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  • Performance

  • Format

  • Tour

  • Auto/Manual Controls

  • Still Features

  • Handling and Use

  • Audio/Playback/Connectivity

  • Other Features

  • Comparisons/Conclusion

  • Specs/Ratings

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

Performance

The ZR500 captures video using a 1/6" CCD with 680K gross pixels. This yields an effective pixel count of 340K pixels in 4:3, 400K in 16:9 with the electronic image stabilization on, and 450K in 16:9 with the image stabilization off. This is the same imaging system found on all the 2006 ZR models, so don’t expect huge or even noticeable differences in video quality. All three models also sport Canon’s DigicDV processor.

We test all of our camcorders for basic video performance by shooting a color chart specially calibrated for video at 3000 lux. Under these conditions, the ZR500 produced a richly saturated image. This is the type of result that you’ll often see in lower-end camcorders that try to make a "better picture." By boosting the saturation rather than accurately reporting the colors, the camcorder provides what most people would take for an acceptable image. And it is acceptable, for most purposes. But the result of the saturation increase means a decrease in sharpness, indicated by the blurred lines between color tiles. Also, great color that is also accurate requires great lighting, something that videographers often don’t have access to, unless you carry a lighting kit with you everywhere.

The saturation increase appears to be new this year. When compared to the ZR100, the camcorder that the ZR500 is replacing, the boosting of the blue and green channels is especially apparent. Last year’s image was also sharper. The Panasonic PV-GS39, which runs about $50 more than the ZR500, produced a much noisier picture with duller colors. The reds appear stronger in the Panasonic, but overall, the ZR500 image is far more preferable. The DCR-HC26, Sony’s lowest-end MiniDV camcorder, also running about $50 more, produced a washed-out image. It was marginally sharper, which some users may look for, but the noise was as bad as that on the GS39 with even duller colors. The ZR500 definitely comes out the winner in this competition.

**Video Resolution ***(10.0)*

The Canon ZR500 was tested for its video resolution in 4:3 and 16:9 aspect ratios by shooting a standard ISO 12233 resolution chart and running the results through Imatest imaging software. In 4:3, the ZR500 produced 363.5 lines of horizontal resolution (with an average 1.5% clipping) and 274.8 lines of vertical resolution (with an average 1.5% clipping), yielding an approximate resolution of 99889.8. In 16:9, the ZR500 produced 477.1 lines of horizontal resolution (with an average 1.1% clipping) and 280.0 lines of vertical resolution (with an average 1.6% clipping), yielding an approximate resolution of 133588.0

When images are analyzed in Imatest, clipping can occur when an image is too contrasty. While nearly all camcorders can obtain accurate data from the IOS 12233 chart without clipping, nearly every Canon camcorder has provided images that have resulted in this error. There are methods by which to obtain a resolution result without the clipping error (by way of a lower contrast chart), but our standardization methods dictate that all camcorders be tested under statistically identical conditions.

Nevertheless, we did try to correct for errors. When clipping occurs, Imatest requests that you either increase or decrease the exposure. In this case, we were to increase the exposure. Rather than increase the actual amount of light on the chart, which measured an ample 4000 lux, we increased the EV value on the ZR500 to +3. Doing so had a negative impact on resolution, likely because increasing exposure would open the iris wider, thus decreasing sharpness. In 4:3, the ZR500 produced a score of 75706.84, and in 16:9, 109924.36. In increasing the EV value, the clipping did decrease slightly, but did not disappear.

Low Light Performance*(4.75)*

As with every camcorder that passes through our doors, the Canon ZR500 was tested for its low light performance in two lighting levels, 60 lux and 15 lux. At 60 lux, the camcorder retained a great deal of color information and remained very sharp. Fine grain noise rose sharply, which seems to be the result of some incontrollable, automatic gain. Most JVCs, including last year’s bottom-end GR-D250, allow you turn the auto gain control on and off. Panasonics, the GS29 and GS39 included, offer full manual gain from 0dB to 18dB. But even if Canon doesn’t offer the gain control, their automatic handling of things seems to work to our satisfaction.

By comparison, last year’s ZR100 had slightly higher noise levels and a little less sharpness. At 60 lux, the Sony HC26 had much higher noise levels, with patches of blue noise appearing all the way up to the violets and reds. Overall, the picture was nearly as bright as the ZR500’s, but the Canon had stronger green and yellow saturations which managed to push through the noise.

