Performance

At 3000 lux, the DCR-HC96 had very good video performance. For the top model in its class, it should. The HC96 packs a big 1/3" CCD with 3.31 gross MP (2.05 effective MP). This is one of the big differences between manufacturers in their upper-tier models. Panasonic and JVC go towards the 3 CCD route, while Sony and Canon use larger single chips. At 3000 lux, the differences between these choices can vary, and the processing systems factor in a great deal as well. Larger chips, however, invariably do better in low light, and the HC96 was no exception. More on that later.

Here we see the picture has excellent color balance and a minimum of noise, something that this year’s Panasonics have been showing a distinct increase in. Also, the HC96 managed to sidestep the faded-out look of the low-end HC26. The grey scale was also clearly defined, though the blacks could have been a little darker without bottoming out.

Compared to last year’s HC90, the HC96 shows an increased sharpness, thought the tonal range is more of less the same. The top-end Canon Optura 600 had a similar tonal range, as well, although the Canon’s picture was a little brighter. Canon showed an inclination towards green/yellow more than blue comparatively.

The JVC GR-X5, a favorite camcorder of ours from last year, had a higher saturation, particularly in the reds, and much whiter whites. You might say that the HC96 had truer colors, though some non-professionals prefer a more saturated image. The Sony DVD403 is proof of that.

Video Resolution (17.7)

The Sony DCR-HC96 was tested for video resolution using a standard ISO 12233 resolution chart and Imatest imaging software in both 4:3 and 16:9 aspect ratios. In 4:3, the HC96 produced 443.0 lines of horizontal resolution and 400.2 lines of vertical resolution, giving an approximate resolution of 177288.6. In 16:9 mode, the HC96 produced 487.2 lines of horizontal resolution and 327.1 lines of vertical resolution, yielding an approximate resolution of 159363.12. This is an excellent resolution score, higher than we've seen for a MIniDV cam so far.

Low Light Performance* (6.75)*

The performance of the HC96 at 60 lux is remarkably good. This is a perfect example of a large chip size giving you the advantage in low light shooting. At 60 lux, the picture is nearly as bright and strong as at 3000 lux. Even the whites held up extremely well. The noticeable degradation comes in the category of noise. Noise increases, and it’s not the finest grain noise either. Thankfully, it’s not the blue-ish noise that was plaguing last year’s Sony camcorders.

By comparison, last year’s HC90 had more noise issues, but similar color performance. The picture was not as bright, however. The Canon Optura 600 had an overall darker picture, but that was also a problem at 3000 lux. Here at 60 lux, the color distinctions between the two camcorders becomes more apparent. The HC96 showed much better yellows and oranges. Noise was more noticeable in the Canon picture. The JVC GR-X5 was a poor performer in automatic at any low light level, but JVC camcorders also come equipped with a pretty powerful auto gain control (AGC), which can be turned on and off. With the AGC on, the picture was so bright that it appeared blown-out. The middle ground just isn’t there, and the HC96 looks much better.

At 15 lux, the HC96 lost most of its color information. The grey scale was still in tact however, so if color is not your chief concern when shooting at this light level, you might find the picture acceptable. Noise is kept to a minimum.

The HC90 and HC96 are again showing strong similarities, with slightly better noise suppression in the newer model. The Canon Optura 600 lost even more color information and displayed even more noise. The JVC GR-X5 had nothing, virtually nothing, at 15 lux with the AGC off. With the AGC on, the X5 had ever so slightly better color performance than the HC96, but far more noise.

Overall, we are impressed with this camcorder. Mark low light performance as a selling point strongly in favor of the HC96.

Wide Angle* (8.6)
*The Sony DCR-HC96 was tested for the width of its field in both 4:3 and wide mode. In 4:3, the camcorder gave a wide angle of 43 degrees. In wide mode, the camcorder gave a wide angle of 49 degrees. The difference between these modes shows that there is more information in the sides of the picture when you switch to wide mode. However, the picture also shows evidence of cropping from the top and bottom, thus losing information here. The reason the camcorder does this is to conform to a 16:9 aspect ratio frame. The added information on the sides is just not enough to fill out the frame, so it cuts from the top. Good, but not great. Canon, on the other hand, adds all the information on the sides with no cropping.

Format

Compression* (8.0)*

Compression rates for the Sony DCR-HC96 are minimal when recording video to 6.35mm MiniDV tape and is still preferable to the compression levels produced when recording with DVD camcorders. The MPEG-2 format uses a high level of compression and will produce less than stunning video in comparison to that of MiniDV camcorders. In the future it could be possible that DVD and hard disk camcorders may be able to produce results that are equal to or improve upon tape performance. Unfortunately neither format can currently stand up to the low level of compression and high image quality found with MiniDV camcorders, and so in this respect the DCR-HC96 definitely has a leg up over these formats in 2006. Still images are recorded to the memory stick as JPEG files while video footage recorded to this media are MPEG files.

Media* (8.0)*

The Sony DCR-HC96 records to two separate media options, one for recording still images and the other for recording video footage. The camcorder records still images to MemoryStick Duo Pro, a media format used by Sony in exclusivity. These memory cards are sold separately with a maximum memory capacity potential of 2 GB. Still images have a maximum resolution of 2016 x 1512 with a minimum resolution of 640 x 480.

Video footage is recorded to 6.35mm MiniDV tape. Tapes, like MemorySticks, do not come included with the camcorder purchase. Buying media will raise the overall price of the camcorder a fair amount if a 2 GB card is purchased; thus much memory can run anywhere from $80 to $450 dollars depending upon place of purchase and previous ownership. It is possible to record movie clips to memory card, though the resolution is at an inferior 320 x 240 or 160 x 120.

Editing* (8.0)*

The Sony DCR-HC96 does come with editing software on CD-ROM for both MiniDV footage and still images. The software can run on both Windows and Macintosh platforms after a five to ten minute installation time. It captures video via the FireWire port. The editing capabilities are extremely rudimentary, as is the interface, so confusion shouldn’t be encountered when using this software.

