Performance

The Sony DCR-SR100 features a single 1/3"Advanced HAD CCD, with 3310K gross pixels. This corresponds to 2050 effective video pixels in 4:3 aspect ratio and 2060 effective video pixels in 16:9 aspect ratio. The provided specs sheet did not indicate how the electronic image stabilization (EIS) affected the pixel count; EIS typically lowers the effective pixel count.

At 3000 lux, the DCR-SR100 had a good, even color balance, and sharpness nearly matching that of MiniDV (which has a much lower compression). There was a noticeable amount of saturation, but not nearly as high as last year’s DVD403. On the whole, the DVD405 of this year had a nearly identical color performance to the SR100, evidence of the fact that they use the same imaging system. The big difference between the SR100 and the DVD405 is the effects of compression. The DVD camcorder’s compression left extremely jagged lines along curved lines. The SR100 did a much better job with curved lines.

The DCR-HC96, Sony’s top MiniDV camcorder, also uses the same chip as the SR100. And like the DVD405, the color performance is nearly identical, hence, very good. The differences between the images were very slight: the SR100 appeared to have a little more sharpening, with larger halos around areas of high contrast, which may be a result of the different compression methods. Also, the HC96 had more fine grain noise.

The SR100’s main competition is likely the JVC Everios G-series of camcorder, with the GZ-MG77 ($799) in the lead. We haven’t written a full review of the MG77 yet, but we did look at last year’s GZ-MG70 (similar in most regards, except for the MG77’s slightly larger CCD). The MG70 was much blurrier than the SR100. The colors were slightly more muted. The MG70 also showed the same problem with jaggies along curved lines that we saw in the Sony DVD camcorders. The whites were whiter and the blacks were blacker in the MG70, too the point of nearly blowing out. The SR100 looks much better, overall.

Finally, the Panasonic SDR-S100 also captures video to MPEG2, onto an SD card rather than internal hard drive. The colors were more saturated, overall, with a particular emphasis on the greens. Along straight vertical and horizontal lines, the lines looked sharper than the SR100, but the Sony did a much better job with curved lines. Noise levels were roughly the same.

Overall, the DCR-SR100 is a solid video performer, and much improved over the Sony DVD line.

Video Resolution*(19.4)*

We tested the DCR-SR100’s video resolution by shooting a standard ISO 12233 resolution chart and running stills from the video clips through Imatest imaging software. In 4:3 aspect ratio, the SR100 produced 451.2 lines of horizontal resolution and 431.3 lines of vertical resolution, yielding an approximate resolution of 194602.56. In 16:9 aspect ratio, the camcorder produced 476.4 lines of horizontal resolution and 351.4 lines of horizontal resolution, yielding an approximate resolution of 167406.96.

The chart below shows how competing camcorders scored in video resolution. The DCR-SR100 finished well above the other models.

**Low Light Performance ***(6.75)*

The DCR-SR100 was tested for its low light performance by shooting in 60 lux and 15 lux, light levels that are a challenge for most camcorders. These might not look that dark to the human eye, but keep in mind that the eye is much more effective in low light than an imager.

At 60 lux, the SR100 had an excellent picture. The large 1/3" CCD is obviously a boon for the camcorder, and the picture is hardly any different than at 3000 lux. Noise has increased slightly, most noticeably in the reds and blues. The colors have muted a little, but overall, this is a great picture.

The DCR-DVD405 and DCR-HC96 have the same great image. The DVD405 showed the same problems found in most DVD compression (see Video Performance above), but the colors were great. The HC96 was practically identical to the SR100.

The JVC GZ-MG70 had terrible noise problems, great blue splotches across the yellow, green, and blue portions of the spectrum. The picture was bright enough, but much of the color saturation had been lost. The Panasonic SDR-S100 lost a great deal of color information and sharpness, and noise increased significantly.

At 15 lux, the DCR-SR100 dropped off pretty quickly. Whereas the 60 lux image was bright and full, the 15 lux image was very dark, with barely recognizable colors. The DVD405 and HC96 are the same, indicating that 15 lux is a breaking point for this particular chip.

The GZ-MG70 was even darker, which is not a surprise, given the smaller imager in the MG70. The image was essentially greyscale. The Panasonic SDR-S100 was overwrought with noise, and the image was even worse than the SR100.

Overall, the SR100 was a strong performer through moderate low light, but performance fell off as the light became dimmer.

Wide Angle* (9.2)*

The Sony DCR-SR100 is able to shoot in both 4:3 and 16:9 formats and was tested to determine to what degree these two formats provide a different field of view. When shooting in 4:3 format the camcorder produced a 40 degree field of view. When switched into 16:9 format the camcorder was able to extend this field of view to 46 degrees. While this isn’t as impressive as the 52 degree field found with Canon camcorders this will definitely allow for users to consciously shoot in two different formats without having to compromise image quality through crop and zoom or vertical cropping.**

**

Format

Compression* (6.0)*

The SR100 compresses video to the MPEG2 format in three qualities: HQ, SP, and LP. These qualities correspond to the data rate; HQ records at a maximum of 9Mbps, SP at a max rate of 6Mbps, and LP can manage 3Mbps. We say "maximum" because the compression engine uses a variable bit rate (VBR), meaning that the camcorder is smart enough to know that a scene with less motion requires less information per second. Bad compression engines that use VBR may not be able to react quickly enough when motion suddenly increases and may thus blur the picture. The SR100, however, seems to do just fine.

The Panasonic SDR-S100 also uses a VBR compression engine, with a slightly higher max rate of 10Mbps. The JVC GZ-MG70 has rates of 8.5Mbps, 5.5Mbps, 4.3Mbps, and 1.5Mbps.