At 15 lux, the ZR500 began to show some odd horizontal striping patterns, most clearly evident in the top row of color tiles. The pattern has a uniformity in its gain, almost like the grain in denim. At this light level, the camcorder also began to exhibit a problem we thought endemic to Sony alone – blue noise appearing across the violet-red color tiles. Despite this disappointing tendency, the ZR500 managed to retain a decent amount of color information. The sharpness was the real surprise here. It does not look like the Canon had to struggle one bit to retain focus. Yet this was a performance we found to be hit or miss outside of the testing room. At times, it could make out fine text at light levels as low as 4 lux. At other times, it could not focus on something as large as a door frame at 10 lux. We can attest, though, that this was not a good still from a mediocre video clip that focused in and out. It looked this good the whole time.

Last year’s ZR100 could not match for sharpness, and its noise was not as subdued and fine-grained. The Sony HC26 lost nearly all its color information and was therefore virtually worthless at this light level. The Panasonic PV-GS39 had a comparable amount of color information, but had trouble focusing. The conclusion: Canon surprised us with this one. Who knew a 1/6" CCD could reproduce images this well in low light? They've turned around their biggest weakness it appears.

Wide Angle* (8.4)*

The ZR500 was tested for the width of its field in both 4:3 and 16:9. In 4:3 mode, the wide angle was measured at 42 degrees. In 16:9 mode, the camcorder displayed a wide angle of 53 degrees. This 11 degree expansion of the field when switched to 16:9 proves that the ZR500 possesses true widescreen, rather than a "crop and zoom" or similar technique to put the picture in a 16:9 frame by subtracting rather than adding information.

Format

Compression* (8.0)*

The compression rate for the Canon ZR500 is the standard 25 Mbps rate which occurs with all MiniDV camcorders. This compression rate is generally much more favorable to the high compression found on DVD camcorders recording video to the MPEG-2 format (with a maximum of 8.5Mbps). If image quality is important and compression is a concern, the far lower price and far better image quality of the ZR500 should appeal to the consumer rather than the DVD camcorders found at twice the price.

Media* (8.0)*

The Canon ZR500 records to MiniDV videocassette tape, and although one is not included with the camcorder, this format can be found at a reasonable price from a number of sources both on and off-line. By comparison, the price of DVDs for camcorders is distinctly higher, plus they offer a fraction of the recording time at a sub-par video quality. Keep in mind that DVD camcorders can only fit an average 20 minutes of their highest quality DVD footage onto blank discs (though this may change with HD and Blu-ray formats). The ZR500 does not record stills, and therefore does not have a card media slot.

Editing* (8.0)*

If you are interested in the cheap editing software that comes bundled with many camcorders, look elsewhere. The ZR500 does not ship with anything of the sort. There are, however, a number of simple editing software programs for purchase or download online, so we encourage you to shop around. Users should find that editing MiniDV footage is exponentially easy.

Tour

**The Front ***(6.25)*

The ZR500 is small by most standards. Even though it might not qualify for the "ultra compact" category, it’s hardly wider than the depth of your palm. Rounding off the top of the front is a small lens, benefiting from a built-in lens cap that opens and closes via a switch on the left. The lens, f/1.8 – 4.4, has a focal range of 2.6 – 65mm, and a 25x zoom. Last year’s ZR100 had a 20x zoom.

The rest of the front is relatively bare. The company logo is followed by a thin silver line that runs down the center, terminating with the built-in stereo microphone at the bottom. This is good location for the mic, as it is less likely to pick up hand and finger movement than mics placed at the top of the body.

**The Right Side ***(9.75)*

The left and right sides show the results of Canon’s slimming technique – Canon made the ZR500 slim, but it had to push the entire body upwards in order to fit everything in. The result is a very tall side to grip. Along the top is a long, thin rubber port cover, veiling three ports – composite A/V-out, audio-in, and FireWire. At the middle rear, positioned perfectly for the thumb, is the mode dial to switch from Camera (video record) to Off to Play (playback). The ZR500 does not record stills, but strangely, it is the only ZR model this year to offer a mic jack (there is more information about this in the Audio section below). Last year’s ZR100 did not have a Mic-input, nor did any of the ZR models.

Along the bottom of the right side is the hand strap, a thin piece of fabric and suede which seems inadequate even for a camcorder this light. Worse, however, is the placement of the strap. The ZR500 is a bottom-loading camcorder, and the loading bay door opens from the right. We don’t like bottom-loaders anyway, but that’s a separate issue. Our problem here is that hand strap has been secured to the edge of the loading bay door, surely one of the weakest parts of the whole camcorder. The door is held closed internally by two severely thin metal hooks and tiny metal buttons. You can see by the picture here that a simple pull at the strap is already straining at the door’s stability. Even at a low price point of $300, a manufacturer should be able to avoid bad design decisions like this.