 

Screen shots from the Picture Package Menu, software included with the DCR-HC96

Owners of both the DCR-HC96 and a Sony Viao computer with preinstalled "Click to DVD Ver.1.2" can connect their camcorder to their PC, and through this software application directly burn DVDs without a software system like DVD Studio Pro or other DVD creation applications. Like the included CD-ROM, this software is going to be rudimentary and users shouldn’t expect their results to be anything but functional.

 

Tour

**The Front ***(7.0)*

The Carl Zeiss lens is in the upper left corner on the front of the Sony DCR-HC26 and provides 10x optical zoom with a 30mm diameter lens and a focal length of 40.6 to 406 mm. The in-camera flash is located to the right of the lens and is positioned so that conversion lenses will easily block and distort flash coverage. It will also provide an unflattering lighting effect, due to the position of the flash to the side of the lens.

The infrared port is located beneath the flash, and while it is not visible to the user, it is essential to the proper functioning of the NightShot feature. Remember not to cover it when bracing the camcorder. It is also important to note that a conversion lens will block this feature and its functionality, so the removal of conversion lenses is essential before shooting with any mode engaging the IR port.

The in-camera stereo microphone is directly beneath the IR port, off center from the lens. To the left of the microphone is a small LED light which blinks red if the battery is low. Watch out for this feature if you’re filming a serial killer from a secret cave, Nancy Drew style. Hey, I’m not saying it’ll happen, but I mention it just in case.

**The Right Side ***(5.5)*

The tape compartment is the primary feature on the right side of the camcorder and can be opened by a tab on the top of the DCR-HC26. A slightly textured surface spans the right side, which helps when palms are sweaty or damp conditions are encountered.

A vertical port cover is between the front edge of the tape compartment and the front face of the camcorder. This port cover has a tab on its back top edge and is easily popped open to reveal the two ports beneath, a LANC and A/V out port, comfortably spaced. That being said, nearly two-thirds of the space under the cover is left unused and could be put to better use. Four small hinges are placed at the base of the port cover and connect the front edge to the camcorder. They appear to be durable and flexible.

Below the cover is an eyelet for the right-hand strap, which horizontally spans the length of the DCR-HC96 camcorder body. The strap is wide and well padded, unlike those on Panasonic’s lower priced MiniDV camcorders, which allow the camcorder to flop and shift if not being held with a death grip. The right-hand strap is adjustable and can comfortably fit a wide breadth of hand sizes and widths.

The only other features on the right side are three labels which correspond to LED lights located on the back of the camcorder. These labels are painted on and are likely to rub off over time with continual use.

**The Back ***(7.5)*

The electronic color viewfinder is located in the upper left corner of the back face. This electronic color viewfinder can extend from the camcorder body approximately half an inch, far enough to allow clearance of the battery pack beneath. We like that the viewfinder can extend outwards because in the attempt to make more compact camcorders this feature seems to be disappearing.

On the right side of the viewfinder is the focal field adjustment dial, textured and easy to engage. The actual eyecup surrounding the viewfinder is an uncomfortably hard plastic similar to that found on the right side of the camcorder. While certainly tolerable for quick viewfinder use, the hard plastic will become intolerable during extended shooting.

The battery pack is located beneath and slightly to the right of the viewfinder, in the center of the camcorder. The battery pack has a release control directly above it and parallel to the bottom edge of the viewfinder. Running vertically alongside the left side of the battery pack is a Flash control and a NightShot control. Between these two controls is an LED which indicates flash state and NightShot state. The DC in port is covered by a rubber port cover and is located at the base of the camcorder, directly to the right of the battery pack. Manufacturers will often place DC in ports in the cavity of the battery, a design which necessitates the user breaking continuity of shot since the camcorder must be turned off and back on when switching from battery to wall power. By placing the DC in port outside the battery pack cavity, it is possible to switch power sources while recording.

Above the DC in port and beside the top edge of the battery pack is the record start/stop button, easily reachable by the thumb of the right hand. Three LED lights are located directly above this control and inform users as to whether the camcorder is in tape, memory stick or play/edit modes. The labels for these LEDs are located on the right side of the camcorder.

The mode dial is to the right of the electronic color viewfinder and is a polished silver with textured sides. The mode dial is simple to activate and can be easily switched between tape, memory and play/edit modes by pivoting the dial to the mode settings section of this control.

**The Left Side ***(8.0)*

The left side of the Sony DCR-HC96 features a well sized 2.7-inch LCD screen, which flips open from either the back or bottom edge of the monitor frame. The open LCD monitor may be rotated 270 degrees, doesn’t suffer from solarization and displays legible images from a variety of viewing positions.

There are four controls on the frame of the LCD beneath the screen. They allow secondary control over rec start/stop, wide angle, telephoto and wide select options. Though tapping buttons on a frame does often cause the camcorder to shake when shooting from behind the camcorder, these features come in handy when shooting from in front of it when the screen is flipped and the controls on the back of the camcorder are inaccessible. The LCD screen is connected via a strong hinge which showed only a slight amount of movement when placed under pressure.

In the cavity masked by the LCD screen are three features of note for the DCR-HC96. The in-camcorder speaker is located towards the front of the camcorder with the reset button for the camcorder located directly above. The reset button is set into the body of the camcorder some and shouldn’t ever be accidentally engaged. The proprietary Sony MemoryStick Duo Pro slot is located at the back of the camcorder in the LCD cavity as well, and is left uncovered so that users must merely slide the stick into the camcorder body to begin recording to memory stick.

Above the LCD on the body of the camcorder are three controls, aligned parallel to the top edge of the LCD in a horizontal arrangement. These controls engage the Back Light, Display/Battery Info, and Easy mode settings for the Sony DCR-HC96. The easy mode control has a blue LED embedded in it for easy and immediate identification.

The Top* (8.0)*

The open/eject tab is located on the right side of the top face of the DCR-HC26. This control easily slides backward to allow the top-loading MiniDV compartment to open. By having a top-loading compartment the HC96 can provide access to this feature even when it is securely affixed to a tripod. This is especially helpful if the user is switching tapes but needs to maintain an accurate frame from one tape to the next.