One thing that we love about the SR100’s compression is the file type - .MPG - rather than the .MOD files produced by the JVC HDD camcorders. The .MOD files could not be imported directly into most editing programs. If you manually changed the file extensions to .MPG, the video would play in any MPEG video player, but the audio was lost. The SR100’s .MPG files can be dragged and dropped directly from the camcorder’s disk drive into almost any editor. We can't stress enough how important this minor change is for ease-of-use on computer editing. Most users aren't experienced with file names and when they get an error with the .MOD file type with JVC camcorders, it creates problems for them. .MPG file names are the commonly accepted file type for MPG and out-of-the-box it makes the DCR-SR100 much easier to use.

Media* (4.0)*

A 30GB non-removable hard disk drive (HDD) stores video and stills for the SR100. The HDD has a few safety features to prevent corrupted data, including the . Drop Sensor. Just as it sounds, this feature senses when the camcorder has been dropped, pauses the recording, and does not allow the user to reinitiate it. Physical shock absorbers further protect the SR100.

In HQ mode, the HDD can hold 440 minutes (7.3 hours); in SP mode, 650 minutes (10.8 hours); and in LP mode, 1250 minutes (20.8 hours).

The JVC GZ-MG77 also has a 30GB HDD and, at comparative recording qualities, can hold about the same amount of video. The quality of the video, however, is vastly different, with the Sony in a strong lead.

Editing* (6.0)*

The SR100 ships with a Image Mixer, a basic editing program designed expressly for this HDD camcorder. Some people may remember a program by the same name shipping with Sony DVD camcorders. Nowadays the DVD camcorders are boxed with PicturePackage; the Image Mixer software for the SR100 is wholly redesigned.

Thankfully, the MPEG2 format does allow for better editing capabilities when compared to HDD camcorders by manufacturers like JVC which use the aggravating .MOD format (see the Compression section above for more details). If Image Mixer proves to be too simplistic for your needs, you should have no problems importing the SR100's files into more advanced editing programs.

Tour

**The Front ***(8.0)*

The most obvious feature on the front of the Sony DCR-SR100 is the prominent Carl Zeiss Vario-Sonnar T* 10x optical zoom lens with a 30 mm filter diameter. This lens has a focal length of 5.1 to 51 mm when converted to 35 mm still camera equivalency. When shooting video in 16:9 format the focal length alters to 42.8 to 495 mm, while in 4:3 format, the focal length will measure 45 mm to 450 mm. Still images being recorded with the Sony DCR-SR100 will have a focal length of 40.6 mm to 406 mm in 16:9 and 37 mm to 270 mm in 4:3 format. The lens has an automatic cover which opens when the camera is powered on.

Directly above the center of this 10x optical zoom lens is a small horizontal in-camera flash for use with still images. This in-camera flash will be covered whenever an accessory lens attachment is used. Users will also have to resort to a Sony brand external flash unit that connects to the Active Interface shoe on the top of the camcorder if additional lighting is needed for photographs. To the left of the lens are two sensors which allow for IR interaction with remote control and NightShot / Super NightShot recording modes. A red LED is positioned directly beneath these two sensors and is positioned so that subjects in front of the camera lens can be aware of when recording is occurring. A wrist strap eyelet composed of plastic can be found jutting out from the camcorder body directly beneath these two sensors and the recording lamp. All in all, a good looking front.

**The Right Side ***(6.0)*

The right side of the Sony DCR-SR100 is composed of matte black plastic with a matte silver highlight cutting through the center of this plane. The hard disk drive for this camcorder is positioned in the same location where users are accustomed to find DVD or MiniDV media on other camcorders. The right side has the standard wrist strap that spans the camcorder body from front to back and users will find that the strap slants downwards on a slight diagonal from back to front. The pad for the wrist strap is well sized for comfort and the top of the right edge is well designed for a confident grip. Near the back of the camcorder is a small port cover that opens via a tab located along its top edge. This oddly shaped cover will resist being moved away from the remote port located beneath and while well-constructed, its belligerent nature is irksome and limits fast access. The JVC G-series camcorders are smaller, overall, but does not have more gripping surface than the SR100.

**The Back ***(6.0)*

The back of the Sony DCR-SR100 has a battery pack in a horizontal position along the bottom half of the camcorder body. The battery pack is released from the camcorder body via a tab located on the bottom face of the camcorder body in a position that is easily blocked when the camcorder is attached to a tripod head. Above the battery pack in the left corner is the electronic color viewfinder that has a cut-away eyepiece that allows the user to adopt a better viewing position in comparison to similar hard plastic versions. On the right side of the viewfinder is the dioptric adjustment feature and the viewfinder does extend out from the camcorder body for user comfort and access. This feature would be even better if it rotated upwards in addition to extending outwards. Three LEDs are positioned to the right of the electronic color viewfinder which indicate whether the camcorder is entered into video, still or playback mode. Beneath these three lights are two more LEDs, one indicating accessibility while the other indicates current flash state.

To the right of the LEDs is a small black button that is nearly invisible because it is the same color as the body of the camcorder.  This easily overlooked control will engage flash settings for the camera when shooting in still mode. However, with its placement, size, and color, it seems likely to be forgotten during most shooting. The start/stop record button is located directly to the right of the flash charge LED and the battery pack of the Sony DCR-SR100 and is comfortably placed for activation with the thumb of the right hand. Above the start/stop button is the power/mode switch that can be engaged by pressing a small green tab on the top side of the control while simultaneously moving the control to either the right or left. Rotating the switch to the right will allow users to turn the camera on and scan between video, still, and review modes while moving it to the left will set the camera to off/charge.