**The Back ***(6.75)*

The back of the ZR500 is as stripped-down as you’ll find on a camcorder. Starting from the top, you’ll find a pitifully small viewfinder, with a window barely 10mm (0.39 inches) diagonal. This viewfinder does not extend or pivot, and is so close to the body that you’ll likely never use it, except in battery emergencies. The viewfinder’s diopter switch is directed beneath the eyecup. Last year’s ZR100 had an extendable viewfinder with a larger eyecup.

Below the viewfinder is the battery, which takes up most of the real estate on the back end. The battery release button is above the battery cavity, and inside the cavity is the port cover and port for the backup battery. To the right of the battery is the mode dial and record on/off button.

**The Left Side ***(9.25)*

The left side illustrates the biggest difference between last year’s ZR models and this year’s updates. On previous designs, the interface controls were composed of a jog dial and button to navigate through the menu. This year, Canon has adopted the four-way joystick that’s found success on JVC and Panasonic camcorders. Located on the lower edge of the LCD panel’s frame, the joystick is accompanied by three buttons along the bottom: FUNC (which brings up the manual control menu), D.EFFECTS (for the typical array of corny digital effects), and WIDE SCR. / DATA CODE (which toggles between 4:3 and 16:9 in video mode, and displays or removes the data code during playback).

 
Left side of the ZR500, and close-up of the new joystick located on the LCD panel

The LCD screen itself is a widescreen 16:9 aspect ratio, measuring 2.7 inches across. On the outside left edge of the LCD panel is a button to turn the LCD backlight on and off. The LCD cavity has, thankfully, been left empty of manual controls.

Last year’s VCR controls were located on the left side of the body, above the LCD cavity. This year, the joystick controls playback, making dedicated buttons unnecessary.

The Top* (8.0)*

The top of the ZR500 has precious few features. At the rear is the zoom toggle, well proportioned and placed, but a little loose to the touch. In front of that is the P/EASY switch, which allows you to access or block manual controls. A main feature that all camcorders should have on the top is conspicuously missing – a surface that’s easy to grip. The camcorder is tall enough that getting a good grip may be hard for some people anyway. Without a ridged surface or something to aid the grasp, some users may be turned off very quickly to the whole ZR series.







Auto/Manual Controls

Picture & Manual Control
Automatic Control (5.0)

On the ZR500, as with most Canons, there is a prominently-located switch for Easy mode. In this case it is on the upper right side of the body. When in this mode, your cares are over when it comes to shutter speed, exposure, gain, iris, and focus. And in many ways, that’s not a bad thing. Entry level camcorders should excel in automatic controls; their audience is likely far more interested in them than the manual controls.

When in Easy mode, the menu is curtailed to the essentials. To access the menu, push the FUNC. button on the LCD panel. All the categories titles in for manual controls will appear – white balance, Image Effect, Digital Effect – but they will not work. In order to engage these, switch from Easy to "P" mode. The last item on the list, Menu, brings up the administrative menu. Here you can make changes such as setting the recording speed, audio mode, language, and adjusting other settings. Even in the administrative menu, though, certain features are hidden if you are in Easy mode. This is for your own protection, if you are the type of user who cannot be trusted to turn on your own TV without a how-to guide.

The ZR500 does not excel at automatic controls, exactly, but they work adequately. The camcorder takes 3 seconds on average to find the correct focus. While this lag time can be a "drag," the adjustments are accurate. It even does well in low light, which is where most camcorders will start to fail. The ZR500 could accurately decipher fine print text at light levels of only 4 lux, and this is without the Auto Slow Shutter engaged. This feature, when turned on, will allow the shutter to drop to 1/30 of second in low light conditions. We recommend keeping the feature off, however, as it will cause blurring.

The auto white balance has a similar lag time of about 3-4 seconds. Unlike focus, once it settles, it may not be that accurate. For instance, a subject sitting by a window with indirect sunlight will appear far too blue (the color temperature of sunlight). If the camcorder is in Easy mode, the manual setting and automatic presets (Daylight and Tungsten) cannot be selected. We recommend leaving the comforts of Easy mode and performing a manual adjustment of the white balance. If there’s only one control that you choose to learn, let this be it.

Auto exposure, like auto exposure on the ZR100 of last year, had quick, abrupt shifts in extreme lighting conditions, although such dramatic changes in conditions are probably unusual in everyday shooting. It did very well with a strongly backlit subject, even on densely black surfaces.

If you switch from Easy to "P," you’ll gain access to a number of controls that fall under the automatic controls category. Pushing the FUNC. button brings up the manual control menu, with the letter "P" appearing yet again at the top of a list of options. P, in this instance, is short for Program AE (Auto Exposure) – a series of preset modes optimized for certain shooting conditions. They include: Portrait, Sports, Night, Snow, Beach, Sunset, Spotlight, and Fireworks.