A scalloped ridge runs along the edge which separates the top and right side of the camcorder. It provides a surprising amount of hold and enhanced grip when steadying a shot. This edge leads to the back of the camcorder, where the user will find the rocker-styled zoom control, easily accessed and manipulated with the index finger of the user’s right hand. This zoom toggle was sensitive and provided a wide range of speed levels with relative ease.

And finally, the Photo button for still shots is located directly behind the zoom toggle and may also be reached with the index finger of the right hand. To the left of these controls and directly in front of the electronic color viewfinder is a proprietary hot shoe which is covered by a port cover attached flimsily to the back edge. Although hot shoes are great, the use of a proprietary hot shoe that limits the use of video lights, flashes and microphones to Sony brand products only is not.

Auto/Manual Controls

Picture & Manual Control
*Automatic Control (8.5)
*The performance of the automatic controls on the Sony DCR-HC96 was mixed, which is definitely an echo of an opinion we voiced last year during the review of this camcorder’s predecessor, the DCR-HC90. 

Like the DCR-HC90, the HC96 is quite proficient at attaining accurate focus on extremely close subjects; however, when zoom levels are adjusted the camcorder has a tendency to breathe, or fluctuate focal depth in an attempt to ascertain the proper focal distance for the selected subject. Needless to say, it would be better if this auto focus performed successfully both when static and when in motion. 

Other automatic controls like white balance and exposure performed with a much faster reaction time compared to the auto focus. Even in more challenging shooting situations, they should produce results that the auto-centric user will approve.

In addition to the regular auto shooting mode, the Sony DCR-HC96 comes with an Easy mode that is entered by pushing the Easy button on the left side of the camcorder. We've always thought that Sony was the leader of ease-of-use camcorders which they've continued on the DCR-HC96. In Easy mode, all of the camcorder menus are made inaccessible and what text remains on the display has a 3x increase in font size. While perhaps not for everyone, it is certainly friendly for the technophobic, as well as young children or users with poor eyesight. 

If none of these auto settings seem quite right for your shooting style, there is one final set of options located within the program AE submenu of the general P-menu. The program AE modes allow the user to select a handful of preset options so that the camcorder is somewhat tailored to the conditions of the scene being captured. The program AE modes for this camcorder are: Auto, Spotlight, Portrait, Sports, Beach & Ski, Sunset & Moon and Landscape.

Overall Manual Control (3.0)

Manual controls for the Sony DCR-HC96 do not overwhelm with their number of options, although menu layout and accessing the options certainly do. The camera has a touch screen interface that allows users to enter the menu structure by pressing the P-menu button located in the lower right corner of the LCD screen. This opens the shooting menu that allows the user to select submenu options from three separate screens, navigated via the up and down arrows on the left side of the LCD.

Each screen displays a maximum of 6 controls, and these options can be entered: menu, disp. guide, tele-macro, exposure, spot focus, fader, spot meter, focus, program AE, LCD brightness, super NightShot, color slow s., digital effect, self-timer, beep, language, white balance and P-menu setup. I did not list these in random order; this is the same order as they appear in the default menu structure. Users may notice that white balance, a commonly used feature, even for the beginner, is buried in the third page in a position that is anything but quick or intuitively reached.

This is where the touch screen system of Sony falls apart. Each menu page offers up a couple of image control options, perhaps a beep noise, maybe a digital effect, and who knows, maybe a fader control. There is no rhyme or reason for this structure. Although it is possible to delete all of the settings and restructure the menu yourself, the requisite combination of being both tech-savvy and trapped on a desert island for eternity seems very unlikely to occur. Why would a fader control be placed on the first page instead of white balance, focus or program AE? Honestly, how many users really find themselves in the midst of shooting only to be overwhelmed by an urge to pull a Metallica and fade to black? And by the way: this menu structure appears as a transparent overlay so that users will have a continuous live view as they navigate through menus, which is great, considering the amount of time that’s going to take.

A second menu structure—which has an entirely different interface—can be entered by pressing the menu button on the first screen displayed when the P-menu is entered. The second menu works as an over-arching structure that covers all of the camcorder areas. This menu displays submenu icons and titles along the left side of the LCD screen, which can be scanned using up and down arrows on the top and bottom of the left side. These controls were a bit undersized for my fingers and I’d sometimes miss or accidentally engage incorrect features when moving through this menu.

If a submenu is selected, a center-positioned second overlay appears in conjunction with the icons on the left side of the LCD. This lets the user scan the entire menu structure so that it isn’t necessary to enter and exit submenus over and over when altering settings. The options available in the overall menu include: record mode, audio mode, LCD/VF set, TV type, USB camera, disp. guide, guide frame, time remaining, remote control, record lamp, beep, display output, menu rotate, auto shut off, clock set, world time, language, program AE, spot meter, exposure, white balance, sharpness, auto shutter, AE shift, spot focus, focus, tele macro, flash set, super night shot, night shot light, color slow s, zebra, self-timer, digital zoom, SteadyShot, progress record, fader, digital effect, picture effect, frame rec., smth int. rec, demo mode and end search. While neither quick nor easy to move through, at least this menu provides all options in one list and in one place.

The zoom control on the HC96 worked with a smooth, steady and consistent pace. It did not provide a huge range of speed variance but was able to shoot cleanly without hiccups and fluctuations, a problem which occurred occasionally with Canon models that have a similar zoom toggle. The HC96 did struggle with auto focus however, and there was frequently a second or two of breathing, or the visual result of the camcorder fluctuating focal distance in an attempt to adjust to new subject depths within the composition. The breathing of the HC96 was visibly noticeable, which is too bad since the touch screen interface made it especially hard to concisely change manual focus settings during shooting.

Zoom (8.0)

Control over zoom is possible through two separate controllers, a raised toggle which functions as the primary controller, and a second set located on the frame of the LCD. The controls on the LCD frame are push-button with one controlling telephoto and one controlling wide angle movement. This pair of controls isn’t overly sensitive but will work perfectly in situations where the cameraman is positioned in front of the camcorder and access to the primary zoom toggle is limited. Note that the zoom toggle on the top of the camcorder overrides the zoom control located beneath the LCD. Also, the LCD-fixed zoom control is capable of only one speed.