**The Left Side ***(8.25)*

The left side of the Sony DCR-SR100 features a widescreen 2.7 inch LCD with 123,200 pixels and is not as large or as functional as the LCD on the Sony DCR-DVD505 which made using the touch-screen interface at least tolerable. The LCD screen can be opened by pulling on the top, back or bottom edges of the LCD frame. This LCD does not lock into the camera at all and can be snapped open and closed with a quick flick of the wrist, so caution should be taken during transport and fast shooting. On the outer edge of the LCD frame are three secondary controls that engage telephoto and wide-angle zoom in addition to record start/stop. In the area masked by the LCD when closed are four buttons for the camcorder. These buttons are well labeled with full text descriptions and users won’t find them confusing or cramped.

The front buttons allow for access to Easy mode with the wide select button beneath. Behind the wide select button is the disp/batt. info button with the DVD direct burn button located above. In the upper back corner of this space is an in-camcorder speaker for monitoring audio in playback mode. In the lower front corner is a small in-set button that can be only accessed with a small pointed object such as a bent paper-clip or similarly petite item. This button will reset the camcorder controls and recording parameters to a default setting.

Beneath the LCD on the exterior of the camcorder body are two controls near the front of the DCR-SR100 which allow the user to turn the Back Light compensation feature on/off and engage the NightShot control as well. Behind this button and switch is a port cover that is opened by pulling on a tab located on the bottom of the camcorder body. This port cover won’t open when attached to a tripod head and users should consider this if shooting in a static position for an extended period wherein the DC IN port may need to be used. In addition to the DC IN port, this port cover also masks the A/V in/out port and the USB in/out port for the camcorder. This cover had a tendency to catch when opening, although, once fully extended on its lengthy hinge the cover did not impede access to these three essential features. Again, the JVC Everios are smaller, and more evenly weighted.

The Top* (7.75)*

Controls on the top of the Sony DCR-SR100 are located on the right side near the back of the camcorder so that users can comfortably access them with the index finger of the right hand. The zoom toggle on the top of the camcorder is positioned in front of the photo button and was sensitive to user manipulation to provide for a variety of zoom speeds. Positioned on the top of the lens barrel is a four-channel microphone design that is equipped with a Dolby Digital 5.1 Creator feature for surround sound formatting. This in-camcorder microphone setup is positioned too closely to the fingers of the right hand and users will find that handling and control noise is at times captured with these microphones. Directly behind the four-channel microphones is a proprietary hot shoe that accepts Sony brand products that include accessory microphones, video lights and flashes for still image capture. The hot shoe is masked by a cover that is opened via a tab on its back edge. This cover snaps quite efficiently into the body of the camcorder, and when firmly in place, it is great during transport. However, it could cause some consternation by those with short fingernails when attempting to open. The cover is hinged along its left edge and would benefit from slightly longer hinges since it tended to cramp the style of accessory features.

Auto / Manual Controls

Picture & Manual Control
Automatic Control (9.5)

As with most Sonys, the SR100 is an exceedingly easy camcorder to operate, with great manual controls. To make things simple, Sony camcorders have a plainly marked Easy button, here located in the LCD cavity. Pushing this button puts the camcorder in full auto mode – auto exposure, auto white balance, auto shutter speed, etc; When in auto mode, the menu options are severely limited, which functions as a "child proofing" or "idiot proofing," depending on your needs. Only language controls, menu beeps, clock set, and HDD format are available. This last option seems a dangerous inclusion on an "idiot proof" mode. Formatting the HDD erases all information. Don’t press it unless you’ve backed up the data to an external hard drive.

The auto controls work well (no surprise for a Sony). The exposure controls are accurate. Focal adjustments are very good when the zoom is at 0x to about 1x, on subjects of any distance, even those touching the lens. However, zooming can really throw the focus, and in that case, you might want to try the manual focus control. The weakest auto control is probably white balance. The SR100 performed fine in simple, one-source lighting. In mixed lighting, though, a manual white balance was necessary.

*The DCR-SR100's LCD cavity houses, among other things, the Eay button. *

There are a number of controls that we classify as "automatic controls." The Program AE modes are preset exposure settings tailored for certain shooting environments. The names indicate when you might use them: Spotlight, Portrait, Sports, Beach & Ski, Sunset & Moon, and Landscape.

Spot Meter is another exposure setting. When activated, a frame appears around the touch screen LCD. You simply point to the subject which you would like properly metered. It’s not a fine control, but it might prove useful if you have 2-3 areas of greatly differing lighting. Spot Focus works the same way, but with focus. Auto shutter, which can be turned on and off, automatically increases the shutter speed when recording in bright light.

These auto controls are better than the JVC GZ-MG70, but the white balance is problematic in both. Also, the auto mode can be difficult to locate on the JVC, as you have to hold down a poorly labeled button for 3-5 seconds to switch from manual to auto.

Overall Manual Control (3.0)

The DCR-SR100 offers a limited number of manual controls, nothing new for a Sony camcorder. The company chooses to make its mark in ease of use and automatic controls. As it is, manual control enthusiasts will have to suffice with manual focus, exposure (in EV steps), and white balance. There is no manual shutter speed and no exposure control in f-stops.

All manual controls are found in the menu, which is navigated with the touch screen LCD. Entering the menu is done by pressing the P-Menu button in the bottom right corner of the screen. This brings you to the front page, a series of decently sized buttons, six per screen, that give you the most frequent options. All the other controls are buried deeper in the menu. The front page is programmable, though, so if you think that different controls should be more accessible, you can drag them to the front page.

We’re not crazy about touch screens. You can read more about it in the Handling section below, but on the whole, we believe that joysticks (now found on Panasonics, some Canons, and some JVCs) are much better. The JVC GZ-MG70 uses a four-way touchpad control for navigation, which is not much better than the touch screen. The new MG77 has replaced the touchpad with a joystick on the outer edge of the LCD panel, definitely a better control than the touchscreen.

