of the picture in the first place. Is that Uncle Bill’s face out of focus or mayonnaise from your sandwich? Third, they necessitate the LCD screen being open, which costs battery power. Joysticks are the winner by far.

Of course, a good menu layout helps with handling, and the GS300 has that too. As described in the Manual Control section above, the menu is split into two types – administrative and manual. The latter is a small menu divided into 4 or 5 "pages" that take up only a small portion of the screen. This is good, because you’ll want to see the effects of your iris, shutter speed, gain, white balance, and other changes immediately.

The loss of the focus ring found on the GS250 is a real shame. A premium feature like that can only be found on the GS500 now.

Portability* (5.0)*

The GS300 is not an ultra compact, if that’s what you’re in the market for. It has undergone quite a diet from last year, but it would still be a bulky addition to a purse, and would never fit in a pocket. The manual indicates that the battery should last for 2 hours and 15 minutes at room temperature. This is a good amount of time and should preclude the need for toting along the battery charger.

LCD/Viewfinder* (6.25)*

The LCD on the Panasonic PV-GS300 is a widescreen 2.7-inch LCD with 123,000 pixels, which will give you mediocre image quality standard for this price range. Within the LCD cavity is the Power LCD button for increasing the brightness of the LCD screen. The LCD has improved from last year’s GS250, which had a 2.5-inch LCD. No surprise on this upgrade though; all non-entry level camcorders have switched over to a widescreen LCD this year.

 

The electronic color viewfinder may be extended from the camcorder for easier use and comes with an adjustment for the field of view. The viewfinder had a tendency to over-saturate colors and was a little too small to be as comfortable as larger viewfinders found on more expensive camcorders. However, at least there are no navigation controls in the LCD cavity; users can navigate menu structures and other controls while using the viewfinder. The menus are certainly harder to read and navigate when using the viewfinder and pressing the camcorder to your face, but when battery power is low this may be the only way to get that last great shot. Last year's GS250 had a pivoting viewfinder.

Battery Life* (11.6)*

We tested the included CGA-DU12 battery for life endurance by continuously recording video with the GS300 until the battery died. As with all camcorders, we set it to capture in 4:3 in auto mode with the image stabilization on, LCD backlight off, and no manual controls or zoom engaged through the course of the test. In total, the battery lasted 115 minutes and 57 seconds (1 hour, 55 minutes, and 57 seconds). This is a decent battery score, and statistically identical to last year’s battery.

 

Audio / Playback / Connectivity

Audio* (6.75)*

There are a number of audio features included on the Panasonic PV-GS300 which allow users to tailor audio recording to their needs. Externally, the PV-GS300 has an in-camera stereo microphone on the front while there is a Mic-in port located on the right. The inclusion of a Mic-in port is a great gesture; it allows users to avoid the often mediocre audio quality captured with the in-camera microphones. In case holding the microphone in your left hand is unfeasible, there is a cold accessory shoe on the top of the camcorder as well. However, the shoe and viewfinder are uncomfortably close, and it’s unlikely they can be used both comfortably and simultaneously. Last year's GS250 had a headphone jack, which we've lost this year.

In the PV-GS300 administrative menu is the wind cut control. This feature places a high pass filter on the audio recorded by the microphone. The filter blocks the low tones produced by wind striking the surface of the mic. Users may also choose whether to record in 12 or 16 bit audio modes. Higher quality audio will be recorded when sampling at the 16 bit recording rate. And finally, users can use a zoom mic feature which will record audio at greater distances than when the camcorder is recording in standard mode. The zoom mic raises audio levels, meaning this feature won’t work successfully in noisy situations since all audio will be raised and merely result in a confusing mush of sound. When viewing video in playback mode, users can dub alternate audio which will overwrite the original audio. This allows users to soundtrack video, produce breathy voice-overs or narrate footage easily through the playback menu structure.

When recording with 12 bit audio recording, users are provided with 4 channels of audio recording at a somewhat diminished quality. This means that users are able to leave the original audio that was recorded during shooting as well as record two additional mono tracks (one stereo track) during audio dubbing process. If the user chooses to shoot at the higher quality 16 bit rate, the original audio is erased during the dubbing process. If you aren’t concerned with dubbing, it is far better to record in 16 bit since it will yield greater quality. The ability to record 4 tracks is a great advantage though for users who don’t want to export footage from camcorder into postproduction editing software but still want to provide dubbing with original audio content.

VCR Mode* (6.5)*

For the VCR mode to activate, users must switch the mode dial into video playback mode. The joystick diagram on the LCD will appear immediately; to hide or reveal this feature, users merely need to press the joystick into the camcorder and release. The joystick in playback mode engages the following VCR controls: play/pause with the up arrow, fast forward with the right arrow, stop with the down arrow and rewind with the left arrow.