The primary zoom control may be comfortably reached with the index finger on the right hand. This zoom toggle is raised and especially sensitive, considering the small size of it. It produced about three distinct  zoom speeds that were steady and didn’t show fluctuation as the depth of image increased or decreased. The sensitive nature of this zoom toggle makes the Sony DCR-HC96 a great option compared to the PV-GS300, which has eliminated the external zoom ring found with last years PV-GS250. Zoom rings are always preferable to toggles, but if a toggle must be used, the HC96’s is the one to go with.

Zoom Power/Ratio (10.0)

The Sony DCR-HC96 allows 10x optical zoom to be engaged in tandem with or without an additional digital zoom setting. Digital zoom is accessed through the camera set menu located within the administrative menu. The digital zoom submenu allows users to select between off, 20x and 120x digital zoom levels. Note that the higher the digital zoom level the lower the image quality; this relationship becomes apparent very quickly even with low levels of digital zoom. Unless degraded video is desired, the digital zoom feature should be avoided.

Focus (4.0)

There are two manual control options for focus, one being a manual focus mode and one being a spot focus mode. The spot focus mode works with varied success. It works well when provided with a simple composition, but it won’t differentiate between two small objects a foot apart in the background of an image.

For finer tuning the user should adjust focus via the manual focus control, which uses a portrait icon for close range and a mountain icon for distance/infinity shots. These controls are displayed on either side of the LCD, and when activated display their appropriate symbol along with a numerical focal depth reading. This is probably the most informative of the manual controls included with the Sony DCR-HC96. Unfortunately, like exposure, the screen for focus is cluttered with menu controls and options which mask a large portion of the viewing surface.

Exposure (Aperture) (4.0)

To access exposure control the user must enter the P or Personal Menu and select the exposure box from the first page of options displayed. The exposure screen displays a sliding scale and auto/manual settings. If the user engages the manual control setting, they can set the exposure level by pressing either the + or – square until proper exposure level is set.

There is unfortunately no numerical measurement to correspond to the setting, and users must eyeball exposure levels on the LCD only, which is preposterous. Also, a touch screen display means that the hand of the user is blocking part or all of the screen when making adjustments. And finally, if using this manual option be prepared to be overwhelmed by seven, yes seven, nearly opaque options that appear simultaneously on one 2.7-inch LCD. It’s a miracle if anyone can actually use this feature to do anything but provide the roughest of exposure settings.

Exposure cannot be adjusted when using the viewfinder since the controls for this menu option, and all menus on the DCR-HC96, are accessed only via the LCD touch screen— another design faux pas for anyone who ever uses a viewfinder.

*Shutter Speed (0.0) *

There is no manual shutter speed control on the Sony DCR-HC26, an unfortunate omission for the manual control enthusiast. If shutter speed, aperture, gain and other manual controls are wanted in full, it would be best to look at a camcorder like the Panasonic PV-GS500, or any other camcorder in both the MiniDV or DVD lines by Panasonic in 2006. If Panasonic isn’t to your manual control liking, Canon also provides manual control over shutter speed.

White Balance (7.5)

The white balance control produced some initial consternation. It’s here somewhere, but not present in the P-Menu where all other manual control options are provided. Despite further reading of the manual, this mystery remained shrouded. Eventually we solved the riddle. Users must enter the administrative menu and scroll to the Camera Set menu, at which point the user can randomly guess or ask Gandalf whether white balance is contained within.

Seriously—the P-Menu, then the administrative menu, then the Camera Set menu, and then, scroll down until somehow you magically alight upon the white balance menu, which in turn must be entered to access the preset, auto and manual white balance options. Aggravated? Angry? Hostile? All over white balance? Perhaps, but rightfully so. This placement is ludicrous; all other manual controls are automatically displayed in the first menu. There is a way to right this situation, but not surprisingly, it involves yet another string of menu navigations and control alterations. This is surely not a design meant for the auto control user.

To change the placement of the white balance to a section of the menu which can actually be accessed within this century, users must enter the P-menu setup option on the third page for changing menu setup. This submenu displays options for add, delete, sort and reset. Choose add and another menu appears, which allows users to scroll through all the lists and menus on the camcorder and select the feature they wish to add, in this case white balance. Once selected from the menus, the setting is added to the P-menu, and finally white balance may be used with ease.

The control options for the white balance settings on the Sony DCR-HC26 allow the user to select between full auto, indoor, outdoor and one push (manual) white balance. While the indoor and outdoor presets are a little too general for many situations, the one push control worked quickly and easily with advertised "one-push" ease.

Gain (0.0)

Not surprisingly, considering the lack of outright manual control elsewhere on the Sony DCR-HC26, this camcorder has no manual gain control. If this is essential to your shooting, know that any camcorders released by Panasonic provide an impressive gain range that will suit nearly every shooting situation.

Other Manual Control (0.0)

There are no other manual controls included with the Sony DCR-HC96.

Still Features

Still Features* (8.5)
*The Sony DCR-HC96 is able to capture still images in both 4:3 and 16:9 aspect ratios to Memory Stick Duo/Pro format memory cards by Sony. The camcorder has a poorly positioned in-camera flash that is positioned vertically on the right side of the lens which will maximize the possibility of uneven flash coverage and shadowed subjects. Flash options for the DCR-HC96 allow for the user to shoot with flash set to auto flash, forced flash, and no flash with each setting being switched by pressing the flash button located on the back of the camcorder body beneath the electronic color viewfinder.

When shooting in still image mode the DCR-HC96 can capture images with quality settings of either Fine or Standard with image resolution settings of 3.0 MP (2016 x 1512), 1.9 MP (1600 x 1200), 1.0 MP (1152 x 864), and VGA (640 x 480) when shooting with a 4:3 aspect ratio. When shooting with a 16:9 ratio the camcorder records resolution settings of 2.3 MP (2016 x 1134), 0.7 MP (1152 x 648), and 0.2 MP (640 x 360). Accessing these features is done by entering the P Menu followed by the Administrative Menu and then finally the Still Set sub-menu where the quality and image size options are paired with the burst mode settings.