Two other categories in the manual control menu – Image Effects and Digital Effects – are also quasi-auto controls only available in "P" mode. Image Effects include Vivid, Neutral, and Soft Skin Detail. These are not highly evolved controls; there is no "more Vivid" or "less Vivid" scale. You turn them on or off, and you select only one at a time. Upper-end Canons like the Opturas offer a Custom setting here, which allows you to set each of these levels manually.

Digital Effects include the type of wipe, if any, you wish to use. You’ll also find a gamut of cheap-looking effects like mosaic and sepia-tone.

Overall Manual Control (5.0)

The manual controls on the ZR500 are, again, average for camcorders in this price range. Canon exists somewhere between the two extremes of manual control. On the one side, you have Sony, which offers virtually no manual controls, and Panasonic, which gives you the kitchen sink.

All manual control is controlled with the joystick and Function button located on the lower edge of the LCD panel. We love the joystick. This navigation control is easily superior to Sony's touch screens and JVC's four-way touchpad controls. Unfortunately, it does require you to have the LCD open during operation, which cuts down on battery life. In truth, you'll be using the LCD anyway. The viewfinder has been reduced to an unusable size.

It's worth mentioning here why we like the joystick over Sony's touch screen. You can read our revivew of the DCR-HC26 for full details, but in short,  the LCD is your primary viewing device to judge picture quality. But rather than having a nice, clean image, you've gone and gotten your greasy fingers all over it. In addition, you're constantly puttin pressure on one of the most sensitive areas of the whole camcorder, and the one most likely to break first. Trust us, stick with a joystick.  

The ZR500 includes manual white balance and two white balance presets, manual shutter speed, manual exposure (in EV steps), and manual focus. On the whole, Canon does not present an easily accessible way to get the picture you want. Most controls require a tedious rocking back and forth of the joystick. While a joystick is probably the best of all possible interface controls at the consumer level, when you compare it to JVC’s microscopic touchpad or Sony’s touch screen, it never quite seems good enough. You’ll know what I mean once you’ve handled a pro-level cam with a fat, rocker zoom and a focus ring. Sigh…

Zoom (8.0)

The zoom control on the ZR500 is a raised toggle switch located on the right-rear of the top, in perfect placement for the index finger. The raised toggle has a distinct advantage over the sliding switch found on Panasonics, as it allows for delicate, controlled adjustments. A new feature on this year’s Canons is the adjustable zoom speed. Found in the administrative menu, this feature allows you to fix the speed of the zoom, no matter how hard you push down on the zoom toggle. The ZR500 has options for Speed 1 (the slowest), Speed 2 (intermediate), and Speed 3 (the fastest). There is also a Variable option, which returns the control to your deft little hands.

Zoom Power/Ratio (25.0)

The Canon ZR500 offers 25x optical zoom and 800x digital zoom. The digital zoom can be capped at 100x, which is a higher cap than you’ll usually find. Most often, the cap will be set at 40x or 50x, where image quality might not be severely degraded. At 100x, though, pixilation will definitely start to show. A 25x optical zoom is good - more than enough for most purposes. The Sony HC26 offers 20x zoom, while the Panasonic PV-GS29 and GS39 offer 30x zoom.

Focus (4.5)

The manual focus control is as disappointing as you would find on nearly any budget camcorder, and therefore, undeserving of too much scorn. We can’t expect focus rings on every camcorder, now can we? Instead, the ZR500 has you push in on the joystick, which calls up a mini-menu in the corner of the screen. The menu has two options: exposure and focus. When you select focus, Canon gives you the old "Man and the Mountain" scenario. If you’re unfamiliar, the schema consists of two icons – a man on the left and a mountain on the right. Translated, this means that if your subject is close, you want to push the joystick left until it appears to be in focus. If your subject is far away, go right.

The problem with this control is simple, yet glaring enough that we find cause to mention it in nearly every review: a 2.7-inch LCD screen is simply not large enough, or of a high enough resolution, to spot a focus error in really tricky shots. And what you miss here will definitely show up on a full-size television screen, I assure you. You’re better off leaving this control in auto.

Exposure (Aperture) (4.5)

The manual exposure is accessed in the same way that focus is (described immediately above). It works better than the manual focus, however, because exposure adjustments are more apparent on a small screen. The ZR500 offers a sliding scale of +/-11 steps away from the auto setting. This should be enough of a range to get the exposure level you need. The control is adjusted in EV steps, which is a combination of shutter speed and iris adjustment. A fully independent iris and shutter speed method would be the best control, but this should suffice for the weekender crowd.

