Performance

The GZ-HD40 contains two firsts for JVC. It's the company's first CMOS chip in a consumer camcorder, and its first to use AVCHD compression. With that in mind, it was very interesting to test the GZ-HD40 against previous JVC Everio HD models, and AVCHD camcorder from other manufacturers. 

The GZ-HD40 features a single 1/3-inch CMOS chip, a big step away from JVC's normal outfit of three CCDs for its top-tier camcorders. It's a development we're quite pleased to see, frankly. Sony and Canon have been using CMOS chips about this size in the last few generations of their HD camcorders. They've performing extremely well, usually better than the JVCs with their three small CCDs.

JVC GZ-HD40 3000 lux (MPEG-2 TS)

We tested the camcorder in both MPEG-2 TS and AVCHD in our controlled lab environments and out the lab to see how it performed. Let's start with the MPEG-2 TS in the FHD quality setting, which is purported to offer the highest performance. At 3000 lux under more or less ideal conditions, the GZ-HD40 performed quite well. It's funny that even though the sensor was completely overhauled, we still could have identified this test chart as the product of a JVC camcorder in a double-blind test. Much of the color processing must have remained the same, because it has the habit of really saturating the greens and reds.

Overall, this looks to be an improvement over the GZ-HD6, the previous-generation HD Everio. The color performance is largely the same, except for a clear and inexplicable difference in the yellows, which are now less saturated and more natural looking. The GZ-HD40 looks sharper than the GZ-HD6 - cleaner lines and better edges. In extreme zooms, we could see that the HD40 is capturing more fine detail, but the increase is incremental. What you can see quite clearly is that the GZHD40 does not produce the same blue discoloration along areas of high contrast that we saw with the HD6.

Above, 100% crops from the test charts

So what about our top performers this year, the Canon HF10 / Canon HF100 and Sony HDR-SR12 (the finding of which also apply to the Sony HDR-SR11)? At a quick glance, the Canon HF10/HF100 appears to have a more natural looking color pallet. This is what we've always liked about Canons - great color. Canon also has the upper hand on high contrast detail (like type), although the performance gap is much smaller than it was with the JVC GZ-HD6.

Comparatively, the Sony HDR-SR11 / HDR-SR12's colors are much less saturated, which will be to the liking of some, but not others. This is more of a personal preference. The Sony's colors tend to test very accurately, but most people prefer more saturation. Sharpness to the eye was almost identical with the GZ-HD40. We were interested to note, however, that Sony managed to produce a more even color within each color chip, while the GZ-HD40 showed more compression artifacting - minor blotchiness where color tone should be flat.

Out of the lab, the JVC GZ-HD40 (shooting in MPEG-2 TS) looked very good. On a sunny day, you're going to love the camcorder's propensity for saturation and warming the colors. The blue in a blue sky, the green in the grass, the red in the brick - they all pop with the kind of intensity that you want. 

The auto white balance adjustments do not come very fast. This can be a a little frustrating when you point into a shady area and all the color is suddenly sucked into a bluish haze. Give it a few seconds and the colors will naturalize again, but the GZ-HD40 does seem slower than others.

JVC GZ-HD40 3000 lux (AVCHD)

Now let's move on to the AVCHD footage from the JVC GZ-HD40. When looking at the color chart, there is virtually no difference in color performance between AVCHD and MPEG-2 TS footage, which is understandable. The camcorder is still using the same processor and same sensor. The difference is in what the processor is choosing to discard. Most of that comes out in the fine detail and color gradation. Perhaps our shots outside of the lab illustrate the point more effectively.

Shooting outside, we could clearly identify the difference in quality between MPEG-2 and AVCHD. The heavier compression really starts to show in color gradations. Take a look at these three shots of a motorcycle. Note how bad the compression artifacting gets as we move from MPEG-2 TS (FHD quality), then AVCHD (XP quality), then AVCHD (EP quality). While JVC is not entirely wrong to tout the camcorder's ability to record full 1920 x 1080 even in the lowest AVCHD quality, it clearly has a debilitating effect in the creating smooth tones.