When it comes to controls in still mode the user will find that they still have access to exposure, tele-macro, spot focus, spot meter, focus, and white balance options although still in the same overly complicated menu structure system found with the video recording modes. In addition to these manual options the easy mode and the program AE modes may be employed if needed for further tailoring of camcorder layout to user needs.

The burst mode settings as mentioned in the previous paragraph can be found in the still set sub-menu and when engaged allow the user to capture up to 32 images with approximately 0.7 second intervals occurring. Also located within the burst mode sub-menu is an option for exposure bracketing which will capture still images at three separate exposure levels which can be great if concerned with attaining proper exposure levels when shooting stills. Don’t expect high resolution images to be recorded when shooting in burst mode with this camcorder since the HC96 automatically sets the resolution to VGA with a 3:4 aspect ratio only. When shooting with a Memory Stick Duo instead of the Memory Stick Duo Pro we were only able to capture 14 images before the camera saved to memory regardless of whether the images were shot in standard or fine quality.

Still Resolution* (10.5)
*The DCR-HC96’s stills were tested for resolution using a standard ISO 12233 resolution chart and Imatest imaging software in both 4:3 and 16:9 modes. In 4:3 at the highest quality still (2016 x 1512), the HC96 produced an approximate resolution of 1057162. In 16:9 at the highest quality still (2016 x 1134), the camcorder produced an approximate resolution of 570445.6

Still Performance* (7.0)*

You’re going to like the low light performance, which we talk about in a moment, but the still performance of the HC96 just doesn’t cut it. The problem isn’t sharpness; it’s very sharp. In fact, the picture is much sharper looking than the GR-X5, which we hailed as the best hybrid camcorder of 2005. But the HC96 cannot compete in the category, and the problem is color. The picture has all the appear of over-lit pea soup. Every color is washed out, making for the dullest possible photo. This camcorder would make the Caribbean sea look like tepid bathwater, should not be relied upon or though of as a hybrid. Last year’s HC90, unfortunately, told the same sorry tale.

The JVC GR-X5, as we said, is an excellent hybrid, due not only to color performance but to still features. In terms of pure picture quality, the JVC cam had much better reds and blues, though we admit that the greens were washed out and unhealthy looking. The Canon Optura 600 also had better looking stills, both in terms of sharpness and color.

 

Handling and Use

Ease of Use* (9.0)*

In terms of ease of use, the Sony DCR-HC96 has mixed ratings. It has the ultimate Easy mode for fast, uncomplicated performance for even the most unschooled of users. The external controls for the HC96 are easy to use, easy to reach and well labeled with full text and symbols to represent the function of each controller.

The problems come about when the menu structure is entered. The menu is structured with six setting options per menu and there is enough room to accurately activate each setting, but the problem is when the user switches between this menu and the other scrolling list menu that is accessed with the administrative menu. This menu offers up less useful controls like clock set mixed in with far more useful settings like white balance, spot metering and program AE modes. These options can be moved to the P-menu with some work, but it would be nice if controls were listed together with a logical menu structure to begin with. The administrative menu has smaller controls and smaller settings and I found myself continuously struggling with navigation. This touch screen is also problematic with other options like playback zoom navigation, spot metering and spot focus where fine tuning and quick movement isn’t always possible.

If you're the type that's always been curious about manual controls, but afraid to try, Sony has put on a few features that you might like: Spot Focus and Spot Metering. Think of them as manual controls with training wheels. Found in the menu, when engaged, they draw a little frame around the LCD screen. Both functions work just like they sound. Is there a spot out of focus that you want to look better? Just touch the screen at that spot and it adjusts. Spot Metering is similar, but it adjusts exposure. Neither control works exceptionally, mind you. The camcorder simply divides the screen up into zones, and you are selecting a zone on which to adjust focus or exposure.

Of course, if none of this is for you, just push the big Easy button on the left side and all your troubles are over - all-auto, all the time.

Handling* (7.0)*

The handling on the DCR-HC96 is a marked improvement over last year’s HC90 which suffered from poor grip, awkward maneuverability, and uncomfortable control due to subtle reshaping of the camcorder. This year the HC96 features a slight scallop on the top of the right edge, which allows for comfortable gripping. Also, Sony has placed the zoom toggle and photo button in more appropriate locations so that the zoom is accessed with the index finger first and the photo button is within easy reach. Like last year’s HC90, the HC96 has a great zoom toggle that allows for clean and concise use with varying speed options.

This is a very comfortable camcorder to hold. The detriment is the interface design, centered almost entirely on the touch screen LCD. We are not fans of the touch screen system, and we can explain our position very simply. Touch screens get greasy fingerprints all over them in a matter of minutes, obscuring the primary tool for judging image quality in the first place. Secondly, big touch-friendly buttons mean that less informattion can be presented on each menu page. The menu, therefore, sprawls on for pages and pages. Thirdly, LCD screens eat up power, and if you need to both conserve power and engage the menu, you're in a bad place.  

Portability* (5.5)*

The DCR-HC96 is certainly not a matchbook camcorder, but it also isn’t a large Hi8 circa mid 90s model. The camcorder has measurements of 2 7/8 inches in width, 3 5/8 inches in height and 4 3/4 inches in length. This is actually an interesting deviation from the standard practice in a market that produces smaller and smaller products. The previous model, the HC90, was actually smaller than this year’s HC96, and it seems as though this increase goes directly against the Sony claims at CES of every model showing size reduction. Despite this interesting discrepancy, the HC96 is still a handheld camcorder that will easily rest in the right hand when not in use, and which can be popped into a bag, purse or case without too much concern or hassle.

