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  • Performance

  • Format

  • Tour

  • Auto / Manual Controls

  • Still Features

  • Handling and Use

  • Audio / Playback / Connectivity

  • Other Features

  • Comparisons / Conclusion

  • Specs/Ratings

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

Performance

 *High Definition*At 3000 lux, the HDR-SR1 produced an image very similar to the HDR-UX1. Of course, this is no real surprise; both camcorders share so much in common. But where did that 3Mbps difference come into play? We were hoping that it might reduce some of the image noise, which we found in abundance on the UX1. But noise did not seem to change between them. Once again, we found that the picture to be noisy – certainly more so than the HDR-HC3. Blown up on a big screen, this noise becomes quite noticeable. Will it ruin the memory of your baby son being born? Unless you’re George Lucas, no. But HDV still looks better.  That slim margin of data speed did make for a slim increase in apparent sharpness, though. We don’t exaggerate when we tell you that we deliberated for hours on the subtle difference between these pictures. In the end, we found the SR1 to have the superior image, but it’s truly a marginal difference.   

 The cropped images above and below illustrate our findings. Looking at the labels in this 100%-sized crop, you can see that the HDR-SR1 produced less fuzz around the high-contrast areas of the letters. In the second set of crops, blown up 200%, you can see similar findings. The contrast on the SR1 is higher, making for a cleaner looking image. What does this mean for most users? In short, if you’re not looking for the difference, you probably won’t see it.     Compared to HDV, it underperforms just like the UX1. The Sony HDR-HC3 had less noise and a slightly brighter color pallet. The Canon HV10 remains the best picture in bright light of any consumer HD camcorder so far – bold, beautiful colors and hardly a hint of noise.  *Standard Definition*Again, like the UX1, SR1’s the standard definition video looked very similar to its HD video in terms of color, but lacked the crispness and clean lines that define HD. It looked similar to DCR-SR100, which also has a 1/3" sensor, but not the ClearVID. The SR100 uses the Advanced HAD CCD, the same chip found on the top MiniDV model, the DCR-HC96.   

 The JVC GZ-MG505 is also an HDD camcorder, JVC’s top-of-the-line, though a strictly standard definition model. In this sense, the MG505 could not hope to the compete to the HDR-SR1’s resolution in HD. JVC does however, produce impressive standard definition video. The colors are more saturated, which is often appealing to non-professionals who equate stronger with better. Unfortunately, this color processing choice by JVC also tended to blow out the white areas of the image. Even in this resolution, the picture is not quite as sharp as the HDR-SR1. Overall, the Sony comes out ahead.  {column='Video Performance' models='Sony HDR-SR1,Sony HDR-UX1,Sony HDR-HC3,Sony DCR-SR100,Canon HV10,JVC GZ-MG505'}  **Video Resolution *(31.1)*We tested the Sony HDR-SR1 for the resolution of its video by shooting a standard ISO 12233 resolution chart, then running stills from that footage through Imatest imaging software. In AVCHD shooting, the camcorder produced 625.0 liines of horizontal resolution and 497.6 lines of vertical resolution, yielding an approximate resolution of 311000.0. This is a statistically identical number to the resolution we measured in the HDR-UX1, indicating that if the 3Mbps increase in data rate has any effect on resolution, we couldn't find it.  In standard definition, the HDR-SR1 produced 447.0 lines of horizontal resolution and 397.3 lines of vertical resolution, yielding an approximate resolution of 177593.1.  The chart belows shows how the HDR-SR1 fared against the UX1 and other camcorders in its class. Numbers reflect the best possible resolution of each model.  {column='Video Resolution' models='Sony HDR-SR1,Sony HDR-UX1,Sony HDR-HC3,Sony DCR-SR100,Canon HV10,JVC GZ-MG505'} Low Light Performance*** (6.5)*The HDR-SR1’s 1/3" ClearVID CMOS sensor is large enough and well designed enough to provide the camcorder with acceptable low light performance, more than can be said for other camcorders in its price range. Other camcorders that use this chip, including the HDR-UX1 and HDR-HC3, shared the same benefits.   

 At 60 lux, the HDR-SR1 did just fine. The colors remained strong without showing signs of over-processing (over-saturated colors). The noise definitely picked up, and it wasn’t starting from an exceptionally low level anyway. In laymen’s terms, projected on a large screen, you’re going to see a lot of little, dancing specks in darker areas.  The low light performance of the HDR-SR1 gave us no surprises, after familiarizing ourselves so well with the HDR-UX1. As in bright light, the 3Mbps bit rate difference gave the HDR-SR1 a slight edge, with cleaner lines along high contrast areas. The Sony HDR-HC3 produced a more even color saturation all around. The most promising contender in bright light took a nose dive in low light, however, much to our disappointment. The Canon HV10 lost a great deal of color and luminance.   

 In standard definition at 60 lux, the color and brightness levels remained unchanged. Comparatively, the DCR-SR100 had a very similar image to the HDR-SR1. The JVC GZ-MG505, as in bright light, had a much more saturated image, which helped give the appearance of more luminance. This may be what a lot of consumers are looking for, but these colors are not accurate.    

 At 15 lux, the HDR-SR1’s performance dipped into the "problematic" area. This should come as no surprise to frequent readers. Most camcorders fall apart here. Those that maintain image quality here go on to the halls of Valhalla and all its agnate glory – true story. With the SR1, basic shades could be made out, but accurately assessing color was difficult. Text could still be made out on contrasting backgrounds, but that is more likely a result of the increased definition in HD rather than great light gathering abilities in the chip; it was definitely not the same case in standard definition.   

 The differences between the SR1 and the UX1 at 15 lux were virtually nil. The 3Mbps speed gap seemed to have no measurable impact on video quality. Noise was a huge issue with both camcorders, and may well cause you to discard 15 lux footage to the cutting room floor. They both prevailed over the Canon HV10, however. So if you insist on an HD camcorder in this price range, and if you’ll be doing a lot of shooting in low light, we have to hand it over to Sony.  The standard definition footage of the SR1 at 15 lux was a different story. Though we tried on more than one occasion, the camcorder could not achieve a proper focus at any time. At best, it managed some "breathing" (steady, rapid intervals of the image going in and out of focus) close to the intended focus mark. Few camcorders have this problem, and even fewer in the $800 and above range. We’re not sure what this issue was, as no other Sony camcorder using the same chip or compression method has had this problem. We’re willing to give them the benefit of a doubt that this was a dud model. The DCR-SR100 had the same brightness, but no focus problems. The JVC GZ-MG505 once again had stronger colors, though they were oversaturated ; at 15 lux, we’re more inclined to take what we can get. {column='Low Light Performance' models='Sony HDR-SR1,Sony HDR-UX1,Sony HDR-HC3,Sony DCR-SR100,Canon HV10,JVC GZ-MG505'} **Wide Angle***(10.4)*The HDR-SR1 produced a wide angle of 52 degrees in 16:9 and 41 degrees in 4:3, for an 11 degree difference in frame width between widescreen and standard definition mode. To record video in 4:3, the camcorder crops the sides of the image, but there is no loss in vertical picture information, while the difference in width indicates that this camcorder's CMOS sensor is a native 16:9 imager. This score is very good.**