Zoom (7.75)

The 10x optical zoom has two controllers with the primary controller positioned on the top of the camcorder body in a location that is comfortably accessed by the index finger of the right hand. The zoom toggle on the top of the camcorder provided smooth controlled results as well as being able to shoot at a number of zoom speeds with a bit of nuanced control on the part of the user.

The zoom toggle performs far better than the slider type found on Panasonic camcorders which tend leap visibly in speed when minor adjustments are made. In addition to the zoom control on the top of the camcorder, a secondary control for zoom can be found on the outer edge of the LCD frame when the screen is open. This zoom transitions at a fixed and slow rate and while not applicable to all situations, it is certainly helpful when awkwardly positioned or when shooting in front of the camcorder.

Zoom Power/Ratio (10.0)

The Sony DCR-SR100 comes with a 10x optical zoom lens and has optional digital zoom ranges of 20x and 120x. Unlike camcorders with smaller 1/6th inch chips which are capable of heightened zoom levels, this camcorder’s larger sensor size limits the optical zoom to the 10x rating that may, at first glance, be odd when compared to cheaper one-chips with ultra zoom capabilities. While a lower zoom could be a detriment to some users the heightened image quality with a larger sensor should be enough to quash most complaints of low zoom levels. When shooting with the digital zoom turned on, the user will note that higher digital zoom levels will result in an increase in image degradation that will make footage nearly intolerable in quick order.

Focus (4.0)

Focus can be manually controlled by the user of the Sony DCR-SR100 although this process is accomplished through the digital touch-screen interface and not an external focal ring. The manual focus can be accessed by entering the P-menu structure and selecting the focus sub-menu option listed on the second page. The focus sub-menu display will provide users with the option to select between auto and manual focus. If manual focus is selected the portrait bust and landscape mountain icon located directly above the manual/auto buttons will be highlighted. Once this is accomplished the user can press either direction to adjust focal levels. When altering focal depths, a corresponding depth is numerically displayed in the center of the LCD.

This control while plagued with the same touch-screen problems will certainly be friendly for the beginning user who wants to begin manipulating focus manually. It isn’t going to give the range of options or smooth transitions found with an external ring, however it will be simple to engage once opened. The focus, like all manual controls, cannot be engaged when viewing footage through the viewfinder due to its reliance on the touch-screen interface of the LCD screen.

Exposure (Aperture) (4.0)

Exposure can be manually adjusted when shooting with the Sony DCR-SR100 and access to this manual control is accomplished by pressing the P-menu button when the camera is not in Easy mode. Once the P-menu is opened the user will find the exposure sub-menu option listed on the first page of the menu list. The exposure sub-menu displays two semi-transparent button overlays for switching between auto and manual modes in addition to a horizontal bar with + / - icons for making adjustments to exposure levels. This control is simple to use and with a live view provided users should find that engaging this feature is a simple operation. The only major complaint for this manual control is that there are no numerical displays provided for exposure levels and users will need to make adjustments visually when shooting.

*Shutter Speed (0.0) *

The Sony DCR-SR100 comes with no manual control over shutter speed, which isn’t surprising for those familiar with Sony consumer camcorders. Geared more towards the Easy mode crowd looking for ease-of-use and shooting in full auto this camcorder relieves beginners stress by keeping this basic. The DCR-SR100 does come with an automatic shutter speed range of 1/4 of a second to 1/1400 of a second and varies depending on exposure mode.

White Balance (7.5)

White balance is initially positioned within the overarching menu structure and can only be accessed by pressing the P-menu followed by the Setup Menu option on the first page. After that, the user will need to spend some time familiarizing themselves with the exhaustively overwhelming administrative menu structure. The user will find that the white balance settings are located within the Camera Set sub-menu once the full Camera Set sub-menu is opened and scanned. When scanning the Setup Menu via the shortcuts on the left side of the screen, the white balance submenu will not be visible which greatly increases confusion for consumers regardless of their skill level.

Once the white balance sub-menu is opened, another window appears that displays five options in the same visual structure that is found with the P-Menu design. The white balance options appear as single rectangular buttons that are semi-transparent overlays on a live view screen. In addition to these five large buttons, the user will find a frame which states the white balance mode and the current highlight state, as well as a return option. With this much clutter on the surface of the LCD screen, the user will find that making appropriate white balance settings is further confounding. The white balance options for this camcorder will allow for full auto, indoor, outdoor, and "One Push" i.e. manual. While these settings are performed with accuracy, a simpler interface and greater immediacy would make this essential manual control something that even novice users could engage. It is possible to move the white balance setting to the main P-Menu structure and this was done as soon as testing for the camcorder began. While being able to restructure menus is helpful for more advanced users the likelihood that a beginning user is going to be able to execute this process is unlikely.

Gain (0.0)

There is no manual gain control with this camcorder. If looking for manual gain control on a consumer camcorder, a model by Panasonic will provide an extensive gain control range with numerous settings for customization.

Other Manual Control (0.0)

There are no other manual controls available when shooting with the Sony DCR-SR100 which is expected when considering the heavy emphasis on automatic controls.**

**

Still Features

Still Features* (8.5)*

As camcorders go, the DCR-SR100 has fairly good still features. It captures JPEG-format stills to the HDD in two quality settings – Fine and Standard – and four sizes: 2016 x 1512 (3MP), 1600 x 1200 (1.9MP), 640 x 480 (0.3MP) in 4:3 aspect ratio, and one size in 16:9 aspect ratio, 2016 x 1152 (2.3MP).

A burst function records a series of stills in 0.5 second intervals. The larger the resolution, the fewer images you can take – only three at 2016 x 1512. A separate exposure bracketing function captures three images in a row, one in your chosen exposure setting, one slightly underexposed, and one slightly overexposed. It’s a good feature to use in a pinch if you’re not sure how the exposure will look.