These controls are easy to use when holding the camcorder for shooting, but become less so when the camcorder is used as a deck for video playback navigation in postproduction editing suites or television viewing. Variable speed playback is available, but it can only be accessed by using the controls found on the included remote control. Audio dubbing, like variable speed playback, may also only be activated with the included remote control. Camcorders manufactured by competitors like Sony provide both of these features in-camera, freeing the user from reliance on a remote control that can be easily lost, forgotten, or misplaced.**
**

**

****Ports*** (6.5)*

The PV-GS300 has the standard ports for DV (FireWire and i.Link by other names) and USB, located in the LCD cavity. The A/V and Mic-in are located behind a hard plastic flap towards the front of the right side. The SD card port is placed on the bottom of the camcorder’s body. While the A/V and mic ports are smartly positioned so as not to get a dangling wire in front of the lens, the bottom-loading SD card slot is annoying. GS300 users are among the more likely to use a tripod, and this design precludes the ability to swap cards quickly.

Last year’s GS250 offered a headphone output from the A/V port. This year’s A/V port is a new shape in order to accommodate an S-Video signal.  

The worst news to report here is that the GS300 has lost the ability to perform analog to digital conversion. This hits fairly hard on the usability front and will lose a lot of fans.

Other Features

Widescreen/16:9 Mode* (7.5)*

The PV-GS300 offers choices of 4:3 and 16:9 in its aspect ratios. What Panasonic does not advertise, of course, is that this is not a true widescreen CCD. Rather than taking the original 4:3 frame and adding information on the sides to create a 16:9 picture, the camcorder crops information from the top and bottom. This process also creates a 16:9 frame, but is subtractive rather than additive.

Scan Rates/24P* (0.0)*

The GS300 has no scan rates other than its native 29.97 fps.

Other Features* (7.5)**

Optical Image Stabilization (OIS)* – OIS is the preferred method for stabilizing an image, as electronic image stabilization (EIS) costs image quality. The GS500 also offers OIS, but the step-down GS180 does not.

Backlight Compensation - This feature brightens the exposure when your subject is strongly backlit in order to add detail and make them look less like a silhouette.

Tele Macro -  This allows the camcorder to zoom in at 10x and focus on a subject at a distance of 50cm (20 inches). In playing with this feature, we almost always had to use the manual focus to get the image to look good. Sort of defeats the purpose.

Wind Cut - This feature removes the bottom-end noise from the audio track, which is often created by wind passing over the microphone.

Red Eye Reduction -This is a still feature that reduces the chances of red-eyed subjects appearing in pictures with dim lighting. It uses a double-flash system, where the camcorder flashes once (while the subject has to remain immobile) then flashes again.

Flash - Located to the right of the lens, this flash should help when taking stills in lower light situations.

Zoom Mic - The zoom mic boosts the audio levels when engaging in zoom in order to capture the sounds of the distant subject.

Quick Start - Quick Start is like a standby mode. When activated in the menu, the GS300 will go into Quick Start standby when the LCD is closed. A green light will appear where the normal, red operating light is. The lens cover does not close. When the LCD is opened again, the camcorder will be ready to record in 1/7 seconds.

Anti Ground-Direction Standby - This new feature is meant to prevent the act of wasting a whole tape by forgetting to hit the "stop record" button and pointing the camcorder at the ground. When engaged, if the GS300 senses that it has been recording in a face-down direction for too long (an undisclosed amount of time), it will automatically shut off.

Comparisons / Conclusion

Comparisons
Panasonic PV-GS250
Some will view the GS300 as a downgrade from its predecessor, the GS250; others will view it as an upgrade. There is no focus ring anymore. Panasonic’s penultimate MiniDV cam has been assigned the joystick-controlled focus found on every other camcorder they make. Also, the headphone jack has been stripped. The aperture doesn’t open quite as large anymore, and maxes out at F/1.8 instead of F/1.6. The filter diameter has been reduced from 43mm to 37mm, so old attachments will now require a converter. Also, the viewfinder no longer pivots up at an angle. The SD card slot has been pushed further under the bottom, making it impossible to access with a tripod. Finally, the GS300 no longer has analog-to-digital passthrough.

What about the improvements? Video performance appears to have gotten sharper. The LCD has increased from 2.5 inches to 2.7 (widescreen) inches. You can now take stills in 16:9 at two resolutions. The body has been reduced in size, making it more portable.

When you put the pros and cons up against each other like this, we think the scale really tips in favor of the GS250. Of course, the GS300 is coming in at $300 less than the GS250—yes, $300 less. The GS250 had an MSRP of $999, while the GS300 has an MSRP of $699. Kind of softens the blow, doesn’t it?

You won’t get the same features anymore, but if you are plan to spend $1,000 on a camcorder, maybe you should look at the next comparison.

Panasonic PV-GS500
For $300 more, the PV-GS500 offers larger CCDs, each measuring 1/4.7 inches with a gross pixel count of 1.07 MP. The zoom is increased from 10x to 12x optical. The filter diameter is larger, and matches the GS250 at 43 mm. The GS500 offers a higher maximum still resolution of 4.0 megapixels, over the GS300’s 3.1 megapixels. You’ll find that coveted focus ring on the GS500, and the accessory shoe on the GS500 is hot.

The GS500 also offers a third video shooting mode, Cinema Mode. This is not true progressive scan, so don’t get your hopes up. It’s a pseudo-progressive scan mode carried over from the GS400.