**

Format

Compression*(5.0)*Since the AVCHD format was announced earlier this year, its implementation in consumer camcorders has been eagerly anticipated. The HDR-SR1 and HDR-UX1 are the first AVCHD models to hit store shelves, and they broke new ground by offering an HD alternative on the consumer market to HDV. Until a few months ago, HDV with its MPEG-2 compression was the only consumer high definition format available – and it was only available in camcorders that recorded to digital video tape. Higher quality HD formats existed prior to HDV, and continue to be used widely in professional productions, but HDV was the first format that compressed HD sufficiently to allow recording to media that consumers were familiar with. HDV can produce resolutions up to 1080i, more than 4x the resolution of SD (standard definition) 480p, but squeezed 60 minutes of HD footage onto standard DV tapes by maintaining the 25Mbps same data rate as DV. With the joint announcement of AVCHD earlier this year by Sony and Panasonic, the developers of the format, a new HD standard became available to consumers. Based on MPEG-4/H.264 compression, AVCHD is more than twice as efficient as the conventional MPEG-2 used in HDV camcorders. This increased efficiency meant that AVCHD could be recorded to DVD, HDD, and flash memory – media that the public had shown a preference for over tape given their non-linear character. H.264 had already shown its promise as the compression method chosen by Apple for iPod video, and AVCHD represented an expansion for the well-regarded format. As it exists today, AVCHD is not without its flaws. AVCHD has a maximum bit rate of 24Mbps, which places a future performance cap on the format. 24Mbps is very close to the HDV max bit rate of 25 Mbps, but with its greater compression efficiency, we’re hopeful that the quality of AVCHD footage will surpass HDV, but we are not at that point yet. In addition, this first crop of AVCHD camcorders record at a max bit rate of 15Mbps in the case of the HDR-SR1 and 12Mbps in the case of the HDR-UX1. In addition, we anticipate manufacturers will improve AVCHD processing as the format matures, so to be fair we can only evaluate the new format in this first-generation camcorder.  The HDR-SR1 has four quality settings in AVCHD. XP records at 15Mbps, HQ at 9Mbps, SP at 7Mbps, and LP at 5Mbps. The lower the bit rate and quality of the video, the more footage you can record to the HDD. As with other HD camcorders, the SR1 also provides the option of recording SD video, in this case, MPEG-2 with a ceiling of 8.5 to 9Mbps. There are three SD quality settings: HQ records at 9Mbps, SP at 6Mbps, and LP at 3Mbps Judging by the video performance differences between the HDR-SR1 and the HDR-HC3, we suspect that AVCHD compression is responsible for the increase in noise and greater difficulty handling color gradients. To reiterate, this is a noisy camcorder compared to the HDR-HC3 and Canon HV 10, which both use HDV compression and record to tape. In SR1 footage, there is some noise in bright light, and much more in low light. The ClearVID CMOS sensor does produce a terrific picture, and Sony’s decision to deploy this chip in many of their high-end camcorders seems justified. But the sensor’s excellence doesn’t compensate for the fact that AVCHD video is highly compressed, and we think it shows. In addition to increased noise, we saw blocky compression artefacts along edges, and even in areas of flat color. AVCHD has a difficult job to do, and despite our caveats, it’s a revolutionary development for the consumer camcorder market. Even though it doesn’t look as good as the HDV video we’ve seen this year, it is still HD video, and much superior to the best SD video. High definition video contains more than four times the amount of information as standard definition, and its remarkable that AVCHD compresses that information into a 15Mbps stream. Noise and artefacts seem to be the price you pay for now, so the question is, can you live with video that doesn’t yet match HDV, or should you wait the format to mature? If video quality is paramount for you, the latter is a compelling argument. At this point, it would be premature to conclude AVCHD is inferior to HDV. AVCHD is more efficient at compression than HDV, and with advances in processing, its performance will likely surpass that of today’s HDV. The first MPEG2 DVD camcorders by Panasonic and Hitachi were introduced six years ago, and the video produced by those camcorders suffered from serious noise and compressions issues. Since then, DVD camcorders have improved to the point that standard definition DVD video now rivals MiniDV video. We believe AVCHD will see similar improvements over time. **Media***(4.0)*The Sony HDR-SR1 is an 30GB HDD camcorder, so the video recording media is housed within the camcorder itself. It is a self-contained unit that allows data transfer via USB to a computer for editing. Although support for AVCHD is thin as of this writing (October, 2006) we expect this situation to improve in coming months. In addition to the HDD, which can be used for video and still recording, this camcorder supports MemoryStick Duo cards for still recording only. **Editing***(1.0)*Working with AVCHD footage is the area we encountered our one big difficulty with this otherwise excellent camcorder. As of the time of writing, late October 2006, there is only one way to view and edit AVCHD footage on a PC: Sony’s provided editing software. As you are probably aware, bundled software is usually rudimentary at best, falling far short of NLE (non-linear editing) solutions like Adobe’s Premiere and Apple’s iMovie that can be purchased cheaply from third party software manufacturers. Included with the Sony HDR-SR1 is an ACVHD player, an import program, and the latest version of Picture Motion Browser. We found the process of working with AVCHD footage to be extremely frustrating. Macs are simply incompatible with AVCHD, as Sony only provides Windows software. While we were able to import SR1 footage using our office PCs, the bundled software just doesn’t provide anything like the functionality of more robust editing programs. We hope this problem will be addressed soon because, although many software manufacturers have pledged support for AVCHD, including Adobe, Avid, InterVideo, Nero, and Ulead, none have yet updated their products for AVCHD compatibility. They have also not yet provided a timeline for when that software will be released. Even Sony’s professional NLE, Vegas, can’t play AVCHD yet, though Vegas 7, due out soon should address the gap. Without a credible workflow solution in place, your AVCHD footage will be stuck in limbo unless you resort to the SR1’s mediocre bundled software. We know solutions to this sorry state of affairs are in the works, but unless you’re in a real hurry to jump on board the AVCHD bandwagon, our best advice is wait for someone – anyone – to release a better editing solution.**

**

Tour

The Front*(9.0)*Overall, the HDR-SR1 looks much like the Sony DCR-SR100 HDD camcorder and is nearly identical to its DVD-based AVCHD cousin, the HDR-UX1. The most notable feature of the front-end SR1 is the Carl Zeiss Vario-Sonnar T* 10x optical zoom lens with its 30 mm filter diameter. The lens specs are identical to those of the HDR-UX1, with a focal distance of 5.1 to 51 mm, and a 35mm equivalency of 41.3 to 485mm in 16:9 mode and 50.5 to 594mm in 4:3 mode. Like other higher-end Sonys, the lens has an automatic cover, which automatically opens when it’s powered on. The HDR-SR1 and HDR-UX1 also have a nicely designed multipurpose ring control framing the lens – a feature that made a brief appearance on the HDR-HC1 only to be replaced by a small dial on the HDR-HC3. We’re happy to see the return of this control on Sony’s AVCHD models.  