All of the manual controls and automatic controls are found in video mode, including white balance, exposure, program AE, spot meter, and spot focus. A flash, located directly above the lens, can be set to high, normal, and low, and also offers red-eye reduction. These additional features are good, but not enough to sell the camcorder as a replacement for a dedicated still camera.

The JVC GZ-MG77 captures stills up the 1632 x 1224 (2.2MP) onto the 30GB HDD or an SD card. It also has a flash and comparable array of manual controls, with the notable addition of shutter speed control. Last year's MG70 offered ISO settings of Auto, 80, and 160. We are not yet sure if the MG77 will include them too. Check back to CamcorderInfo.com soon for the full review.

Still Resolution*(8.0)*

We tested DCR-SR100’s still resolution by shooting an ISO 12233 resolution chart with 2016 x 1512, the largest size that the SR100 can capture, and running those stills through Imatest imaging software. In total, the camcorder yielded an approximate resolution of 797220.75.

The chart below shows how competing camcorders scored in video resolution. The DCR-SR100 finished moderately well against the other models.

Still Performance* (7.0)*

The stills of the DCR-SR100 are more or less identical to the stills of the Sony DCR-HC96 and DCR-DVD405. All having the same imager, they all max at out at 2016 x 1512, with a max widescreen still of 2016 x 1152. The image is very sharp (compared to the 640 x 480 video), but the colors are very washed out. There was a tendency in certain color panels to create gradients of color rather than flat colors.

The Panasonic SDR-S100 fared a little better, particularly the reds and yellows. The max resolution is only 1280 x 960, so the resolution cannot match, but even at commensurate sizes, the SR100 has the advantage, with a sharper image. Neither produces great color, but color levels are easier than apparent sharpness to manipulate in Photoshop.

The GZ-MG70, at 1600 x 1200, had much richer colors, though the color palette was not even; it leaned too heavily towards the blues.

Handling and Use

Ease of Use* (9.0)*

The DCR-SR100, like all Sonys, is a very easy camcorder to use. This has been Sony’s stock in trade for years now, coming at the cost of an expanded manual control set. Obviously, most people are willing to make the trade, as Sony has a dominant market share in camcorders.

The Easy button, found in the LCD cavity, should be your first indication that this is a simple machine to operate. The Easy button puts the camcorder in full auto mode, leaving you free to point and shoot ‘til your heart’s content.

The JVC Everios have an even simpler interface, with a scrolling menu system that facilitates changes for the newest of users. The joystick on this year's MG77 proves to be an improvement on last year's touchpad and Sony's touch screen.  

 

Handling* (8.0)*

Handling the SR100 is similar to handling most Sony camcorders. The touch screen has many fans and just as many detractors. We are of the latter group. The touch screen has several points against it. Firstly, the screen in prone to picking up fingerprints and grease. Besides looking bad, the image becomes distorted. Keep in mind, this is the very device that you are using to judge image quality.

Furthermore, while the 2.7" screen may be commensurate with those on other camcorders, it’s really not that large for a touch screen. The buttons are small, and large fingers may have a problem using the interface. Sony does give you the option of changing the buttons that appear on the front page of the menu, which are larger than those found deeper in, just another user friendly control from Sony that proves why they’re on top.

The body of the SR100 is oddly weighted. If the hand strap was a little higher, the body might not tip so heavily to the left. As it is, the camcorder can be a little tiring to hold. The zoom toggle is fairly well-placed for the index finger, but a larger control would be easier to grip. Rear buttons are more hit or miss: the record on/off is perfect for the thumb, but the flash on/off button is impossible to reach with your right hand. The battery protrudes far out from the body. It could be used as an additional gripping surface, but can heat up over time. The viewfinder extends from the body, but, lacking the ability to pivot upwards, it is of limited use.

Handling was one of the biggest problems with the JVC GZ-MG70, mostly due to the minute touchpad control. This problem has been corrected in the GZ77 with the switch to a joystick. The Sony DVD camcorders have approximately the same handling as the SR100, with the exception of weighting. The SR100 is heavier and has a tendency to tilt to the left, away from your hand.

Portability* (7.0)*

This camcorder isn’t the most petite solid state camcorder on the market and if portability is paramount matchbook camcorders like the Panasonic SDR-S100 will be a tempting alternative if smaller memory capacity and lower image quality is tolerable. The Sony DCR-SR100 measures 3 3/8th inches, by 2 3/4th inches, by 5 7/8th inches with a total weight of approximately 1 lb 5 oz. The camcorder does have a right hand strap for temporary portage although for longer term hauling the purchase of a carrying case will be necessary. The only concern, in terms of portability, comes with the eyelet for the right hand strap on the front of the camcorder which extends from the camcorder body and could snap with rough handling. Additionally, the LCD screen for the DCR-SR100 does not have a locking mechanism and could catch on pockets or a case and could cause damage if not careful.

*The battery on the SR100 loads sideways, and protrudes noticeably from the body. *

LCD/Viewfinder* (9.0)*

The LCD found with the Sony DCR-SR100 is located on the left side of the camcorder body and can be opened along either its top, back or bottom edges. There is no locking feature to secure this LCD to the camcorder body when not in use and it won’t take too long to discover that the LCD is able to snap open with a flick of the wrist. While momentarily amusing, this design could easily lead to a broken LCD from either opening in transport or rough handling. The LCD is a widescreen display with a 2.7 inch diagonal and 123,200 pixels and is unfortunately a touch-screen interface for all manual controls and menu structures.