Upper-tier Canons offer Aperture Priority modes that allow you full iris control while automatically compensating the shutter speed. Panasonics, such as the PV-GS29, give you total iris and shutter speed controls.

*Shutter Speed (3.0) *

The Canon ZR500 offers shutter speed options of 1/60, 1/100, 1/250, 1/500, 1/1000, and 1/2000 of a second. For some reason, Canon has chosen to bury this control in the administrative menu rather than bring it up to the first level, which instead gives you far less useful controls like Fader and Digital Effects. Even so, it’s good to have faster shutter speeds when you need to shoot fast moving subjects. Just be sure that the light is sufficient. A faster shutter speed means that light has less time to enter the iris and exposure the picture.

White Balance (7.0)

The ZR500 does offer manual white balance, which is a blessing, as the auto white balance leaves a lot to be desired. Canon has been considerate enough to put white balance at the top of the list in the manual control menu. They only offer two preset white balances – Daylight and Tungsten – and since most real-life lighting will never perfectly match with how these presets were calibrated, it’s best to go ahead and do the white balance yourself.

Gain (0.0)

There is no manual gain control on the Canon ZR500.

Other Manual Control (0.0)

There are no other manual controls on the ZR500.

Still Features

Still Features* (0.0)*

The Canon ZR500 offers no still features. In fact, it doesn’t even take stills. Really, Canon, throw us a bone. Even the bottom-end Sony DCR-HC26 can capture stills to MiniDV tape with seven seconds of audio, all with a simple click of a button. Of course, anyone can capture stills from video footage with the right software, but it’s hardly worth the effort when the resolution is only 640 x 480 – that’s 0.6 megapixels. Even the cheapest point-and-shoot still cameras can capture at over six times this quality.

Still Resolution* (0.0)*

The ZR500 does not offer still capture.

Still Performance* (0.0)*

See above.

Handling and Use

Ease of Use* (5.0)*

When a camcorder comes with a button on the side labeled Easy, you have a feeling it will do well in this category. Yes, the ZR500 is easy to use. Even those daring enough to engage the manual controls will find the joystick a fairly simple interface. When in "P" mode, which is akin to "manual control" mode, pushing the joystick in will call up the exposure and focus controls. All other controls are found by pushing the Function (FUNC.) button.

The joystick has certainly made things easier to control than the interface on last year’s models. The ZR100 and its siblings employed a jog dial, which apparently displeased enough people to necessitate the change.

Another key feature in ease of use is the quality of the automatic controls. Described above in more detail, the short answer is that the camcorder can perform under most conditions with aplomb. This is not the choice for shooting a feature film, obviously, but your kid’s birthday will come out just fine.

Handling* (8.0)*

The ZR500 is certainly a slim camcorder. Only 49mm (1.9 inches) wide, the squeeze forced the body upwards (92mm / 3.6 inches) to fit everything in. This can result in some handling issues for people with smaller hands. I happen to have rather large hands, and through the zoom toggle is well situated for my index finger, I found the rest of my fingers struggling to find a proper grip.

Now consider the opposite approach. Panasonic also decreased the size of their entire line, but choose to flatten and widen the bodies. Speaking with them at CES, a representative told us that it was precisely because of the sort of handling issues found on the ZR500 that a squat camcorder is much easier to hold onto, even if it comes at the cost of some aesthetic value. That’s just something to consider.

Portability*****(8.75)*

Following a trend common in the camcorder market over the last few years, the Canon ZR500 shows a 16% smaller frame and a 12% lighter weight – drastic reductions which produce an even more portable camcorder. The Canon ZR500 measures 3.5 inches long, 2.1 inches in height, and 1.1 inches in width. If the dimensions are actually measured with external projections and battery pack included the user will find that the camcorder gains about an inch in length and 1.4 inches in height and 0.6 inches in width. And since you probably aren't going to be shooting with this camcorder without viewfinder, DVD compartment, or battery, we thought it nice to provide you with some alternate and more realistic dimensions to consider. The camcorder weighs a reported 4.8 ounces although it feels distinctly heavier.

The user will find that the camcorder easily fits in the palm of the hand when not shooting and won't tire or tax the user during the short term. If carrying the camera for longer periods it could be easily placed in a side bag or purse due to the limited size of the body and its slender frame. The only real concern with the Canon ZR500 comes with the durability of its design. If the hand strap was caught, it would only take one good yank on the camcorder in order to snap the MiniDV compartment open. Also the internal lens cover could easily be opened if the slider is jostled when transporting or inserting the camcorder into a tight space, thus leaving the lens open to scratches and dust. The small and slender frame makes it a good initial choice when it comes to portability, however the overall construction could make consumers think twice about slinging it along on rougher excursions.