LCD/Viewfinder* (9.0)*

The Sony DCR-HC96 features a 2.7-inch, 16:9 aspect ratio LCD screen with approximately 123,200 pixels for total resolution. This is about as high of a resolution found with camcorder LCDs in this price range. While tolerable, it is certainly subpar when compared to the 230K offerings found on LCDs of similar size in the digital camera market. With resolution levels of 123K focus will be hard to measure, and using the viewfinder may be a better idea for this. The LCD on the Sony DCR-HC96 is a touch screen interface, which means adjusting onscreen controls will both block the view and smear it with grease.

Amusingly, this camcorder places the focal control almost in the middle of the LCD screen. This is an absurd placement which makes accurate adjustment nearly impossible. With six slightly transparent overlays coating the LCD, it seems like Sony is trying its best to dissuade users from actually using what few manual controls remain gasping on this camcorder. The touch screen provided a poor interface for spot meter and spot focus due to the size of my fingers in relation to the image frame on the LCD. If drastic depth changes with simple scenes of one or two focal depths is being encountered the spot controls could possibly work, just don’t expect these controls to work in complicated scenes.

The electronic color viewfinder on the Sony DCR-HC96 is positioned for easy use with an extending feature. It would be better if it were possible to pivot the viewfinder up from the camcorder. And while it’s great to have a viewfinder, the touch-screen interface on the LCD means that users won’t be able to access menus, manual controls and camcorder setup when shooting with the viewfinder. This really defeats the purpose, which is unfortunate since manufacturers like Panasonic have debuted camcorders in 2006 with external joystick interfaces that can be engaged easily and quickly when using both the LCD and viewfinder.

Battery Life* (9.4)
*The HC96 ships with the NP-FP50 battery, rated at 80 minutes of continuous recording with the LCD open. We put this claim to the test, as we do with all batteries. The camcorder was left in Easy mode with the LCD open. No manual controls, menus, or zoom was engaged. In total, the battery lasted for 94 minutes and 21 seconds (1 hour, 34 minutes, and 21 seconds). Though better than advertised in the manual, this is still just average for a camcorder battery.

Audio/Playback/Connectivity

Audio* (4.0)*

First off, there is no audio input. Sony has been lax on this front, and you won't find an audio jack on any of their MiniDV cams this year. The Sony DCR-HC96 offers a couple of audio options beyond the standard in-camera stereo microphone - but none are what we want. To access the sample bit rate, enter the P-menu, then the administrative menu, and then the Standard Set menu. Once these menus are navigated (no simple task due to the touch-screen interface) the user can finally choose the audio mode submenu. This menu allows users to switch between a 12-bit or 16-bit sample rate. The 12-bit mode records two stereo sounds while the 16-bit mode records one stereo sound in high quality. The camcorder has a stereo microphone positioned on its front face, and while tolerable, the audio can be greatly improved with the use of the included accessory hot shoe. Audio could be monitored with headphones through the A/V jack if needed through a series of adaptors if necessary, but there isn’t an exclusive headphone jack for this camcorder.

The hot shoe is located near the back of the camcorder, under a cover that is flimsily connected via two hinges which beg to be twisted. The hot shoe uses proprietary accessories sold only by Sony, a distinct downside to this otherwise great option for audio improvement. It limits the number of microphone types, designs, styles and quality significantly and will inevitably annoy more advanced users seeking specific control options.

There are two accessory microphones currently listed by Sony as being compatible with the DCR-HC96. One is a higher end electret condenser microphone with adjustable 90 or 120 degree pick-up patterns. The option for variable pickup pattern will provide a more finely tuned recording option for users. The second microphone option is a shotgun mic, a condenser mic with cardiod or super-cardiod pickup patterns that are relational to the zoom on the camcorder. While the relationship between the mic zoom and the camcorder zoom has obvious benefits, the prospect of hearing audio shifting distance over and over with zoom alterations is possibly retch-worthy.

In an interesting distinction between last year’s HC90 and this year’s HC96, it appears as though the HC96 has lost the Surround Sound abilities that were advertised with the previous model. That exclusion certainly makes the Active Interface Shoe more of an inconvenience considering the limited oeuvre of audio options provided by Sony.

To adjust playback volume, the P-menu is entered and the Volume submenu is selected. The menu for volume control is simple and displays + and – controls for volume levels. Users can manipulate audioo further by selecting the multi-sound option and selecting between stereo 1 and 2. "1" plays back main sound (or left channel), and "2" plays back sub sound (or right channel).

It is also possible to engage audio dubbing when viewing footage in playback mode that was recorded at a 12-bit sample rate without erasing original audio. This feature is located in the P-menu of the playback mode under Audio Dubbing Control. It is also possible to manipulate the balance. This menu is also located within the playback mode. This submenu displays a sliding scale from ST1 to ST2 to manipulate the original audio (ST1) with the new audio (ST2). This basic balance feature is certainly an appreciated option for users who posses more advanced interests but who don’t posses the editing software.

VCR Mode* (9.0)*

VCR mode is a straightforward touch screen interface that displays the standard controls along the bottom edge of the LCD. The controls displayed upon immediately entering this mode are stop, rewind, play/pause, fast forward and P-menu. These controls are comfortable in 16:9 format, but when the HC96 is switched into a 4:3 aspect ratio, they become too tightly spaced and too small for larger fingers.

Menu options in playback mode are variable speed playback, record control, volume, end search, digital effects, USB select and Burn DVD/VCD controls for altering, viewing and manipulating captured footage. With some digging the user will find audio dubbing, record movie to still and audio mix options amongst others, although these controls will take real work for most novice users to access.

Accessing still images is accomplished by pressing the memory control listed alongside the tape navigation controls in playback mode. The + and – are used for moving between images. The zoom control can be used for playback zoom and theoretically the touch screen can be used to move throughout the magnified image. It isn’t really all that easy, though; it moved slightly and stalled and caused aggravation after only two or three attempts. It is also possible to view images either as single frames or six thumbnails along with deleting and marking images for printing.

Ports* (4.0)*

There are four ports on the body of the Sony DCR-HC96. The first port cover is located on the right side of the camcorder to the front of the MiniDV tape compartment and protects the LANC and A/V-in/out ports. The DC in port is located on the back of the camcorder to the right of the battery pack, which means that users can switch effortlessly between wall and battery power without interrupting the shot. The MemoryStick Duo Pro port is on the left side of the camcorder in the LCD cavity; the closed LCD screen serves as a port cover to protect it.