Aside from this, the camcorders are similar. The GS500 is about 20-30% larger, but they handle much the same way. Obviously, the enhanced specs on the GS500 are going to result in a better picture. But if price is a concern, the GS300 holds its own quite well. We recommend holding off on the GS500, mainly because it’s such a lackluster follow-up to the GS400. Track one of those camcorders down while you still can (they are flying off the shelves) and consider it well.

Sony DCR-HC90 and DCR-HC96
The HC90 is last year’s top of the line Sony MiniDV camcorder, replaced this year by the HC96. We haven’t gotten a chance to review that model yet, but we’ll briefly describe differences. Both camcorders have the same 1/3 inch Advanced HAD CCD with Primary Color Filter. The only major upgrades between the HC90 and HC96 are a smaller body and an external rather than internal battery placement. Click-to-DVD technology, which works with select VAIO computers to automatically capture and convert MiniDV footage to DVD, was available with the HC90, but it's become a marketing point for Sony this year. 

The GS300 was able to produce a better picture in strong light, but the low light showed a heavy saturation in the HC90. Some people may prefer this image, but we tend to like more accurate color representation.

The HC96 has an MSRP of $800. It lacks the mic input, but has a docking station and a LANC jack. The HC90 has better automatic controls than the GS300, and the HC96 will likely follow suit. The zoom toggle is definitely better, offering more precise control. But the touch screen cannot compare in handling to the GS300. Also, the HC90 and HC96 have the Sony deficiencies in manual controls. The GS300 is our strong preference.

Canon Optura 60
Sony’s second in command in the MiniDV line runs for around the same price as the GS300. In bright light, these camcorders had a similar picture, with a little more noise in the Optura. In low light, the GS300 was the clear winner.

The Canon Optura is easy to use handles with as much alacrity as the GS300. We definitely liked this camera, and the 1/3.4 inch CCD made for a great picture. The zoom is a larger 14x, but the manual control contest definitely falls in favor of the Panasonic. Automatic controls are a draw.

Overall, Panasonic is the better choice of the two. Canon has not yet announced updates to the Optura series, so we’re waiting to see what they can come up with for the ever-dwindling world of MiniDV camcorders.

Who It’s For
Point-and-Shooters *(4.0)*

The GS300 probably costs a little more than a point and shooter is looking to spend. And its strengths lie in the manual controls, which a point and shooter is not going to be interested in. On the whole, it handles easily though, and will still take great video in automatic mode.

Budget Consumers* (3.5)*

At a $699 MSRP, this is not a budget cam except for those intent on a 3-chip. Even then, there is still the next step down GS180 to consider.

Still Photo / Video Camera Hybrid* (3.5)*

A maximum still resolution of 2048 x 1512 is very good, and still features like a flash, red-eye reduction, and burst mode are enticing. But the burst mode only works in low-res pictures, and the GS300 doesn’t even ship with an SD card. This is not the hybrid of your dreams, but it works.

Gadget Freaks* (2.0)*

Nothing new or ground-breaking here. In fact, the whole world on MiniDV has become stagnate. If you’re a true Gadget Freak, you’re probably not even reading this review right now.

Manual Control Freaks* (8.0)*

Panasonics are it for the Manual Control Freak. Iris, shutter speed, white balance, and gain help to distinguish them from every other manufacturer. The joystick navigation system, new last year, makes changing the picture quality easy as pie.

Pros/ Serious Hobbyists* (6.0)*

Serious hobbyists adored the PV-GS400, which means they probably had a soft spot for the GS250. The GS300 has lost of lot of features since last year, but it also dropped a lot in price. The GS500, at $1000, is probably the one to check out.

**Conclusion
**The PV-GS300 is the most perplexing type of "replacement" model. The key features that made its predecessor so popular have, in part, been tossed out the window. Say goodbye to analog-to-digital pass through, a focus ring, the headphone jack, and an easily accessible SD card slot.

To ease the pain of your loss, Panasonic has knocked 300 bucks off the price. It’s starting to look like a better deal now, isn’t it? And to boot, the body is smaller, the LCD is widescreen, and the video performance is better. That is a $699 camcorder we can get behind. This is a camcorder of operatic drama. It suffers the slings and arrows of public criticism because of what preceded it.

A $700 camcorder and a $1000 camcorder are two different beasts. Yes, it is a shame that Panasonic has chosen to strip the consumer cams of their pro features. The GS500 has suffered the same fate, and is a far cry from the beloved GS400. What you are witnessing is the slow and painful death of standard definition MiniDV. 

However, if you’re simply a consumer in the market for a solid performer in this price range, the GS300 might suit you just fine.

Specs/Ratings

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Meet the tester

David Kender

David Kender

Editor in Chief

@davekender

David Kender oversees content at Reviewed as the Editor in Chief. He served as managing editor and editor in chief of Reviewed's ancestor, CamcorderInfo.com, helping to grow the company from a tiny staff to one of the most influential online review resources. In his time at Reviewed, David has helped to launch over 100 product categories and written too many articles to count.

See all of David Kender's reviews

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