Overall, the video quality of the JVC GZ-HD40 is excellent when shooting in adequate light (low light performance is discussed below). The colors are more saturated than its competition, the Canon HF10 / Canon HF100 and Sony HDR-SR11 / Sony HDR-SR12, but most consumers will appreciate the boost. The ability to upconvert video to 1080p for playback is a small but useful feature to squeeze a little extra juice out of the camcorder, though it doesn't actually add any resolution to the image.

Video Resolution* (20.25)*

The video resolution of the JVC GZ-HD40 was tested by shooting an DSC Labs video resolution chart at an even, bright light. The recorded footage was then played back on an HD monitor. As we stated in the JVC GZ-D6 review, switching between 1080i and 1080p output had no impact on this type of resolution test. In real world shooting, you will see a small increase in how diagonal lines are displayed if you switch the camcorder to 1080p output, of course providing that you have a TV that supports 1080p.

Ultimately, we found that the JVC GZ-HD40 produced an approximate horizontal resolution of 675 line widths per picture height (lw/ph) and a vertical resolution of 600 lw/ph. These scores compared very well with the competition. This was better than the previous generation JVC GZ-HD6, as well as the Sony HDR-SR12. The scores are approximately identical to the Canon HF10, making the GZ-HD40 one of the highest resolution camcorders we've seen so far.

Low Light Performance* (5.1)*

The low light performance of the JVC GZ-HD40 was tested in three stages (and sometimes more). First, we shot a DSC Labs Chroma DuMonde chart at an even 60 lux and 15 lux, then compared then with similar test charts from our ridiculously enormous bank of camcorder test results. (Note: if you were ever interested in tracking the qualitative progress of the video industry for the past decade, our offices would be a good first stop).

JVC GZ-HD40 60 lux - AGC on

At 60 lux, shooting in MPEG-2 TS, the JVC GZ-HD40 retained a decent amount of light. The increase in noise was noticeable, but not overwhelming. It should be stated that these shots were taken with the auto gain set to AGC, which allows the auto gain to be on. There are two other settings: OFF and AUTO. The OFF setting turns the auto gain off completely, which renders the picture too dark. Just do yourself a favor and never turn it off.

JVC GZ-HD40 60 lux - AGC Auto (slow shutter mode)

The second setting, AUTO, allows the shutter speed to drop lower than it normally does, probably to 1/30th instead of 1/60th. It wouldn't hurt to leave it in this setting if you think your shots are coming out too dark. We do not run our test with this setting on, but you can see the results above. In short, we didn't see a difference at 60 lux. While shooting outside of the lab, in all the dark corners of our offices, we concluded that it seems to have an impact only in very low lighting.

How did the competition do under the same circumstances? To the eye, it was also a big improvement over the previous generation JVC GZ-HD6. The colors, in particular, looked more natural. Overall, the GZ-HD40 appeared brighter than the Canon HF10 and Sony HDR-SR12.  This is a very good looking performance. The only complaint is that the noise (or perhaps it's compression artifacting) appears as a discoloration - a sort of yellowish or bluish fuzz. On the Sony and Canon, the noise tended to be black or grey, which can be a little less distracting. However, we're pleased that the GZ-HD40 is able to keep noise to a minimum. It's a huge improvement over how the noise was rendered in the older GZ-HD6.

If you choose to record in AVCHD rather than MPEG-2 TS, the results won't look too different. There was some slight color compression artifacting, but overall you could safely shoot in either mode.

JVC GZ-HD40 15 lux - AGC on

At 15 lux, the JVC GZ-HD40 kicks up a lot more noise, which is expected. There's also a big loss in fine detail retention, due primarily to the noise. However, the camcorder still does an admirable job with color retention. Granted, the color performance is a far cry from what it can do in adequate light, but testing showed that the GZ-HD40 can pull color from virtual darkness. It was much better than the Sony HDR-SR12, and a touch better than the Canon HF10.