Finally, there is a port on the base of the camcorder for the Handycam Station, a piece of easily lost plastic with essential ports located on its side: USB, DV-in/out, DC-in, and A/V-input/output. We love the fact that this is one of the few camcorders on the market to still offer analog input. While simplifying a complicated camcorder exterior is great for the beginning user, placing ports that are paramount to the functionality of the camcorder on a hunk of external plastic is absurd. The Handycam station is certainly not handy and was easily lost again and again as it got buried under the other equipment on my desk. Perhaps if the user tapes or glues this feature to a desktop or bolts it to their computer this decision could work, but as it stands now this station is more of a nuisance than anything and will inevitably need to be replaced at least once after getting lost. If Sony is sticking with the Handycam station idea, they should consider putting the same ports into the body and giving the user an option to skip the station altogether. There is more than enough room for two more ports under the port cover on the right side of the HC96.

There is also an Active Interface hot shoe located on the top of the camcorder body to connect video lights, flash or microphone. Unfortunately, there is no mic jack, and the Sony accessory shoe is proprietary, meaning that you must buy Sony products.

Other Features

Widescreen/16:9 Mode* (5.0)
*The Sony DCR-HC96 offers a wide mode mode for shooting in 16:9 aspect ratio. A button for switching between 4:3 and 16:9 is conveniently located along the bottom of the LCD panel. This is much superior to rooting through the menu, as in a Panasonic, in order to change shooting modes. Unfortunately, the HC96 is not perfectly true 16:9. The key is the method by which it obtains the picture. True widescreen, as in any of the Canon camcorders, will simply add information on the left and right of the frame, like opening the shutters, to let in more picture information, and thus achieving the 16:9 frame. Other camcorders use a 'crop and zoom' technique, whereby information is cut from the top and bottom, while the sides remained unchanged. The HC96 is somewhere in between. Information is definitely added to the sides, but there is also some cropping on the top and bottom. The result is some lost information in what may be a key portion of your frame, and decreased video resolution.

Scan Rates/24P* (0.0)*

The Sony DCR-HC96 comes with only one frame rate option, the native and industry standard setting of 29.97 frames per second. A much higher price level would need to be entered to attain true variable frame rates.

Other Features* (6.5)*
Accessory Shoe- There is an accessory shoe on the top of the Sony DCR-HC96, which is unfortunately covered by a cover that impedes the functionality of the viewfinder. It also just begs to be ripped off when no one is looking. The shoe is an Active Interface shoe that will only accept accessories that are Sony branded and compatible with this model. Potential accessories for this feature include zoom microphones, surround sound microphones and video lights.

Fader / Digital Effect / Picture Effect - The Sony DCR-HC96 has several features which can be engaged to digitally alter images when footage is still in-camera. The digital effects options are located within the administrative menu structure and consist of: cinema effect, delay motion, still, flash, luminance key, trail, slow shutter and old movie.

Zebra Striping - The Zebra feature is accessed by entering the shooting menu, followed by the administrative menu, and scrolling downwards until the Zebra option is selected. Zebra patterning is used as a warning device for brightness levels by displaying diagonal bars across sections of the composition that display brightness levels above the approved IRE (or brightness) level set by the user within the menu. The zebra pattern has three options of Off, 70 and 100; the setting of 70 produces zebra pattern anytime any brightness level of 70 IRE or greater is reached; the same one-to-one correlation is true of the 100 option. Although displayed on the LCD during shooting, the zebra stripes will not appear on the final footage.

*Analog-to-Digital Pass Through *- The Sony DCR-HC96 is capable of analog to digital pass-through thanks to the not-so-handy HandyCam Station, which allows the camcorder to connect to a variety of ports not included on the camcorder body which include an AV composite, USB, and FireWire. This station connects to the DCR-HC96 via a port located on the bottom of the camcorder body. This is something that Panasonic yanked off of their consumer MiniDV cams. If converting old footage is a priority for you, you can right off Panasonic and take a closer look at the HC46.

Comparisons/Conclusion

Comparison
*Sony DCR-HC90
*Many similarities can be noted between the HC90, the predecessor to the HC96, and the HC96. Each has a 1/3-inch CCD, a 30mm lens with identical focal distance, 10x optical zoom, manual control settings including white balance and exposure and identically sized touch screen interfaces with 123K resolution to manipulate these settings. The HC96 has a larger and heavier body as well as a higher initial price that exceeds that of the HC90. Other benefits to the HC90 included the placement of ports on the body of the camcorder rather than on an easily misplaced or damaged Handycam Station, which is required for this year’s model to maintain A to D pass-through. Sony has stated that this station will allow users to leave cables permanently connected to entertainment centers and PCs for fast access via the station; however, the likelihood that this station will get pulled, tripped on, dislodged and unplugged seems likely, especially for users with multiple external hard drives or other features which require either USB or FireWire port access.

The one huge improvement this year is the battery placement - rear-mounted rather than internal. This means the possibility of expanded battery packs - a godsend to those who spend the whole day out shooting. This just about makes up for the fact that the body is larger and heavier than the HC90, despite word from Sony that all the MiniDV cams were smaller and lighter.

Aside from the battery, little has changed. If battery life is rarely an issue for you, the HC90 is a strong contender. Video and still performances were similar, with the HC96 showing slight improvements in all areas.   

*Panasonic PV-GS300
*The Panasonic PV-GS300 offers a compelling alternative. It gives users the ability to record to both SD cards and MiniDV tape, the former of which is a less expensive and more universally accepted memory card format. The Panasonic PV-GS300 has 10x optical zoom, a 1/6-inch, 3 MP CCD and a 37mm lens in comparison to the 30mm lens found with the HC96. The Mic-in port for this camcorder is not proprietary and although it’s a 1/8th inch jack, it is far more adaptable for video users who are adamant about audio possibilities and customization. Manual controls on the PV-GS300 are comparable with controls on all the camcorders in the Panasonic consumer camcorder line, which means far more options in comparison to the HC96. There is included software for basic editing options although the camcorder won’t be able to engage in analog to digital pass-through, a great feature that is possible with the DCR-HC96. The PV-GS300 has an optical image stabilization feature for shooting in situations that are less than stable. Winner: the GS300.