 

LCD/Viewfinder* (7.0)*

The LCD screen on the Canon ZR500 measures 2.7" and has a pixel resolution of 112,000 pixels, which is a bit below the 123K count found on the LCD screens of manufacturers like Panasonic and other Canon competitors. The LCD has increased in size from last year, where the ZRs had 2.5" non-widescreen LCDs. The electronic color viewfinder is, to put it nicely, a petite feature. This severely undersized viewfinder can neither extend nor pivot out from the camcorder body, making it nearly impossible to use, especially with the battery pack in place. It hardly seems worth the effort on Canon’s part, other than to praise themselves for putting in a token effort. If saving battery life is important to you, or if you just prefer viewfinders over LCDs, look at higher-end MiniDV cams like the PV-GS500, one of the last holdout in the well-designed viewfinder category.

 
*The side of the LCD panel, with the LCD backlight button. * 

Battery Life* (8.2)*

The included BP-25L battery pack was tested for longevity during shooting. We leave the LCD open, the LCD backlight off, electronic image stabilization on, in 4:3 aspect ratio, and an SP recording speed. We do not engage zoom and any manual controls. In this case, we left the camcorder in Easy mode for simplicity’s sake. Under these conditions, the battery lasted 81 minutes and 47 seconds (1 hour, 21 minutes, and 47 seconds). This is an average score, but an improvement over last year’s ZR100, which had a battery lasting only 65 minutes.


Audio/Playback/Connectivity

Audio* (6.75)*

The Canon ZR500 provides its users with a Mic-in port, and is, in fact, the only ZR models this year to include it. The reason, states Canon, is that the education market is one of the largest purchasers of their low-end MiniDV cams, but that they also demanded an audio input. So, here we are with the ZR500.

The mic jack should greatly improve audio quality when compared to what can be recorded with the in-camera stereo condenser microphone. It’s located under a cover on the right side of the camcorder body. This port location is away from the lens, which is great, as cables can obstruct the view if the port is located on the front of the camcorder. The only downside to the Mic-in port is the lack of an accessory shoe on the ZR500. Users will either have to hand-hold or tape the microphone to the camcorder body when shooting with an additional mic.

If alteration to the audio setup is required, the user will need to enter the function menu and select the administrative menu option at the bottom of the screen. Once this menu is opened, the audio setup submenu can be entered and users can turn the Wind Cut feature on/off or alter the audio bit recording rate. The wind cut feature, when turned on, will engage a high pass filter that blocks the low tones which are produced when wind hits the diaphragm of the microphone.

Choosing the 12 bit audio rate will allow two tracks of audio to be recorded while leaving two tracks open for later audio dubbing by another system. Selecting the 16 bit sample rate will mean higher audio quality without the option to record additional tracks on another system. This variable bit rate makes sense on camcorders that have an audio dubbing feature in-camera; however, the ZR500 doesn’t have this option, and makes recording at a lower bit rate somewhat absurd since many editing programs allow the importation of 16 bit audio into multi-track layouts during postproduction editing.

VCR Mode* (9.0)*

The VCR mode is entered by turning the mode dial to the Play mode setting. Users may control tape movement settings through the joystick navigator found on the frame of the LCD screen. This joystick allows for the following controls to be used: play/pause with the up arrow, fast forward with the right arrow, rewind with the left arrow, and stop with down arrow.

If another recording device was used to record multiple tracks, this camcorder (though not capable of producing dubbed audio) is capable of playing it back. It is possible to engage digital effects and faders when viewing images in playback. However, such features are neither easy nor intuitive to access, alter, and implement; while amusing, they hardly merit the labor. It is possible to alter the speaker volume and engage the End Search feature, which finds the last bit if recorded footage and stops the tape there. Next time the user records, there will be no blank spaces between clips.

In the administrative menu, users will find that they can select between audio mode, channel output, and mix balance, functions that would primarily be used when viewing video footage on an external monitor.

 

Ports* (7.75)*

There are two port locations on the Canon ZR500. The majority are placed under a rubber port cover on the right side of the camcorder body. This port cover doesn’t really have a tab or other design feature to enable easy opening, and users will find it necessary to slide a finger into a small space when opening it. The A/V out, Mic-in, and DV in/out ports are located beneath it and are positioned horizontally with enough room between each for easy access even when multiple ports are in use. The port cover moves easily out of the way, although it doesn’t feel durable enough to keep locking closed with extended use; eventually it will probably either hang open or be ripped off in frustration. The DC-in port is located on the back of the camcorder beneath the battery which will allow the user to switch between battery and wall power.