Directly above the center of the lens is a small horizontal flash, for use in still photo mode. Due to this placement, the flash may be covered if a lens attachment, such as a wide-angle adaptor, is attached. An optional Sony flash unit compatible with the Active Interface shoe may be necessary in order to use a flash in tandem with a lens adaptor. Two sensors are located below the lens, one for the remote control unit, and one for NightShot/Super NightShot recording mode. Directly below these sensors is a tiny LED tally lamp, which indicates when the camcorder is recording. A metal eyelet for the wrist strap is at the extreme lower-left corner of the front of the camcorder. All in all, the camcorder looks nearly identical to the HDR-UX1 from the front.   The Right Side*(7.5)*

On most consumer camcorders, the right side does double duty as the grip area and media bay. In the case of the Sony HDR-SR1, the right side still houses the media recording mechanism in the form of an onboard 30GB HDD, but the absence of a hatch means this part of the body is simpler than on camcorders that rely on removable media. In that sense, the right side of the HDR-SR1 looks like the HDR-UX1 with the HDD enclosure replacing the DVD drive bay.  The wrist strap follows Sony’s standard design, and it is well-padded and very comfortable, angling downward towards the front of the camcorder’s body for a proper shooting position. At back of the body is a small rubber port cover that conceals the headphone jack and a LANC jack. The placement of these jacks could be problematic as they are flush with the inside edge of a shooter’s hand when gripping the camcorder. This placement could put pressure on the jack during hand-held shooting and is something to watch out for. At the opposite end of the camcorder, along the bottom edge of the lens barrel is a microphone jack, protected by a rubber port cover. **

The Back***(6.5)*The battery slot, aligned vertically, takes up most of the back end of the Sony HDR-SR1. The battery pack is attached by clicking it into place from below, and the battery release is on the base of the camcorder, adjacent to the slot. Depending on the size of your tripod plate, this placement may make it difficult or impossible to swap batteries when the HDR-SR1 is mounted on a tripod. Above the battery pack is the EVF (electronic color viewfinder), which sports a relatively large and comfortable eyepiece. The EVF does not extend, but can be tilted upwards to accommodate different viewing angles. When the EVF is tilted up, a dioptric adjustment lever is revealed. Four small LED lamps are located to the right of the EVF, and indicate whether the camcorder is in video, still photo or playback mode, and whether the battery is charging.  The Start/Stop record button is at the right-center of the SR1’s back and it’s comfortably situated for use when hand-held shooting. At the top-right corner, inset from the back surface is the power/mode dial. It’s a standard Sony dial, with positions for Off, On, and mode toggle. Pressing the switch when the camcorder is on cycles through the camcorder’s video, still photo and playback modes. The controls are well-placed, and we're glad Sony has moved the MemoryStick Duo slot from the back of the camcorder, as on the DVD505, to the LCD cavity where it’s out of the way. **The Left Side***(9.55)*The left side of the Sony HDR-SR1 features the 3.5-inch 16:9 LCD screen that we’re seeing on many of Sony’s high-end consumer camcorders. It’s a generously-sized and bright screen with a resolution of 211,000 pixels. The LCD display is opened by from a tab where the back edge of the LCD frame meets the SR1’s body. When open, five buttons are visible along the bottom edge of the LCD frame below the screen: record Start/Stop, zoom in/out, menu home, and one-touch disc burn. 

The LCD cavity – the part of the camcorder body that’s revealed when the screen is open – is home to several features, including the MemoryStick slot on the right side of the cavity. Above the card slot is a small sliding hatch that conceals the USB port, a tidy and space-saving port cover design. To the left is a small playback speaker behind a square mesh, and next, further left is a vertical jack cover release slider. The slider opens and closes a retractable port cover below the LCD cavity, and like the USB cover, it’s a great space-saver. To the left of the slider is the Disp/Batt Info button, used to toggle display of information on the screen on or off in recording mode, or to power the display illumination on and off. When the camcorder is in standby mode or powered off, holding the button down displays battery life and HDD data. The main point of interest below the LCD cavity is the camcorder’s main port cluster. At the left side is a quick HDD access button that engages playback mode, followed by the recessed port cavity opened with the slider located above. From left are ports for AV out, Component out, and HDMI out. The DC-in power port is to the right of the main port cavity, protected by a separate rubber port cover. The sliding port cover is a great design that prevents it from being torn off accidentally and lost – a misfortune that happens all too often with "dangling port covers" that cover this camcorder’s other ports and jacks.

Towards the front of the left side, along the lens barrel are three more controls. On top is a button labeled Back Light, used to enter BLC (backlight compensation) mode, and beneath that is a manual/auto mode toggle button that we found very convenient. The bottom-most control is a NightShot on/off switch. The manual control ring at the front of the camcorder is distinguished by its rough surface, providing plenty of purchase.   The Top*(7.75)*

The main control region on top of the HDR-SR1 is near the camcorder’s back right-side. At the back edge is the mode dial, followed by a small photo button. Ahead of the photo button is the zoom toggle, which features a nicely tuned, rocking-lever design. The zoom lever is finely responsive, and Sony’s zoom controls are better than those made by most other manufacturers. At the camcorder’s front on top of the lens barrel is an onboard Dolby Digital 5.1 surround sound microphone, and directly behind it is a proprietary Active Interface accessory shoe compatible with Sony products such as microphones, video lights and flashes. A hard plastic cover that snaps snugly to the camcorder body when not in use covers the Active Interface Shoe.**

**

Auto / Manual Controls

Picture & Manual Control*Automatic Control (8.0)*The HDR-SR1 is an easy camcorder to operate, and Sony has reworked the menu structure to make manual control options more readily accessible. In automatic mode, the camcorder works as well as we’d expect from a high-end Sony. Exposure and focus respond quickly to changes in the frame, but the HDR-SR1 has its problems areas, just like most camcorders. When contrast is too low, as in a poorly lit scene, or a scene with little color variation, the camcorder struggles to find its focal point (this was more of a problem in standard definition than HD). Similarly, in a dynamic scene with considerable contrast, the camcorder tends to favor the brightest large swath of information in applying exposure adjustments, often with poor results. While in auto, the white balance performed well in most circumstances, although, it too struggled to produce a natural-looking color balance in mixed lighting. These problems highlight the limitations of auto mode in this and any other camcorder, though thankfully, the HDR-SR1 offers a decent set of automatic remedies. This camcorder features spot focus and spot meter controls that essentially allow the user to tell the camcorder where the subject is in the frame. When one of these spot controls is engaged, a white frame is superimposed on the LCD display. Touching any spot within the white frame will set that spot as the auto focus or auto exposure reference point. As a quick means of overriding auto controls, the spot controls are great, and they are more easily accessible in the menu than on other Sony camcorders. Whether entering the menu and engaging one of the spot controls is preferable to making the adjustment manually is a matter of personal preference. In addition to spot focus and spot metering, the Sony HDR-SR1 also features several preset shooting modes, or Program AE options. These modes optimize the camcorder’s automatic parameters for specific lighting situations that compromise the accuracy of auto adjustments, and include Spotlight, Portrait, Beach & Ski, Sunset & Moon, and Landscape settings. The Program AE modes may work well, but the presets do not allow for fine-tuning. As a result, they may over or under-compensate for the real-world shooting conditions. If auto mode, the spot controls, and Program AE options don’t produce an acceptable picture, it’s time to bite the bullet and work with the camcorder’s manual control suite. *Overall Manual Control (7.25)*The HDR-SR1 features a better manual control feature set that is easier to use than on most other Sony consumer camcorders because it includes a manual control ring, a more efficient menu structure, and the touch screen interface benefits from the big 3.5" screen. All these factors give this camcorder a respectable suite of manual controls that many users will find appealing.  