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While touch-screen interfaces reduce external controls and ease up on overall visual clutter, these interfaces aren’t without their own list of problems. The first and most noticeable problem is finger marks and dirtied surfaces that obscure and compromise the ability for users to monitor image quality in important areas that include focus, zoom depth, and clarity. Another problem that arises with this LCD is that 2.7 inches, while large, isn’t nearly large enough to handle some of Sony’s control features. The spot focus and spot meter controls are good ideas,in theory, both allowing users to touch appropriate sections of the LCD in order to gauge proper focal depth and lighting conditions. However, the problem is that the actual touch-screen interface that can be selected from is limited to approximately 2.25 inches. This minimal surface, along with this reviewer's large fingers, the results were not accurate and did not produce the desired results. While users could employ a stylus or pencil, neither is recommended because they could cause damage to the LCD.

In addition to the LCD screen, the Sony DCR-SR100 comes with an electronic color viewfinder that is located in the upper left corner on the back of the camcorder body. The electronic color viewfinder is comfortable to use, if one overlooks the hard plastic eyepiece which surrounds it. The major problem with the viewfinder is that to access it the LCD screen must be closed. And the problem with this is that when the LCD is closed, the manual controls, menu buttons and other options are no longer accessible to the user. Either manual controls will need to be set before shooting or the user will have to rely on the Easy mode for shooting. A dioptric adjustment dial is located on the right side of the viewfinder and is large enough for a variety of hand sizes to engage.

Battery Life* (11.4)*

The DCR-SR100 ships with the NP-FP60 battery, which (according to the manual), has a charge time of 135 minutes. We tested the battery for continuous recording by leaving the LCD open, turning the image stabilization on, and leaving the backlight off. In total, the battery lasted for 114 minutes and 4 seconds (1 hour, 54 minutes, and 4 seconds).

Audio/Playback/Connectivity

Audio* (4.0)*

First off, there is no mic jack. Some mics may be fitted to the proprietary Sony accessory shoe. The Sony DCR-SR100 records audio without accessory microphones in four channels when relying on the interior microphones. The in-camera microphones are positioned on the top of the camcorder barrel approximately an inch and a quarter from the lens barrel. This position for the microphones is a bit awkward both for the directionality of their recording fields as well as their close proximity to the gripping and control fingers of the right hand. Shifting of fingers and adjustments to zoom were occasionally picked up in the audio track and recorded as a result.

The four audio tracks recorded by the DCR-SR100 are processed using a Dolby Digital 5.1 surround sound creator so their individual recording tracks are mixed and panned over 5 channels (front left, front right, rear left, rear right, and center) in addition to a .1 sub-woofer track. Our major contention with this feature is that it isn’t going to provide users with their expected results. When consumers hear the phrase "surround-sound" they imagine the rich and dynamic audio content found with action films. To create soundtracks of that caliber involves an immense amount of post-production Foley work and little to no actual recording during filming. This allows for 5 tracks of unique audio to be created in a situation where surround-sound can be employed for dramatic and powerful results. The Sony DCR-SR100 does record audio that plays on 5.1 channels and yes, it does record audio in a 360 degree radius, it just didn’t really produce audio that showed a noticeable directionality of the original source material. Like the DVD models reviewed earlier this year, this HDD camcorder tended to record similar audio tracks regardless of whether the microphone was labeled rear left and front right. Which isn’t all that surprising. It’s nearly impossible to record four tracks of audio with four microphones positioned within a square inch of space of space on the top of a camcorder and expect results which really display an acoustic spatialization within the recording.

The benefit to having four audio tracks instead of two is important and shouldn’t be downplayed. One of the benefits of stereo recording is that with two audio channels the listener is less likely to notice inconsistencies and errors in the audio track since the opposing track will acoustically counter-act any errors. With this in mind, four channels of audio should improve the recording quality further and the results should be richer and more nuanced in comparison to either a two channel or mono recording.

Users of the Sony DCR-SR100 will find that within the P-menu’s first page is a sub-menu for surround sound monitoring. When engaged, this feature will display audio levels on each of the five channels as they are being mixed and recorded in real-time. In addition to this monitoring feature, the user will also find that there is a Mic. Ref. menu located on the second page of the P-menu structure. This option has settings of Normal and Low with normal being intended for recording various surround sounds that are then converted into the same audio level, while the low setting records surround sound faithfully and is unsuitable for conversations.

In addition to the four-channel in-camcorder microphone set-up, the Sony DCR-SR100 also has an Active Interface shoe for accessory microphones, video lights, and flashes. The only problem with this feature is that it’s a proprietary accessory hot-shoe and users will have to purchase only Sony brand products when attempting to customize their camcorder. Audio accessory options include a stereo microphone, a hi-fidelity microphone, and a surround sound microphone. In addition to these more feasibly functional options is the obtrusive wireless ECM-HW1 Bluetooth microphone by Sony that can be strapped to your unwitting child at their first holiday pageant permanently providing them with a social scarlet letter.

VCR Mode* (9.0)*

The VCR mode is one area where HDD format camcorders excel when compared to the MiniDV format. This is due to the ability to select video footage based on thumbnail images rather than linear navigation through the standard VCR functions found on tape-based camcorders. This greatly reduces the amount of time required to find appropriate video files for playback viewing. It is possible to select from two multi-up playback viewing formats for either six or twelve image displays. Further expediting the review process is the ability to scan between still image, video, and playlist screens by pressing the tabs located at the bottom of the LCD screen. This is a great move when compared to camcorders that require the user to switch the mode dial to select between formats and result in time delays. When viewing single images in either video or still format it is possible to engage up to 5x digital zoom by toggling the zoom control located on the top of the camcorder. To move the viewing frame when using playback zoom the user will have to massage different areas of the LCD screen in an attempt to shift the screen to the appropriate area. This process worked with varied success and a lengthy delay that was irritating for those lacking patience.

The review mode is just that, a review mode and users expecting to find in-depth editing features on this hard disk drive camcorder are going to be disappointed. The Sony DCR-SR100 only provide users with delete, delete all, delete date, or protect. Along with these features, it is possible to direct burn footage to DVD with Sony Vaio computers, create playlists, record control, and volume.