The second stage of testing measures color accuracy, noise, and saturation in low light. We shoot an X-Rite Color Checker chart at an even 60 lux, then export frame grabs to Imatest imaging software. According to Imatest, the JVC GZ-HD40 produced a color error of 9.1. statistically identical to the previous generation JVC GZ-HD6.  My, isn't that interesting? It seems that even with the switch from CCD to CMOS, and even with the big increase in surface area (three 1/6-inch CCDs to a 1/3-inch CMOS), the color accuracy is exactly the same.

The noise measured approximately 0.915%, a decrease since the GZ-HD6. This is a most welcome sign of improvements. The GZ-HD40 scored better than the Sony HDR-SR12 and Canon HF10. Finally, the saturation measured 96.1%.

The third test measures sensitivity in low light. We shoot the DSC Labs Chroma DuMonde color chart under a steadily decreasing light while the camcorder is connected to a waveform monitor. The point at which the camcorder can produce a maximum exposure of 50 IRE gives us the score for this section of the test. We found that the JVC GZ-HD40 required 14 lux of light in order to produce 50 IRE. This is a huge improvement over the older GZ-HD6, which needed 23 lux of light to perform the same output. The Sony HDR-SR12 produced the same score. The Canon HF10 was still better, needing only 10 lux.

Overall, the newer, bigger CMOS sensor on the GZ-HD40 is a major step forward for JVC's low light performance. The images stay brighter and cleaner in lower light than they ever did on previous HD Everio models.

Stabilization* (4.06)*

JVC opted to regress to the same digital image stabilization (DIS) system found on the GZ-HD3, rather than the superior optical image stabilization system (OIS) from the previous generation. Unfortunately, the results are nearly identical to the older DIS system. DIS operates by sacrificing pixels to compensate for shake. OIS functions by isolating the lens from the body of the camcorder. The GZ-HD6 flaunted a OIS system that yielded the highest Stabilization score and best performance to date.  Why JVC opted to downshift systems is baffling after the success of the GZ-HD6's OIS.

We tested the effectiveness of the GZ-HD40's DIS using our custom-built shake emulator at two speeds: Speed One, and Speed Two. Speed One is akin to typical handheld camcorder shake while Speed Two deals with more of a rocky terrain, like a light jog or jittery car ride. The GZ-HD40's DIS exhibited a 50% shake reduction at Speed One and a 66.67% shake reduction at Speed Two. This poor performance is almost a carbon copy of the GZ-HD3's stabilization performance. OIS is the way to go, and JVC needs bucket of cold water dumped on its head to snap out of this preposterous DIS funk.

Wide Angle* (8.8)
*We tested the GZ-HD40's maximum wide angle capability using a vertical laser. Test video was recorded with the Zoom pulled back to its widest setting and DIS disabled. The video was later interpreted on an external monitor in order to obtain an accurate wide angle reading. The GZ-HD40's maximum wide angle measurement was 44 degrees, which is a 6 degree reduction from the GZ-HD3 and GZ-HD6.

Format

**

Compression*** (13.0)*

The big news from JVC is that the GZ-HD30 and GZ-HD40 record in two formats, MPEG-2 TS and AVCHD. The first, MPEG-2 TS (transport stream), is used only by JVC in the world of consumer camcorders. In its highest quality, it offers a very high bitrate - maxing out at 30Mbps with an average 26.6Mbps - at full 1920 x 1080. You won't find a faster bitrate than this. Of course, bitrate isn't everything. In side-by-sides, we preferred the video from the Sony HDR-SR12 and Canon HF10 to the JVC GZ-HD6, even though the JVC had a much faster bitrate.

MPEG-2 TS also has a second setting on the GZ-HD40 called '1440 CBR' - this records at an average 27Mbps in 1440 x 1080. Video recorded in this mode is completely compatible in an HDV workflow, so you could mix and match footage with your Canon HV20 or other tape-based HD camcorder.