The control ring is nicely designed, and while its default setting is manual focus, it can also be set to control exposure, AE shift, or WB shift. Now, before you start daydreaming of a camcorder that gives you ring control over all these important settings, we should inform you that this isn’t that camcorder. For this to work, the SR1 would have to provide a mechanism for storing, say, a ring setting for focus, and then allowing you to toggle the control quickly to exposure. Unfortunately, this is not a feature Sony has included on this camcorder. Instead, making multiple ring adjustments requires an onerous journey back into the menu to switch its setting from focus to exposure, AE shift or WB shift. Realistically, this means that while the ring does indeed have multiple functions, you’ll only be using one at a time. We are very pleased to see the return of the control ring after its replacement with an inferior control dial on the HDR-HC3. The HDR-HC1, Sony's first consumer HD camcorder, had a similar ring that controlled focus or zoom. We miss the zoom function, but Sony camcorders have excellent zoom levers, and the option for ring control over exposure is particularly useful for shoots with dynamic light levels. Overall, Panasonic and JVC camcorders still offer more robust manual control suites, but the combination of approachability and prosumer depth found in the HDR-SR1 is unique.  This camcorder and its sibling HDR-UX1 both feature menu structures that are substantially different than the ones found on previous Sonys. Instead of an extensive vertical scroll menu, this menu adopts a row of option tabs across the bottom of the screen. The major upshot of this revamped menu is faster access to menu options including manual controls because settings are closer to the top level. That’s the good. Now for the bad. Confusingly, there are two distinct menus: a Camera Menu and a Home Menu, both of which are accessed via icons at opposite corners of the LCD. The Camera Menu is where most manual controls live, but there is a good deal of overlap with the Home Menu for options such as zebra and White Balance shift. Other options like SteadyShot on/off are only found in the Home Menu. We’re quick learners, but the distribution of some manual control options in both menus, and others in only one menu led to lots of hunting and pecking for this or that control. To make matters more frustrating, the icons Sony uses to represent each tab offer no clues to their contents. Yes, the new menu structure offers faster access to controls, but with a little more attention to its architecture, it could have been better.     The Camera Menu is accessed by pressing an icon that looks like a menu in the lower- right corner of the LCD, and brings up a row of six tabs across the bottom of the screen. The first three tabs, labeled one, two, and three, are designated by camcorder icons. Most manual picture controls are found behind these tabs. The fourth tab is designated by a screen icon, and contains fader, digital, and picture effects. The two final tabs, labeled one and two, are designated by toolbox icons. Behind toolbox one are settings for recording format, video encoding quality, audio recording mode, and still media, and behind toolbox two are guide frame, zebra, flash level and red eye reduction options. We found it annoying that when you’ve made a selection in a given Camera Menu setting, the menu returns the camcorder to standby mode. Rather than structuring the menu to allow users to tweak multiple settings during one menu visit, Sony ejects you from the menu every time you press OK. This is analogous to being forced to leave and then re-enter a grocery store after purchasing a single item. If you’ve only got one item on your shopping list, a ridiculous arrangement like this might not be a problem. In reality, adjusting a camcorder for a single shot usually involves a checklist with multiple items like focus, white balance, and exposure. If you decide the SR1 is your camcorder, you’d better be prepared to make lots of trips back to the store by way of the Camera and Home Menu icons. The Home Menu contains other settings used during a shoot including advanced controls, media formatting options, and video quality controls. As mentioned above, there is lots of overlap with the Camera Menu, but you'll be able to figure it out. Even if you have to resort to hunting and pecking, you’ll likely find what you’re looking for more quickly than in previous Sony menus. Both the Camera Menu and Home Menu are smartly arranged. As the .gifs above show, similar features are grouped together when possible. For example, page 1 of the Camera Menu has all the focus options and page 2 has all the exposure options. It's this kind of attention to detail that makes Sony so good at creating user-friendly camcorders. 

The Ring Menu Finally, there is a little mini-menu for the multifunction ring, which is accessed by pushing and holding the Cam Ctrl button on the left side of the lens barrel. Here is where you set which function you want the ring to be used for. Twisting the ring allows you to scroll through the options. *Zoom (8.0)*The Sony HDR-SR1 offers two zoom controls, a primary zoom lever on top of the camcorder, and zoom buttons along the base of the LCD frame. The lever is a big control that extends well above the body for easy access. The feel of this toggle’s action is smooth and responsive like most consumer Sony camcorders. It is pressure sensitive, offering three or more controlled zoom speeds. The alternate zoom control is the pair of buttons beneath the screen labeled "W" and "T," presumably for Wide and Tight. The buttons are not pressure sensitive controls, and move the zoom at a fixed medium speed. Prosumer camcorders often allow control over secondary zoom speed, and it’s something we would like to see on the many Sonys that feature on-screen zoom buttons. *Zoom Power/Ratio (10.0)*The Sony HDR-SR1’s optical zoom has a power of 10x, and the digital zoom can be capped at 20x, 80x, or disabled. Zoom settings are found in the Movie Settings submenu of the Home Menu. The relatively modest 10x zoom is typical of a consumer camcorder with a 1/3 inch imager. Smaller imagers such as the dime-a-dozen 1/6-inch variety allow for higher optical zoom powers, but their image quality can’t match that of a 1/3-inch CMOS or CCD imager. Due to the fact that digital zooms degrade the recorded image, the option of capping the digital zoom at 20x is a useful quality control measure. To ensure the best video recording, however, we recommend disabling digital zoom entirely. *Focus (8.0)*The main manual focus control on the HDR-SR1 is the multifunction ring, but the camcorder also includes the same touch screen interface found on Sony’s other consumer camcorders. With the option of using the ring, it’s tough to imagine resorting to the LCD interface for making focal adjustments, but the option is there. The ring feels substantial for a camcorder of this size, and allows for quick movement through the camcorder’s focal range. It also allows for reasonably quick fine focus adjustments which is especially important when shooting in HD mode, given the sharpness of the picture.  

To assist with manual focus, the HDR-SR1 includes an Extended Focus feature, similar to focus assists on more expensive HD camcorders. With Extended Focus engaged, the center of the image displayed on the LCD is enlarged about 2x whenever the ring is moved. The enlarged image allows for faster and more accurate manual focus. Moments after you release the ring, the image on the LCD returns to your true framing. The HDR-HC1 had a similar feature turned on via an external button, which is preferable to this iteration's automatic engagement, which can be distracting, but the HDR-HC3 dropped the feature entirely. We’re glad to see it back, albeit in a slightly less flexible form. If you are inclined to use the touch screen focus control, it is reached on tab 1 in the Camera Menu. When engaged, icons that will be familiar to Sony users appear of a nearby man on the left, and a distant mountain on the right. You tap the icons to move through the focal range. The problem with this touch screen control is that much of the screen is blocked by icons and graphical interface. Inevitably, this type of focus control obscures what’s in the frame, and very likely the subject you’re attempting to focus on. For this reason, we have always found touch screens to be poor interfaces for manual control adjustments so our advice is: stick with the excellent ring, or use the spot focus option.  This camcorder does include one additional improvement to manual focus control over most other consumer camcorders. There is an on-screen display of your approximate focal distance in the LCD’s lower left, i.e. 0.1m, 0.5m, 40m, etc. The distance display appears in either manual or auto modes, and though we didn’t pull out a tape measure to check its accuracy, it’s a useful addition to the camcorder’s feature set. *Exposure (Aperture) (7.5)*The exposure control resides on tab 2 of the Camera Menu where you’ll also find spot meter, AE Shift and Program AE options. AE Shift alone can also be found in the Home Menu under Movie Settings – why Sony chose to place only AE Shift in both locales is a mystery to us.... Of all these exposure options, only manual exposure qualifies as a true manual control, while AE Shift and Spot Meter are hybrid controls that allow control over aspects of the camcorder’s automatic exposure adjustments and Program AE is a set of global automatic settings.  