The likelihood of people editing inside the camcorder is slim, given the plethora of cheap and free editing programs out there. But for those who are determined will find the JVC Everios much easier. Moving clips around in the playlist is not a simple task with the touch screen, and is one of the clear benefits of a touchpad over a touch screen. The SR100 does ship with Image Mixer, a simple editing program which gives you more editing flexibility.  

Ports* (5.5)*

Ports for the Sony DCR-SR100 are located on the right, rear, and left side of the camcorder. On the right side of the camcorder is a subtle rubber port cover that blends into the matte black surface of the DCR-SR100. This port cover is a bit stiff and isn’t inclined to move out of the way once opened via the tab located along its top edge. This port allows the user to directly connect a remote control to the camcorder body. On the back of the camcorder is the battery pack. The battery pack is detached by moving the tab located on the bottom of the camcorder. This position can complicate matters when the camcorder is attached to a tripod head. The left side ports are masked by a hard plastic cover that is opened via a tab located on its bottom edge and like the battery pack release, this tab can’t be accessed when the camcorder is mounted to a tripod. Once opened the cover swings easily out of the way thanks to the extra long hinges located on the front edge of this cover. The ports on the left side allow for connection to DC IN, USB in/out, and AV in/out which will allow for digital-to-analog pass-through functionality.

The ports of the SR100.

Other Features

Widescreen/16:9 Mode* (6.0)*

Moving between the 16:9 and 4:3 format is a simple process when shooting with this camcorder thanks to the inclusion of an external control located in the space masked by the LCD screen when closed. The wide select button is well labeled and allows for users to toggle between these two formats when the camcorder is not recording. If recording footage it will be necessary to stop recording to switch between formats.

Scan Rates/24p* (0.0)*

The scan rate for the Sony DCR-SR100 is 60 fields per second interlaced and unlike other Sony camcorder models like the Sony HDR-HC3 hi-def camcorder, it does not offer any other scan rate or frame option.

Other Features* (4.5)*
Fader - The fader feature is a digital effect that can be applied by the user when shooting video footage. The fader effect is listed on the first page of the P-menu and allows for fades to be applied during the recording process. The fader options provided in-camcorder allow for white fader and black fader for both fade-in and fade-out. In addition to these two options is the inclusion of an overlap and wipe for fade-in only.

Digital Effect/Pict. Effect - The Digital Effect and Pict. Effect sub-menus are listed within the overall administrative menu within the Pict. Appli. category. The digital effects menu will allow for users to select between luminance key and old movie settings. The old movie setting applies a sepia wash to the image while the luminance key engages a rudimentary cut out tool that keys out brightly lit areas in a still image with video footage currently being captured. While tepidly amusing and successful it didn’t entertain for long. The Pict. Effect sub-menu allows for the user to engage settings of sepia, black & white, pastel, and mosaic settings which performed with reasonable success.

Electronic Image Stabilization - An image stabilization is certainly a necessary feature on a camcorder engaging 10x optical zoom and users will find that the Sony DCR-SR100 comes with an electronic stabilization feature under the Sony-brand SteadyShot moniker. Electronic stabilization is better than no stabilization and will certainly compensate for some camcorder shake, however the image resolution will be compromised with an electronic image stabilization system. The better option, not found on this model, would be an optical image stabilization system like those found with Panasonic camcorders which will result in smoother, steadier shooting without the compromised image quality.

Analog to Digital Conversion - The Sony DCR-SR100 is capable of analog-to-digital conversion. Users will find this especially helpful considering the 30GB hard drive and the ability to record extensive periods of analog video footage before transferring to a different media format.

Drop Sensor - In an effort to protect the internal disk drive, the Sony DCR-SR100 has a default drop sensor. This sensor recognizes sudden shifts in camcorder height and overrides the ability to record or play footage on the camcorder. This setting can be turned off by the user.

Color Slow Shutter - The color slow shutter feature can be found within the final page of the P-menu structure. This option enhances the saturation levels being recorded by the camcorder and is intended for usage primarily in low light level situations where colors may become muddied. The downside to employing this feature is the possibility of unrealistic color results as well as the potential for marked decrease in shutter speed.

Battery Charge Information - To access the battery charge information, the user must first turn the camcorder into the power-off state. Once this is complete the disp. / batt. info button on the left side of the camcorder is pressed and the information appears on the LCD screen for both LCD screen and viewfinder record time with current battery charge.

Active Interface Shoe - The Active Interface Shoe is located on the top of the camcorder body directly behind the in-camera microphones. This proprietary hot shoe only accepts Sony accessories equipped with the special Active Interface design. Options include video lights, flashes for still image capture, and rudimentary shotgun, wireless, and stereo microphones.

Comparisons/Conclusion

Comparison
*JVC GZ-MG70 and GZ-MG77
*The JVC GZ-MG70 was JVC’s most expensive model in their G-series of hard drive camcorders until being recently replaced by the GZ-MG77. Both camcorders can be found for $899 online and consumers will note only minor changes between these two models. This model has a 30 GB hard drive like the SR100 as well as 10x optical zoom. Unlike the SR100 is the lack of an accessory hot shoe (we’ll take proprietary over nothing) and a recording format that proved nearly impossible to export for editing purposes. The GZ-MG70 records video and audio in the .mod format and when moving from camcorder to PC the camcorder split the video and audio files into two separate folders. In comparison, the Sony DCR-SR100 made exporting video a breeze and users will find that they are able to edit this video with a number of editing programs. In addition to this formatting faux pas, the camcorder has a smaller 2.5 inch LCD, a mere 42 degrees for wide-angle shooting with heavy crop and zoom, and no viewfinder at all. Although equipped with more manual controls than the auto-control friendly Sony DCR-SR100, the GZ-MG70 fell quite short of the mark in general and is not a recommended camcorder for consumers interested in the possibility of a solid state camcorder.