The fact that JVC included AVCHD seems to be a concession that AVCHD has clearly become the dominant compression for consumer HD camcorders. Co-developed by Sony and Panasonic as an alternative to HDC, AVCHD has since been adopted by every major manufacturer except Samsung and Sanyo. While the quality of the first generation models left us wanting, the envelope has been pushed a little bit farther with each generation. The latest generation is just about on par with the best consumer-grade HDV camcorders, and we expect to see AVCHD surpass that in a year or two.

When in AVCHD mode, there are three quality settings, all of which correspond to an average bitrate. XP records at 17Mbps, SP at 12Mbps, and EP at 5Mbps.

Practically speaking, the choice of two compressions is both freeing and bewildering. Avid videographers will likely enjoy the freedom to use whichever compression is best suited to the task. Even users who are inexperienced with camcorders but tech-savvy will likely take this as an opportunity to research the difference between MPEG-2 TS and AVCHD, set the camcorder one way or the other, and never change it again.

Our fear is for the absolute beginners who simply can't fathom this techno-jumble nonsense that we take for write about all the time. The GZ-HD40 is definitely not the easiest camcorder we've ever seen, and this particular set of options is not for the faint of heart.

Choosing a compression and quality setting has a big impact on record times. See the chart in the next section for details.

Media* (9.0)*

The JVC GZ-HD30 and GZ-HD40 use an internal hard dish drive (HDD) as their primary recording medium. The only difference is the capacity. The GZ-HD30 has a 80GB HDD and the GZ-HD40 has a 120GB HDD. Both the camcorders also allow you to expand that memory (which hardly seems necessary) or simply make it more portable by also recording onto a microSD card. This is not the typical card format for a camcorder. SD/SDHC cards the norm. But almost every microSD card purchase comes with an adapter to fit it into an SD card slot. Note, however, that microSD cards can only record in the AVCHD compression, not MPEG-2 TS.

The following chart shows how much video you can fit on the various media.

Editing* (5.0)*

Because the JVC GZ-HD30 and GZ-HD40 record in both the AVCHD and MPEG-2 TS compressions, the editing options are opened. Chances are, if you have some software that has been updated in the last year, it will work with either or both. The safest bet is to put the camcorder in 1440 CBR, which is setting in MPEG-2 TS. These files will be completely compatible with HDV, a format that has been on the market so long even several year old software should accommodate it.

The GZ-HD40 ships with software to get you started right out of the box. There is a disc inside that contains PowerProducer v.2.0.2 for Everio HD.  Unfortunately, this is PC-only software. Mac owners can only take advantage of the QuickTime plugin that allows you to play back the clips. 

The editing software is sluggish and frustrating for new users, but sadly necessary for some. The problem is that the MPEG-2 files are not widely compatible with other editing systems, so you may need PowerProducer to convert them to more commonly used file types.

AVCHD files enjoy wider compatibility, although Ulead VideoStudio 11 - the popular bastion of sanity in an otherwise hostile world - couldn't make heads or tails of the files. Unfortunately, Adobe Premiere Elements still doesn't support any AVCHD. Mac owners have it a little easier. iMovie works fine, as does Final Cut.

Auto / Manual Controls

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Picture & Manual Control**
* Automatic Control (5.0)*

To put the JVC GZ-HD30 or GZ-HD40 in Auto mode, push the Auto/Manual button located in the LCD cavity. The Auto mode is not a idiot-proof as it is in Canon or Sony camcorders. Apparently, JVC trusts you more, so it's up to you to show whether you've earned that trust. You'll still have access to several settings, though the core image controls - white balance, focus, exposure, etc. - are still inaccessible, so you can't screw it up too bad.

When in Auto mode, the GZ-HD40 showed mixed results. The exposure, white balance, and focus all showed small hiccups that might be ignorable to the casual user, but could frustrate experienced or serious videographers. First, the auto exposure showed a tendency at times to adjust in very obvious stages. Moving from extreme light to shadow, the picture would brighten a little, pause, then brighten again. What you want to see here is a smooth transition. In slower panning movements, it was less of a problem.