Other Features

Widescreen/16:9 Mode* (8.25)*

The Canon ZR500 will allow users to shoot in two aspect ratios for either 4:3 format or 16:9 format. The 16:9 format on this camcorder is a true "native" 16:9 and will provide users with 11 degrees of increased information horizontally when compared to 4:3 mode. Switching between the aspect ratios is easy, with a dedicated button right on the LCD panel labeled WIDE SCR. Across the spectrum of low-end MiniDV camcorders, Canon’s is the best offering of widescreen.

Scan Rates/24P* (0.0)*

The scan rate for a camcorder is another term for frame rate, and although many higher-end camcorders do carry variable scan rates of 24, 30, and higher, most consumers will find that their camcorder and all those within a few thousand dollars shoot at the same rate - 29.97 frame per second.

Other Features* (6.5)*
Digital Effects - There are a number of preset digital effects which come in-camera, allowing users to engage a number of amusing, 80s inspired looks. The digital effects settings are located within the Function Menu. The digital effects submenu allows users to select the following settings: black and white, sepia, art, mosaic, ball, cube, wave, color mask, and mirror effects. Once you’ve decided on the effect you like, exit the menu. During shooting, there is a button labeled D. EFFECTS to turn them on and off.

Fade Effects - In addition to the digital effects which come with the Canon ZR500, users will also find a remarkable number of fade effects which range from the potentially useful to the impressively kitsch. The fade in and fade out effects allow the user to select from the following fade styles: fade trigger, wipe, corner, jump, flip, puzzle, zigzag, beam, and tide. All fade in/outs are in black, so while a fade is more appropriate to vacation footage than a funeral, the lack of a color palette makes this feature a bit odd when used in festive video footage.

Auto Slow Shutter - The auto slow shutter mode can be automatically engaged by entering the administrative menu within the function menu, and selecting the camera setup submenu. Within this menu the user will find the A. SL. Shutter option which can be turned on for recording scenes with insufficient lighting; the camera can compensate by using a shutter speed as slow as 1/30th of a second. This is a potentially useful feature if you’re not shooting moving images, but a subject in motion will blur at this shutter speed. Electronic Image Stabilization (EIS) - This stabilization system is the less preferable alternative to optical image stabilization, as EIS detracts from video quality.

Comparisons/Conclusion

Comparison
Canon ZR100
Last year’s bottom-end MiniDV camcorder, the ZR100, has received a number of improvements in the upgrade. The internals are largely the same – a 1/6" CCD with 340K effective pixels and DigicDV processor – but the body has been made 16% smaller and 12% lighter. The optical zoom was increased from 20x to 25x. The interface has been completely redesigned from a jog dial to the joystick system. The LCD is now 2.7" widescreen rather than 4:3 screen. The prices have dropped, too. The MSRP on the ZR100 was $350. The starting price on the ZR500, conversely, is only $299. The ZR500 also offers a new built-in lens cap, three pre-set zoom speeds, and most importantly, a microphone input. This last feature was not included on any of the ZR models last year, and not even the bottom-end Elura.

In performance, the ZR100 and ZR500 also showed a difference. Bright light performance was largely the same, but in low light the new ZR500 looked much better. Neither camcorder captures stills. Clearly, the improvements make the ZR100 an obsolete model. This is the first ZR we've liked in qute some time. They've hit the sweet spots - a mic jack and low light. Well done. Congratulations should be in order for Canon for making a replacement model worthy of its purpose.

Sony DCR-HC26
The Sony HC26 takes the bottom-of-the-line role quite studiously – it offers very little in exchange for its $350 MSRP, fifty dollars more than the ZR100. By comparison, the HC26 offers a slightly higher ease of use, automatic controls, better battery time, and a smaller frame. The downside is, well, most everything else, including bright and low light performance. While the Sony does include a "photo" button, it records the stills to MiniDV tape, which is hardly much better than not having a button at all (as in the ZR500). In both cases, the resolution is so low as to make the still worthless. This is no contest – the Canon ZR500 has a better picture, a mic-input, and a lower price.

Panasonic PV-GS29
While we have not gotten a change to review the GS29 yet, we did review the next-step-up model, the GS39, which is similar in most regards. The GS39 had inferior video performance, but not by much. The GS29, which also runs at a $299 MSRP, has the same chip size as the ZR500, but cannot shoot in 16:9. The LCD is also smaller (2.5"), but the zoom is larger (30x). Stills are shot to MiniDV tape at the same 640 x 480 resolution. The GS29 offers better manual control, but the inability to shoot 16:9 is something you may kick yourself for later when you buy a widescreen. If you’re set on Panasonic and on a tight budget, it’s still better to skip this one all together and look at the GS39. Even there, however, competition is tight with the ZR500. And don’t forget the audio input, which does not come included on either Panasonic.