The exposure control, as it appears on the touchscreen The exposure control interface looks much like the one found on other consumer camcorders from Sony. When a user engages exposure, two choices for Auto and Manual appear on the LCD. Pressing Manual causes a sliding scale to appear, with a minus icon on the left and a plus icon on the right. By tapping either side of the scale, it’s possible to lower (left) or raise (right) the exposure of the shot. The control presumably moves in EV steps, and there are about 28 steps in total from one end of the scale to the other. AE Shift is a very similar control with the same slider-type interface, but has a much smaller step range of 8 steps. Used in Auto mode, AE Shift raises or lowers the master exposure of the camcorder’s automatic exposure adjustments. This setting can be controlled via the touch screen in the Camera Menu, or assigned to the multifunction ring. Spot meter, mentioned previously in automatic controls, permits the user to tell the camcorder what portion of the recorded image to meter for exposure. It’s a very useful shorthand control, and yields decent results. *Shutter Speed (0.0)*The HDR-SR1 does not have a manual shutter speed control, but the camcorder does include a feature called Color Slow Shutter. The feature can be turned on, or set to off which is the default. When Color Slow Shutter is engaged, the camcorder automatically slows the shutter according to available light levels. The results of this control can be unpredictable if moving through dynamic lighting, because the camcorder shifts in and out of slow shutter mode. When the shutter slows, the recorded image appears to stutter and blurs as you’d expect from shutter speeds below 1/60. *White Balance (9.0)*The HDR-SR1 includes the same white balance options found on the HDR-UX1 and HDR-HC3, found on tab 3 of the Camera Menu. The button labeled White Bal produces a screen with presets for Auto, Outdoor and Indoor light, and One Push, which is Sony’s branded manual white balance control. One Push is similar to other manual white balance controls. When selected, a button designated by a standard white balance icon becomes active. Pressing the button sets white balance within a few seconds. The second white balance setting is labeled "WB Shift," for white balance shift, on tab 3 of the Camera Menu. Pressing this button brings up a sliding scale that’s nearly identical to the AE Shift display. Like AE shift, this control is not a true manual control, but allows you to adjust the overall color temperature of the recorded image to your liking. Intuitively, pressing the minus side of the scale cools the image introducing more blue and pressing the plus side warms the image, adding red. In addition to the Camera Menu interface, WB shift can be assigned to the multifunction ring. *Gain (0.0)*The Sony HDR-SR1 does not allow for manual control over gain. Panasonics are currently the only consumer camcorders to offer this manual control. *Other Manual Control (5.0)*Sony has included a few useful advanced settings on both this camcorder and its sibling HDR-UX1. Better described as prosumer features, these options offer assistance when making manual image adjustments. *Guideframe* - Guideframe is an option located in tab 6 of the Camera Menu, or on page 2 of Movie Settings in the Home Menu. Engaging guideframe superimposes a grid on the displayed image to assist with framing shots. The guideframe grid does not appear in recorded video or still photos. 

Guideframes in action *Zebra* - Zebra patterns (sometimes called zebra stripes or just zebras) are moving diagonal lines superimposed over parts of a shot that surpass a certain exposure level. Zebras are an extremely useful tool for detecting "hot spots" in an image that are overexposed, and are generally used when setting a camcorder’s exposure manually. The HDR-SR1 provides two zebra settings: 70 and 100 IRE, and the camcorder’s default setting is off.**

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Still Features

Still Features*(8.5)*The Sony HDR-SR1 provides two media options for still photo recording, unlike the HDR-UX1, which only records stills to MemoryStick Duo cards. In addition to support for card recording, this camcorder enables still capture to the onboard HDD. No MemoryStick card ships with either camcorder. Still photos are recorded as JPEGs, and the camcorder includes four resolution settings: 2304 x 1736 (4MP), 2304 x 1296 (3MP), 1600 x 1200 (1.9MP), and 640 x 480 (0.3MP VGA).  This camcorder also features an option called Dual Record by Sony, which allows simultaneous capture of high-resolution stills while recording video. Most camcorders that do include a simultaneous video/still record option allow only for capture of low resolution still frames. Dual Record is made possible on the SR1 and UX1 by the faster data transfer rates afforded by their CMOS imagers. In addition to the resolutions above, there are two still resolutions the camcorder defaults to during Dual Record: 2016 x 1134 (2.3MP 16:9) and 1512 x 1134 (1.7MP 4:3). When using Dual Record, these are the only resolutions available. Stills can be captured in either Fine or Standard qualities, and all photo options are in the Camera Settings sub-menu of the Home Menu and the Camera Menu. Switching between modes is done by toggling the mode dial, or making a selection on the first page of the Home Menu. The same suite of manual image controls available in video mode can be used in still photo mode, and they are also found in the Camera Menu. Still mode also adds some photo-specific options, including flash level (set to High, Normal, or Low) and red eye reduction. Like related high-end Sonys such as the DCR-DVD505 and HDR-HC3, the flash is above the lens at the end of the lens barrel. Stills can be played back by pressing the playback icon in the lower-left corner of the LCD screen, or the small button on the lower-left side of the camcorder. The SR1 supports PictBridge photo printing, slide show creation, and image deletion and organization. The HDR-SR1, like the HDR-UX1, does not feature a photo burst mode.      

 

Still Resolution*(14.9)*The stills of the HDR-SR1 were tested for their resolution by shooting a standard ISO 12233 resolution chart and running those stills through Imatest imaging software. At best, the camcorder scored a resolution of 1488960.75. The chart below shows how the HDR-SR1 stacked up against the competition. As you can see, the score was statistically identical to the HDR-UX1, and just a little better than other camcorders in its class. {column='Still Resolution' models='Sony HDR-SR1,Sony HDR-UX1,Sony HDR-HC3,Sony DCR-SR100,Canon HV10,JVC GZ-MG505'} **Still Performance***(9.35)*The Sony HDR-SR1 produced stills that had outstandingly crisp look to them, compared to other camcorders in its class. Identical to the HDR-UX1, the camcorder actually created a little too much in-camera sharpening, which resulted in some botched pixels, but you really have to zoom in to see that. From a macro perspective, you should be pleased with the results. The color performance was not so good however, and this is the area in which most camcorders fail to stand up to dedicated still cameras.   

 

 All the Sony camcorders in this class, the HDR-HC3, the HDR-UX1, the DCR-SR100, and the DCR-DVD505, shared the same results: great sharpness, lackluster color. The Canon HV10 pushed the colors a little better, but still could produce a completely even spectrum. Finally, the JVC GZ-MG505 topped them all with stronger, more even colors, though it notably lacked the sharpness of the Sonys.  {column='Still Performance' models='Sony HDR-SR1,Sony HDR-UX1,Sony HDR-HC3,Sony DCR-SR100,Canon HV10,JVC GZ-MG505'}**