The auto focus showed occasional difficulty in shifting focal planes. When we panned back and forth between an object 15 feet away and an object 1 foot away, the auto focus could take between 2-3 seconds before it properly adjusted to the closer object. Other times, the auto focus was fine. The only consistent problem - this is almost endemic amongst all consumer camcorders - is an auto focus 'bounce' in low light, in which the focus is constantly adjusting.

The auto white balance was the most disappointing of the three. As long as there was a clearly dominant color temperature in the shot, the GZ-HD40 could do its job. But in a shot with both direct sunlight and shade, the GZ-HD40 tended to produce flat colors, as if it couldn't decide which was correct color temperature.

Overall, the GZ-HD40 will produce acceptable results when shooting in auto mode, but you'll probably want to familiarize yourself with the manual controls.

There are a handful of features on this camcorder that we call one-touch controls, things that allow shooters to have some input into image control without requiring any special camera knowledge. You turn it on, you turn it off, and the effect is simple and immediate. Backlight Compensation boosts exposure to bring out detail in subjects that are too strongly backlit. The Spot Exposure Control creates a small target in the center of the screen that becomes the area of metering (normally the entire screen is evaluated and metered accordingly). This target can be moved a spot to the left or to the right.

The Scene Modes virtual dial

You'll find the usual gang of Scene modes. Push right on the joystick and a virtual scroll wheel appears along the left side of the screen. Options include: Night, Twilight, Spotlight, Snow, Sports, and Portrait. This is not a huge list of options, but it should cover the basic tricky shooting environments.

Overall Manual Control (6.25)

The JVC GZ-HD6 is absolutely loaded with manual controls. At least in this regard, the HD6 is at the very top of the list for camcorders that serious videographers should consider. Other models in this short list include the Sony HDR-SR11 and HDR-SR12 and upcoming Panasonic HDC-HS100 and HDC-SD100.

The key controls are all well-located on the outer edge of the LCD panel. Joysticks continue to remain our favorite control interface, better than d-pads or touch screens. The menu is laid out in a thoughtfully, though you'll certainly want to familiarize yourself with all the controls (there are many) before an important shoot. While not as simple as Panasonic's menu, it's easier to navigate than Sony's. The administrative menu is accessed from within the manual control menu, so there's less clutter. The only tricky part is that when you're not engaged in any menu, when you push the joystick in any direction, it activates a manual setting. Any accidental bump and you could be in for some confusion.

Once again, JVC offers the best manual focus control in the business. We would have preferred a dial or ring control to the joystick, but the Focus Assist feature - which adds artificial color to areas that are in focus - is excellent. Other settings include Brightness (exposure), focus, shutter speed, aperture, white balance, sharpness, and all the one-touch controls described in the section above.

*

Zoom (6.0)*

The zoom is one of the weaker features on the JVC GZ-HD40. The toggle, located on the top near the rear, is well located, but it's just too small be very effective. The camcorder can provide a very slow crawl, but you have to use an extremely soft touch. You shouldn't have to work that hard to get a camcorder in its slowest zoom.

When zooming, the LCD displays both the exact zoom power in numerals and a scale to give you a sense of where in the zoom range you are. Most other camcorders only give you the range, which makes it hard to duplicate a shot.

Zoom Power Ratio (10.0)

The JVC GZ-HD40 features a 10x optical zoom, which is standard for a high-end consumer camcorder. It's partly based on the fact that camcorders with larger sensors (like this 1/3-inch CMOS) require smaller zooms if they're to retain their handheld size. Hence, you tend to see smaller, cheaper camcorder with larger zooms because they have smaller sensors.

There is of course, the option for digital zooming on the GZ-HD40 as well. It can be activated or deactivated easily in the menu. You can cap the digital zoom at 40x or 200x.

Focus (5.0)*

As mentioned earlier, JVC's manual focus is probably the best around. What makes it so good is not the interface itself. On the contrary, we don't like the joystick nearly as much as the dial on the Sony HDR-SR11 and HDR-SR12, which makes for smoother action. No, what makes JVC so good is the Focus Assist. When activated, it converts the entire image to black and white, then draws a bright  artificial color on the areas of the shot that are in focus. You can choose the color, too - red, blue, or green. This system works really well for getting tricky shots that look like a professional rack focus. Of course, none of that is scene in your recorded footage. All the effects take place on the LCD.