The JVC GZ-MG77 has a 1/3.9 inch 2.2 MP imager, a 30 GB hard drive, 10x optical zoom, and no viewfinder. Besides the slightly larger imager and a 2.7 inch widescreen LCD the GM-MG77 is nearly identical to its predecessor.

The JVC GZ-MG77 also offers a Direct to DVD function with the purchase of a $200 Everio Share Station CU-VD10 portable DVD recorder. The SR100 has a similar function, but only works in conjunction with Sony Vaio computers, and only when those computers have certain software. Winner: SR100.

*Sony DCR-DVD405
*The DCR-DVD405 is one step from the top-of-the line in the DVD series of camcorders by Sony and consumers will find that this camcorder retails for a hundred dollars less than the DCR-SR100. This camcorder comes equipped with a 1/3 inch 3.31 gross MP CCD and the same in-camera flash and Active Interface hot shoe for accessory lights, flashes and microphones. The DCR-DVD405 also features Sony’s friendly easy to use interface and simple control layout as well as the illogical 2.7 inch touch-screen LCD system in addition to the secondary electronic color viewfinder. This camcorder records still images to Memory Stick Pro memory cards and users will find that the additional purchase of large memory cards will about even out the cost jump between these two models. The wide angle field of view is comparable with the SR100 and users will find that overall the SR100 provides a compelling alternative to this DVD camcorder. Winner: the SR100.

*Panasonic SDR-S100
*The Panasonic SDR-S100 is a compact matchbook style camcorder with a smaller 1/6th inch 3 MP sensor and a reliance on SD memory card for recording video and still images. This camcorder doesn’t have the bulk of the DCR-SR100 and while this is great in terms of portability, it also means users will lose features like the in-camera four-channel mic array, and proprietary hot shoe. Both offer a flash for stills. This camcorder does have a 10x optical zoom and interestingly, the user of this petite camcorder will find a wealth of manual control options over shutter, aperture, focus, white balance and gain. The SDR-S100 comes with an optical image stabilization which is essential since camera shake was a problem with this small camcorder. The SDR-S100 has a 47 degree field of view when shooting in wide angle and a 45 degree field of view when in 4:3. This camcorder saves on space by not including a viewfinder and the 2.8 inch LCD is marginally larger than the one found on the DCR-SR100. Included in the purchase of this camcorder is a vastly smaller 2 GB memory device. Winner: SR100.

Who It’s For
Point-and-Shooters *(7.0)*

The point and shoot user will find that the DCR-SR100 is geared towards their usage style with an easy mode and a simple interface that uses features like spot focus and meter which certainly aren’t complicated (or efficient). The major concern for this group will be perhaps the menu structure that is illogical and elusively constructed.

Budget Consumers* (3.5)*

With a retail price of $1100, it seems unlikely that the budget consumer will make the jump to HDD formatting. Adding to the high price is the prospect of lower image quality due to high compression of MPEG2 and the budget user will realize that MiniDV tape camcorders are still where it’s at for their needs.

Still Photo / Video Camera Hybrid* (5.0)*

The Sony DCR-SR100 does have extensive hybrid capabilities and users should appreciate both the well placed in-camera flash and the opportunity to add proprietary hot shoe flashes. The flash button on this camcorder is poorly designed and is easily lost on the back face of this camcorder.

Gadget Freaks* (7.0)*

While HDD camcorders are a relatively new phenomenon to the market, the heavy compression levels of MPEG2 should dissuade the true gadget freak looking not only for the latest technology but also the highest quality.

Manual Control Freaks* (3.0)*

For the manual controller, the Sony DCR-SR100 is a camcorder to be avoided with features like white balance being buried in the giant over-arching comprehensive menu structure. Manual controls should be accessible from the start and camcorders shouldn’t require their users to reformat internal menu structures in order to make controls functional. In addition to manual white balance, this camera allows for manual focus and exposure to be adjusted via the touch-screen interface. Spot metering and focus,while interesting ideas, struggled to perform successfully when navigated with the 2.7 inch LCD.

Pros/ Serious Hobbyists* (4.0)*

The pro/serious hobbyist section of the consumer market will find that the poor MPEG2 video quality, oversaturated color levels, lack of external zoom or focus rings, rudimentary and limited manual controls, and touch-screen interface to be inadmissible compromises.

Conclusion

The DCR-SR100 is a big first step in for Sony. No, they are not the first manufacturer to make a camcorder with an internal hard disk drive. But they are the first to make HDD camcorders that produce good video. We all know that the tape-era is coming to a close, but not until this moment did we have a viable path out. Clearly, Sony is drawing on the success of its other big sellers. The SR100 has the same imager as the DVD405 and the HC96. The SR100 is also using a similar compression engine to the one found on the DVD camcorders, but they have improved upon it. Video quality has improved and the files are now .MPG instead of .MOD, which makes them easier to import without losing the audio (a persistant problem with .MOD files).  

In comparing the SR100 to the JVC GZ-MG70 and MG77, Sony is the clear winner. The video quality simply blows it out of the water. While the JVCs may handle better and beat the Sony out in portability, ease of use is about the same.

We’re not saying that the SR100 is a perfect camcorder. It suffers a lack of manual controls and (in our opinion) handling problems due to the touch screen menus that plague all Sonys. However, we cannot deny the ease of use that make Sonys such a draw. HDD camcorders will only improve upon Sony’s chief quality, eschewing fragile tape mechanisms and DVDs.

MiniDV still trumps HDD in video quality, but the gap is closing quickly, and the DCR-SR100 is the best of the bunch. At $1000, this is still out of the price range of most consumers, but you can be sure that the product line will expand and prices will fall in the next year. This is the future of camcorders.

Specs/Ratings

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