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Handling and Use

Ease of Use*(7.0)*Sony’s consumer camcorder line is known for their ease of use. In auto mode, this camcorder makes fast and generally accurate adjustments to exposure, focus, white balance and other image attributes. For those plan to use this camcorder manual control features, the new menu structure offers improvements over previous Sonys in terms of how quickly controls can be accessed. In that sense, this camcorder does indeed make manual controls easier to use.  Unfortunately the new streamlined menu comes at a cost. We find that some of the options users are most likely to use during a shoot are found in both the Home Menu and Camera Menu, while a few are only in the Home Menu. In addition, the tabs at the bottom of both menus are neither labeled, nor designated by icons that provide a clue to their contents. The lack of signposting in this camcorder’s menus makes it difficult for someone new to the menu to locate options. While we would rather have a menu that allows fast access to options, the HDR-SR1 has lost the text-driven simplicity of Sony’s other consumer camcorders. One other factor contributes to making this perhaps the most user-friendly HD camcorder to date. Recording video with this HDD camcorder requires no external media, so unlike MiniDV or DVD camcorders, there’s never a tape or disc to lose. **Handling***(7.5)*By consumer camcorder standards, the Sony HDR-SR1 is a behemoth – a good 1/3 larger than their new DCR-SR80 HDD standard definition model. This means the SR1 has a different feel than the more compact camcorders that users have become accustomed to in recent years. Essentially it’s a considerably scaled-up version of the new SR80, and even makes the un-svelte SR100 look small, but some will find the added size refreshing. It feels like a solid device in your hand, and the added weight makes holding a steady shot a bit easier than with a feather-weight camcorder.  The multifunction ring may be our favorite element of the HDR-SR1. Holding in the cam control button, on the left side of the lens barrel, toggles through ring options for focus, exposure, AE shift, and WB shift. The lack of a ring zoom option is a shame, but the zoom lever works well enough.  The new menu is certainly an improvement over the one used in every other Sony camcorder this year (except for the HDR-SR1). In essence, they’ve managed to increase the width and decrease the depth, which saves precious time scrolling through a miles-long menu. It’s not a perfect system, and has some confusing redundancies, but overall, it improves handling a great deal.  The HDR-SR1 doesn’t handle like a professional camcorder, but it’s among the best of the consumer camcorders we’ve seen lately. **Portability***(6.5)*The Sony HDR-SR1 measures 78mm x 84mm x 165mm (3.1" x 3.3" x 6.5") and weighs 720g (1 lb. 9 oz.) with the included NP-FM50 battery pack attached. As noted, this camcorder is larger than most consumer camcorders, so it's certainly not as portable as many on the market. Yet this is a high definition unit with a huge LCD screen and a multifunction ring, and the only HD camcorder that’s appreciably smaller in the Canon HV 10. The SR1 is also marginally smaller than the UX1, and requires no media other than its onboard HDD. Pound for pound, that makes the HDR-SR1 one of the strongest camcorders on the market – even if you can’t slip it into your pocket. **LCD/Viewfinder***(10.0)*The Sony HDR-SR1 is equipped with the 3.5-inch touch screen we’re becoming accustomed to seeing on Sony’s high-end consumer camcorders. In a world where 2.7-inch screens seemed generously sized only yesterday, Sony’s 3.5-inch LCDs with resolutions of 211,200 pixels impress. In addition to leading the industry in screen dimensions, Sony’s LCDs can be viewed at extreme angles that make most screens solarize into illegibility. In short, this screen is huge, and produces a sharp and beautiful image.

Of course, the screen on the SR1 is also the camcorder’s primary control and menu interface, and long time readers know that we have mixed feelings about touch screens. Many users love touch screens, and the popularity of Sony camcorders seems to bear this out. Users who put a premium on efficient and accurate image control hate them, which is why no manufacturer, including Sony, uses touch screens on pro camcorders.    On the plus side, touch screens make for fast menu operation. While they may be great for menu navigation, touch screens are poor interfaces for manual image control. Constantly touching surface of the screen leaves fingerprints and smears that impair your ability to assess the picture accurately, not to mention being unsightly. For manual image control, we prefer joysticks, and best of all, joysticks that allow for one-handed operation. The size of this screen does make operating controls and tapping buttons more pleasant than a cramped 2.7-inch screen with tiny buttons, and the new menu structure adds to the efficiency. Thankfully, the HDR-SR1 also includes the excellent multifunction ring, so you won’t need to use the screen for the most common image control adjustments. The color EVF (electronic viewfinder) tilts up to about a 40 degree angle, from the camcorder body to allow for more comfortable viewing, but it cannot be extended. For a consumer camcorder, it’s large and quite comfortable, with an eyepiece that can be placed flush against your face. The LCD and viewfinder cannot be operated at the same time, and the EVF provides only a modest battery life boost over the LCD.  **Battery Life***(10.1)*The HDR-SR1 includes an NP-FM50 battery pack, which can be upgraded to longer life batteries available from Sony. We tested the included battery for continuous shooting duration. Without engaging manual controls or menu options, we found the battery to last 101 minutes and 17 seconds (1 hours 21 minute, 17 seconds). This counts as average battery life, and clocks in at about 20 minutes shy of the HDR-UX1’s shooting duration with the same battery pack. 

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Audio / Playback / Connectivity

Audio*(7.0)***

**We expect to see a decent set of audio options in a high-end consumer camcorder, and the HDR-SR1 delivers more than most on the market. In addition to the onboard microphone, this model features a stereo mini microphone jack on the right side of the lens barrel, and a headphone jack on the right side near the Mode Dial. While we’ve become sadly accustomed to the fact that fewer and fewer camcorders accommodate external microphones, this one offers some refreshing relief. In addition to the standard mic plug, the HDR-SR1 features Sony’s proprietary Active Interface Shoe that is compatible with a range of Sony accessories, including microphones and video lights.

The camcorder also offers two audio level settings labeled Normal and Low that can be selected in the Micref Level option of the Option Menu. "Normal" corresponds to automatic audio levels, and the camcorder adjusts the recorded audio to a pre-set level in this mode. Normal is the default setting on the HDR-SR1. "Low" corresponds to the camcorder’s fixed audio level setting, and is analogous to manually setting a microphone at a single level. It’s not much in the way of audio level control, but it’s more than most consumer camcorders offer.   The onboard four-channel omni-directional microphone is capable of recording sound optimized for Dolby 5.1 Surround Sound systems. Recording sound in 5.1 Surround Sound will fill out a home theatre system’s channels, but the audio is still being recorded by a small on-camera omni mic with no sound mixing options. In other words, while technically Dolby 5.1 sound, the quality of the audio won’t be any better than a typical on-camera mic. One thoughtful feature is that Sony wireless mics connected to the Active Interface Shoe are automatically assigned to the center front channel in surround sound recording mode – but it’s a feature that only applies to Sony wireless mics. With two microphone inputs, two Micref Level options, Dolby 5.1 Surround Sound capability, and a headphone jack, the HDR-SR1 offers more versatility out of the box than most consumer camcorders on the market. Props to Sony for offering a decent suite of audio recording options. **VCR Mode***(9.6)*Aside from simplicity, one of the features that make HDD camcorders attractive to many users is the fact that files can be accessed in the same way still photos are accessed in a digital camera. Unlike tapes – long the standard recording format – HDD camcorders, as well as DVD camcorders permit random access to footage. As a result of this flexibility, the Sony HDR-SR1 has a set of playback features that put linear tape-based VCR modes to shame.