Canon Optura 600
The Canon Optura 600 features an impressively large 1/2.8-inch, 3.5 effective MP CCD which outdoes most of the comparison camcorders as well as the HC96, although at a distinctly higher initial price. Controls are accessed via the external interface and users won’t find it necessary to slog through a poorly designed default touch screen interface. The Optura 600, like the PV-GS300 and the HC96, comes with 10x optical zoom. Manually, the Canon Optura 600 does offer more control over imaging features and does so with a menu system that is both logical and simple to navigate. The still image mode records photos to SD/MMC media that, as mentioned in the PV-GS300 comparison section, offers far more options than the proprietary Sony format found with the HC96. The Optura 600 has a smaller LCD of 2.5 inches. It also has a Mic-in jack; this is normally a benefit, but it is poorly placed in the LCD cavity and has no shoe attachment when shooting. One of the major benefits of the HC96 compared to the 600 is that the former is top-loading, which lets users change tape while their cam is still mounted to a tripod. Also, the 600 falters noticeably with handling; the matchbook design is hardly comfortable or easy to maneuver and the more traditional HC96 body is a superior option. The Canon Optura 600 has a current street price of around $799. This is a neck and neck finish, but we're leaning towards the Sony in all regards but manual control.

*JVC GR-X5
*Although visually untraditional ('ugly' is the word on the street), the GR-X5 produced some impressive video quality that should surely make this camcorder a competitor with the HC96. The GR-X5 has 3 1/4.5-inch CCDs that help achieve these results, and a swiveling, tilting 2.5-inch LCD screen on the back face of this square bodied camcorder. This is the only viewing option, and its less than stunning image compromised the ability to manually set focus and other image parameters that rely upon the view from a quality image device during adjustment. Manual controls are positioned externally and are accessed quickly, unlike the endless menus scrolled through on the HC96. However, the GR-X5’s menus by comparison make the touch screen of the HC96 a seemingly pleasurable experience. Once again, like the Canon and Panasonic offerings in this comparison section, the GR-X5 records still images to the more universally accepted SD memory card format. Unlike the Canon, this model does come with a cold accessory shoe so that the user won’t need to hold microphones when external audio recording devices are connected to the Mic-in port. The GR-X5 has a current online price of around $950. Our choice goes to the HC96.

*Sony DCR-HC46
*Announced at the same time as the DCR-HC96 at CES 2006, the HC46 by Sony is the less expensive little brother to the HC96. With a much lower MSRP of $500, this camcorder also has a smaller 1/5.5-inch, 690K effective CCD and although the physical lens is smaller at 25mm, the HC46 does have a 12x zoom lens. The camera can shoot still images at a lower resolution although recording will be done to the same MemoryStick Duo format. This camcorder has the same 2.7-inch LCD screen, although there is no accessory shoe or Mic input option available when recording. If you have the money, get the HC96.

Who It’s For
Point-and-Shooters *(8.0)*

The point-and-shoot user will find the Sony DCR-HC96 to provide a mode which is entirely automatic without any worries about controls or settings beyond zoom levels. The more learned point-and-shoot user may find this mode eventually limiting while finding the menu structure of regular mode to be too intimidating and complicated.

Budget Consumers* (3.0)*

This camcorder has an MSRP of $800. While this isn’t terrible considering the 1/3' imager, options by manufacturers like Panasonic can be found with similar imager sizes and far more manual controls for around $699.

Still Photo / Video Camera Hybrid* (3.5)*

The HC96 will appeal slightly to the hybrid camcorder user with its inclusion of an in-camera flash, hot shoe and a maximum image resolution of 2016 x 1512 and control over focus, exposure and white balance. Like tape mode, the MemoryStick mode suffers from a poor menu structure and the need to unearth controls from within numerous other menus. The use of Sony’s MemoryStick Duo Pro will limit the media options of the user, especially if this format is ever phased out from the Sony production line.

Gadget Freaks* (4.0)*

For the gadget freak, the Sony DCR-HC96 doesn’t really provide features that set this camcorder apart from previous years or competing manufacturers.

Manual Control Freaks* (2.0)
*The manual control is going to be nothing but disappointed in the HC96. But then again, we don't look to Sony for manual controls in the consumer market. Not until the prosumer and up do they give you so much as shutter speed control. Chances are, the manual control freaks are steering clear of Sony altogether.

Pros/ Serious Hobbyists* (4.0)*

With the menu structure as convoluted as it is, this group is the most likely to actually be able to navigate the obtuse menu system. Nonetheless, the pro and serious hobbyist will find the digital interface for manual controls, lack of external zoom or focal ring and "Handycam Station" disappointing enough to overshadow the HC96’s impressive 1/3' CCD status.

Conclusion

The DCR-HC96 takes great video, of that we have no doubt. The 1/3' chip really packs in the quality. And low light performance was excellent. That alone might be worth of cost of purchase. But if the HC90 is still available (and it must be found somewhere), you'd have a hard case to make that the HC96 is the better buy. Not only did they remove all the ports from the body, but by putting them on the Handycam station, you now have one more thing to lug around in the camera bag. And despite Sony's claim that the body shrunk on all their MiniDV cams, the new model is actually larger and heavier than its predecessor. This is not what we would call 'progress.'

Not much has changed this year in the target market for Sony camcorders, including the DCR-HC96. These camcorders have a single (albeit large) market of ease of use consumers, who put point and shoot ability above performance and control. That's not our typical user here at CamcorderInfo.com. The DCR-HC96 isn't a good choice for people who want superior manual control, or want the top performance. We still are very upset about the lack of microphone input, and the lack of a real accessory shoe on the top MiniDV model in a line. Because of these shortcomings we unquestionably recomend the PV-GS300 by Panasonic for most of our readers.

Specs/Ratings

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