JVC GR-D350
The GR-D350 takes the bottom-rung position in JVC’s MiniDV line. Also at an MSRP of $300, this camcorder has the same imager specs, but offers a 32x zoom. The LCD is smaller (2.5). It trades out the major deficit of no mic input with the modest benefit of a headphone jack. JVC has ease of use about equal to that of Canon, with the added feature of a "data battery," which gives you the remaining battery life and shooting time to the second – a pretty useful feature in clutch situations. We have not had a chance to test any JVC’s yet, but last year’s D250 had comparable bright light and terrible low light. No announcements on improved imager specs lead us to expect more of the same this year.

Canon ZR600

The next model up from the ZR500 is identical in its imager specs, and therefore likely to be identical in its performance. Priced at $349, the extra fifty dollars would buy you the ability to record stills to an SD/MMC card at a maximum resolution of 1024 x 768. It also comes with a remote control, 9-Point AiAF auto focus, PictBridge compatibility, and the Zoom Browser software. All this means, essentially, that fifty bucks will buy you moderately better photos, but still far, far below what a dedicated digital still camera could produce. The only thing that adds to vide quality is the improved auto focus, which should be interesting to test.

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

Point and shooters should love the ZR500. The Easy mode is clearly marked by a switch on the upper right side of the camcorder, and the automatic controls are nearly as good as a comparably priced Sony. Engaging the menu is simple with the new joystick control, our favorite navigation device for consumer cams.

Budget Consumers* (8.0)*

The budget consumer will surely find appealing aspects of the Canon ZR500. It provides a Mic-in port, a handful of manual controls, an easy structure, basic control, and an Easy mode. It’s just too bad that users aren’t given a snapshot mode with this camcorder; however, as mentioned in the still photo section, for fifty dollars more you can lose the Mic-in port and gain an SD card slot. It all depends on which is more important to your recording practice, but it would be nice to have both and not compromise at all.

Still Photo / Video Camera Hybrid* (0.0)*

Well, let’s see. This camcorder doesn’t have an SD card slot and can’t record still images to tape, so that pretty much makes this section of the "Who It’s For" a total bust. It’s a surprising omission, especially considering that most manufacturers can’t talk enough about the importance of the hybrid future of camcorders and digital cameras. If hybridism is paramount and price is a concern, check out the Sony MiniDV line this year, or spend $50 more and buy the ZR600.

Gadget Freaks* (1.0)*

With few manual controls, a stripped-down feature free exterior and a handful of odd digital effects mode, the gadget freak is not likely to consider this camcorder an option. If gadgets and style are important, expect to spend more money for the latest and greatest.

Manual Control Freaks* (3.0)*

Without a focus ring, and with a less than stunning zoom control, the lack of overall manual controls will leave the manual control freaks with an unfulfilled yearning in their hearts. If price is a concern and manual controls are craved, the offerings of Panasonic will certainly be more appealing when compared to the Canon ZR500.

Pros/ Serious Hobbyists* (2.0)*

There is no reason for the pro or serious hobbyist to sully themselves with the Canon ZR500. The design, style, price, controls, structure, layout, and image results are all intended for the automatic mode-loving budget market and not the serious user.

Conclusion

The Canon ZR500 is a great start to their MiniDV line. First off, we love the microphone input, an item you will not find on any other manufacturer’s low-end model. Conversely, this is the only ZR model this year to offer a mic input, which is a little confusing. If they can charge as low as $300 for the whole package, a mic jack obviously does not cost much to produce. Ah, the wonders of price structuring.

When compared to the competition, the ZR500 shines. It has better bright light vide performance than the Panasonic PV-GS39, the Sony DCR-HC26, and, we expect, the JVC GR-D350. In low light performance, it truly shined, and showed significant improvements over last year’s ZR100. The improvements from last year don’t stop there: this camcorder is smaller, lighter, has a bigger zoom, a bigger LCD, and a better menu interface.

Too often, replacement models do little more than bump up the zoom and change the color of a camcorder. Canon has gone above and beyond this year, overhauling old designs and building off of a solid imaging system. As I said earlier, this is one of the best ZR camcorders we've seen in years. The low light performance has been a thorn in their side for too long, and barred us from making recommendations towards them without an assortment of caveats: 'good video... but bad low light;' 'good design... but no mic input.' No more. Barring the ability to take stills, expect the ZR500 to be one of the best deals in the low-end market.

Specs/Ratings

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Meet the tester

David Kender

David Kender

Editor in Chief

@davekender

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

See all of David Kender's reviews

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