There are three means for users to engage Playback Mode: tapping the Playback icon in the lower-left corner of the screen, pressing the small button closest to the lens on the lower-left side of the camcorder, and toggling into Playback Mode using the mode dial. Upon entering Playback Mode, the Visual Index screen appears, which displays 12 clips to a page as thumbnails images. Tapping a thumbnail plays back the clip it represents. During active playback, familiar VCR control buttons appear on the screen. Active playback also includes a submenu of options that can be accessed by tapping the icon at the lower right corner of the LCD – where the Camera Menu is found in Movie or Photo mode. Volume controls and clip information (including stabilization on/off, auto/manual exposure, shutter speed, white balance, aperture, and gain) can be found here. Pressing the Stop Button, or the Return icon at top-left stops playback and returns you to the Visual Index screen. Advanced playback and editing options are found in the Home Menu, but they are only available in Movie Mode or Camera Mode. These options include creating and editing playlists, formatting, and getting Disc Info are all found here, as well. The Home Menu also contains output settings used for playing back footage or stills to external monitors. The fact that these options are not available from within Playback Mode seems counterintuitive to us, and is one of the complaints we have about the new menu structure shared by this camcorder and the HDR-UX1. When you do decide to playback your footage for the family, the camcorder is replete with options. You can output the video signal via AV, component, and HDMI connectors but you’ll also need to specify exactly what kind of TV you are using. In the Home Menu under Select Devices > TV connect, there are options for High Definition or 16:9/4:3 standard definition TVs. After making your selection, options for output type appear, complete with illustrations of HDMI, Component, S-Video, and AV outputs. It’s one way Sony smoothes the way for newbies who were wondering what that "HDMI" port on their new plasma screen was for. The HDR-SR1 also includes the option of showing or hiding menus and icons during external playback under Home Menu > Settings > Output Settings. This is also where you can assign component output as 1080i or 60i video. This camcorder provides numerous options for playback because we are currently transitioning from SD to HD video. Sony provides all these options so any user can get footage from this camcorder to a TV regardless of its vintage or video standard. In the future, options on the camcorder that serve SD TV owners like component output will probably be dropped, but we’re not there yet. Given the current state of flux, Sony has done a good job signposting the route from camcorder to TV. **Ports***(9.0)*The HDR-SR1 includes an excellent selection of ports, including an HDMI terminal for digital HD playback to an external monitor or TV – a feature we think is vital for an HD camcorder. Surprisingly, the Canon HV10 lacks an HDMI terminal while Sony’s other consumer HD camcorders, the HDR-HC3 and HDR-UX1 both support HDMI output. In addition, the SR1 includes A/V and component video outputs protected by the same sliding port cover that conceals the HDMI terminal. A USB 2.0 port and MemoryStick Duo slot are located in the LCD cavity. A headphone jack is located on the camcorder’s back right side along with a remote control jack, and an external microphone jack is on the lower right side of the lens barrel. The HDR-SR1 also sports Sony’s proprietary Active Interface Shoe, compatible with numerous Sony accessories. The DC-in port is on the rear left side of the camcorder body near the sliding port cover, but protected by its own plastic port cover. The one glaring omission to this camcorder’s port selection is a Firewire port. While the USB 2.0 port will do the job, Firewire is a protocol that many videographers are accustomed to using, and we would have liked to see it as an option.

Other Features

Widescreen/16:9 Mode*(9.0)*The HDR-SR1 captures video natively in widescreen 16:9, but in SD mode, 4:3 is also available. In SD mode, the 4:3 option can be selected in the camcorder’s Home Menu under the Movie Settings tab. The camcorder achieves 4:3 by pillarboxing, or discarding excess information from the sides of the image. Pillarboxing is analogous to letterboxing, where information from the top and bottom of a 4:3 image is discarded to achieve a 16:9 aspect ratio. **Scan Rates/24p***(0.0)*The Sony HDR-SR1 records standard 60i video, and does not offer alternate scan rates such as 24p. **Other Features***(6.0)*
Multifunction Ring - The multifunction ring is one feature that sets this camcorder apart from the vast majority of consumer models, and the only other 2006 consumer camcorders to feature a focus ring are its sibling HDR-UX1 and the Panasonic PV-GS500. Ring controls are both efficient and easy to use, and we’ve watched with dismay as they seem to be included on fewer and fewer camcorders as the years pass, so we’re glad Sony included a ring on the SR1. The ring encircles the lens, has a textured surface, and is nearly as wide as an index finger. The ring shines as a manual focus control, and it is sensitive and responsive. Used with the Expanded Focus feature, it is the best manual focus control on a consumer camcorder this year. The ring can also be assigned to control Exposure, AE Shift and WB (White Balance) Shift via either the manual Camera Menu, or by pressing and holding the Cam Control button near the ring. This button is a terrific feature because it allows a user to toggle from one ring setting to another without having to enter the menu. After holding the Cam Control button in for a few seconds, a ring control sub-menu appears. Rotating the ring cycles through the ring assignment options, and pressing the Cam Control button again engages each option. The drawback to this arrangement is that it takes several seconds to engage each control – an additional one-touch button would speed up the process – but its still a fast means of making multiple manual adjustments. Given that controls are adjusted by a ring, it equals or surpasses Panasonic’s joystick interface for manual control adjustment. Nicely done, Sony. *Smooth Slow Record - Smooth Slow Record is one of the cooler features included on consumer camcorders this year. It’s a Sony technology made possible by the data transfer rate of CMOS sensors, and records footage in slow-motion that can be viewed nearly instantaneously – after 12 seconds of processing time – in the case of the HDR-SR1. This feat is accomplished by increasing the rate at which fields are recorded from 60fps to 240fps in three-second bursts, and then recording those frames at normal speed. Video shot in Smooth Slow Record mode is dark, because the amount of light recorded is reduced. Smooth Slow Record is a neat party trick, and perhaps even a useful tool for "analyzing golf swings," as Sony advertises. *Super NightShot Infrared System - Like many of Sony’s consumer camcorders, the HDR-SR1 includes the Super NightShot Infrared System for low or no-light recording. The proprietary system employs an infrared lamp on the front of the camcorder body to illuminate nearby subjects. Video shot in NS mode has a grainy greenish monochrome appearance reminiscent of military night vision footage. *SteadyShot Picture Stabilization System* - Super SteadyShot is a Sony-branded EIS (electronic image stabilization) system that Sony calls an "advanced" version of the SteadyShot found on lower-priced consumer camcorders. According to Sony, the HDR-SR1’s EIS is superior to previous SteadyShot iterations, and does not degrade the quality of the video image. EIS systems generally do reduce recorded video resolution, because they use part of the video frame as an electronic buffer, while OIS systems (optical image stabilization) systems retain full picture resolution.**

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Comparisons / Conclusion

Comparisons*Sony HDR-HC3*

The Sony HDR-SR1 and HDR-HC3 are closely related camcorders. Both record HD video, and both employ Sony’s ClearVID CMOS sensor – an imager that yields excellent HD resolution color. The biggest difference between the two camcorders is in their video compression, and this has a direct bearing on their performance. The tape-based HDR-HC3 using HDV compression while the HDR-SR1 uses the newer AVCHD format. While these camcorders both produce very good-looking HD video, we think HDV compression yields a superior image. This is likely a result of the higher 25Mbps data rate of HDV versus 12Mbps for this AVCHD camcorder.  The SR1 produces video that is close to the HC3’s picture, but adds noise and compression artefacts no present in the HC3. Video performance aside, the HDR-SR1 comes out far ahead of its sibling, with a multifunction ring and mic and headphone jacks. While the HC3 is a very good camcorder, the lack of a ring and jacks for third-party audio accessories render it a point-and-shoot device. Assuming the workflow issues with AVCHD are fixed, the HDR-SR1 has the potential to qualify as a reputable option for indie filmmakers and even professional producers looking for an inexpensive second camcorder. Despite its slightly inferior video, the features tip the balance in favor of the SR1. *Sony DCR-SR100*Sony’s top of the line standard definition HDD camcorder is the DCR-SR100, and it performs much like the HDR-SR1 in SD video mode. The big question is, how much do you get for the extra $300 MSRP of the HDR-SR1? Actually, quite a lot. With the HDR-SR1, you’ll not only get footage at HD resolution but a much stronger feature set including the multifunction ring, mic and headphone jacks, HDMI terminal, and zebra patterns. While we like the DCR-SR100, it will never be an HD camcorder and for this among other reasons, the HDR-SR1 gets our nod if you can afford it. *Canon HV10*This year’s consumer HD camcorders produce great-looking video, and there are more options than ever before. Compared to SD video, HD is still a young medium, however, and both the HDR-SR1 and Canon HV10 are hobbled by some growing pains. The HV10 produced amazingly sharp video bright (3000 lux) light, and turned in the highest resolution scores to date for a consumer HD camcorder. Despite its stellar bright light scores, the HV10 flagged in low light. The SR1 produced a noisier image in bright light with a slightly lower resolution, but held its ground in low light. Both camcorders bring significant strengths and weaknesses to the table, performance aside. The HDR-SR1 has control ring that makes manual control adjustments a cinch, and includes mic, headphone and HDMI ports – all missing on the Canon. The Sony is also an easier camcorder to use overall, thanks in large part to its size and streamlined menu. The HV10, however, is the smallest HD camcorder yet produced, and packs some great picture control options into tiny frame. Unfortunately, handling the Canon is a chore due to its miniaturized controls and awkward upright stance. All this leads us to declare the Sony HDR-SR1 the winner in this head-to-head unless you need an HD camcorder you can slip into your pocket. *JVC GZ-MG505*JVC’s $1300 was, in our view, the best HDD camcorder on the market before the arrival of the high-definition HDR-SR1. While JVC’s top-of-the-line Everio is an SD camcorder, in certain respects, particularly manual control features, it outdoes theSR1. The Sony enters the ring with a 1/3" ClearVID CMOS sensor that’s bigger than the 1/4.5" CCD on the GZ-MG505, and its HD video is much sharper. Handling is too close to call – the Sony is easy to use with a great multifunction ring and excellent zoom toggle. JVC features a joystick-based interface, and a nicely designed menu structure that’s a bit easier to navigate than Sony’s. Although it lacks a ring control, the Everio offers more refined control over gain, exposure, and shutter speed. Both camcorders have mic and headphone jacks. Comparing an SD camcorder to an HD camcorder isn’t really fair, and if these camcorders both shot equivalent quality video, we’d have a tough time making the call. But the video performance scores of the HDR-SR1 speak for themselves, and a price only a few hundred dollars more than the GZ-MG505 seals the deal for Sony. **Who It’s For***Point-and-Shooters (7.0)*If you’re a point-and-shooter, aka someone who can find the on-off switch, the record button, and not much else, this camcorder could be for you. It’s easy to use all around and performs quite well in full auto mode. Add the fact that this camcorder uses an onboard HDD drive rather than discs or tapes and you’ve got one of the most approachable HD camcorders available. If you want to pay a little less, the HDR-HC3 is a great deal as its dropped considerably from its initial MSRP of $1500. You’ll lose HDD simplicity, and some manual control features you wouldn’t use anyway, but you’ll pay several hundred dollars less. *Budget Consumers (3.0)*This is not a cheap camcorder, and only a few camcorders serve up HD video for less. For the best HD bargain at the time of writing (late October 2006), check out the Sony HDR-HC3, which is much cheaper than its initial MSRP of $1500, or the Canon HV10 selling for a shade under its $1300 MSRP. *Still Photo / Video Camera Hybrid (5.0)*The HDR-SR1 is a very good Still Photo/Video Camera hybrid, and you won’t find better still performance in the HD camcorder world. Stills max out at 2304 x 1736, or 4MP, and Dual Record allows you to snap photos while recording video. The SR1 is not a replacement for a pocket-sized digital still camera, but this one will get the job done in a pinch – and that’s more than most camcorders can muster. *Gadget Freaks (8.0)*The HDR-SR1 is not the most interesting camcorder around for hard-core gadget freaks. Other than the multifunction ring, HDD, and wow-inducing Smooth Slow Record feature, it’s a camcorder that looks and handles like many Sonys that came before, including the DCR-SR100 and HDR-HC3. Canon’s pint-sized HV10 is arguably a cooler gadget because it fits in your pocket and produces super-sharp video. *Manual Control Freaks (6.0)*The HDR-SR1 has a very nicely implemented multifunction ring, and it may be the best manual control on the consumer camcorder market this year. The appeal of a ring is the speed and accuracy it provides over image controls, and the Cam Control button allows quick switching from one ring setting to another. Panasonics offer a broader range of independent manual control over features like exposure and shutter speed and gain, but its tough not to like this ring. For once, a consumer camcorder from Sony deserves a real look by manual control freaks. *Pros/ Serious Hobbyists (2.0)*Two words: AVCHD and Handycam. AVCHD is not marketed as a pro format due to its high compression levels, and Sony’s consumer Handycam line does not offer the robust manual controls found on prosumer models. Yet the HDR-SR1 may deserve a look from indie filmmakers on a tight budget, or pros looking for a relatively inexpensive second HD cam. With a ring control, mic input and headphone jack, you won’t find more features in an HD camcorder for less cash. **Conclusion**The Sony HDR-SR1 is undoubtedly the best HDD camcorder to date, for what that’s worth in such a young category. Previously, we would have given that award to the DCR-SR100, so Sony had already proved themselves adept at the emerging format. HDD, or something like it, is the format of the future. Tapes, DVDs, and stamp-sized flash media cards are on their way out as camcorder media. High-capacity media like the 30GB HDD in the SR1 is what people will lean towards as they become more available. It’s a simple matter of convenience: 30GB can hold 4 hours of AVCHD video in the highest quality. Compare that with the HDR-UX1, which can hold 15 minutes of similar video to a single-layer disc (27 minutes on a dual-layer disc). If you’re a consumer looking at the all-in-one SR1, or the UX1 plus the 16 extra discs you have to lug around on vacation, you’re leaning towards the SR1.  Of course, the manufacturers still have to solve the issue of archiving. The HDR-SR1 features a one-touch DVD burn, but if DVDs are the only back-up choice, you’re still looking at a huge pile of DVDs with a relatively short shelf-life (5-10 years, according to most sources).  For now, the HDR-SR1 is still a great camcorder. The mic input and headphone jack are a huge boost for audiophiles, and can add an immense amount of professionalism to any backyard production. The multifunction ring is a powerful tool reminiscent on what you might find in camcorders costing 2 to 3 times as much – the key being the smooth, professional feel.  AVCHD video is still not perfect. The image is noisy, but because the consumer HD market is so limited in choices right now (3 Sonys and 1 Canon) it manages to hold its own by comparison. Also, HD video is still a novelty. Most people raised on a steady diet of increasing compressed standard definition cable television will just stand back and say, "Wow, look how sharp!"  Our other concern is editing solutions. Sony jumped the gun on their own inventiveness, releasing the SR1 and UX1 before the world was ready to accept them with workflow solutions. As it stands, the baseline software that comes in the box is the only known way of editing AVCHD video. We know for a fact that solutions are forthcoming, but they’re not here today, and we’ve heard no dates for product releases.
Overall, we’re happy to give our stamp of approval on the HDR-SR1, but there’s no need to rush out. Keep your eyes firmly fixed on the CamcorderInfo.com homepage, because we’ll be as happy to announce AVCHD workflow solutions as you’ll be to hear them.

Specs/Ratings

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John Neely

John Neely

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