The Focus Assist in green

JVC could have done a better job centralizing the focus features, however. Activating manual focus is done by pushing down on the joystick. But that's for unassisted focus. If you want Focus Assist, you have to hit a button in the LCD cavity. And if you want to change the colors of the Focus Assist, that's in a different location entirely.

Exposure & Aperture (7.08)

The JVC GZ-HD40 offers both an easy to decipher 'Brightness' control for beginners, or an Aperture Priority mode for advanced shooters. Both are located in the Manual Setting submenu. When the Brightness control is activated, the Brightness value appears in the upper left corner of the screen. Use the joystick to adjust the value, which ranges from +6 to -6.

*The Brightness control in action *

When using the Aperture Priority, you choose the aperture and the camcorder automatically adjust the exposure by shifting shutter speed. This is great if you want to open up the aperture for some depth of focus control but don't want to worry about anything else. Aperture values include: f/1.8, f/2.0, f/2.2, f/2.5, f/2.8, f/3.2, f/3.5, and f/4.0. This is an unusual range, with a lot of fine control in the wider end of the range, but almost no control when it comes to really closing down the iris. The last generation HD Everios, like the GZ-HD5 and GZ-HD6, went down to f/8.0. The better bet for great aperture control is a Panasonic camcorder, any of which have a huge range from wide open to f/16. 

Shutter Speed (6.45)

For some reason, the menu on the camcorder calls the aperture setting 'Aperture Priority,' but calls the shutter control 'Shutter Speed.' The wording would suggest that this means you could lock in the aperture, then make a shutter setting. This is not true. If you lock in an aperture setting, then activate the shutter speed control, your aperture setting will disappear. It's a little annoying and confusing, but you'll only have to learn it once.

The shutter control is a shutter priority mode, meaning that you can dictate the shutter speed and the camcorder will automatically adjust the aperture to compensate for exposure. The settings include: 1/2, 1/4, 1/8, 1/15, 1/30, 1/60, 1/80, 1/100, 1/250, 1/500, 1/1000, 1/2000, and 1/4000. 

White Balance (5.5)

The white balance options are pretty simple on the GZ-HD40. Options include Manual (MWB), Fine, Cloud, and Halogen. To make a manual adjustment, point the camcorder at a white or neutral grey target, scroll up to the MWB setting, then push in and hold on the joystick. The icon will blink for a few seconds, and when it stops, your colors should be balanced. It's simple to describe, but it actually feels confusing to do if you've never worked with a JVC before.

The white balance options

Gain (2.0)

Panasonic is the only manufacturer of consumer camcorders that offers control over the gain value. However, JVC is the only other manufacturer that allows you to turn the automatic gain on and off. So if you think the picture looks too grainy in low light, you can turn off the auto gain. We wouldn't recommend it, because it will probably lower the sensitivity too much, but the option is open.

There are actually three options here. The 'Off' setting, as the name suggests, turns the auto gain off. The second setting, 'AGC,' turns the auto gain on. The third setting, 'Auto,'is described as using 'slow shutter.' This appears to mean that the auto shutter is allowed to drop as low as 1/30th, rather than its standard 1/60th.

Other Manual Controls (4.0)
Tele Macro - The Tele Macro on the JVC GZ-HD40 seems to work better than on other camcorders. It should be activated when you're trying to keep a tight focus on something from a distance. If you zoom in on a small object the camcorder has a hard time focusing, turn on the Tele Macro. It should help.

*Zebra *- The Zebra patterns are a good idea to turn on if you're serious about making good video. When activated, the camcorder creates a black and white 'zebra stripes' on areas of the shot that are blowing out. You can set the sensitivity to 70 IRE or 100 IRE.

Sharpness - The sharpness can be adjusted in the menu from -5 to +5. What those increments mean is up for debate, but the effect is clear enough. Lowering it a little will win you the thanks of your subjects who want a little 'soft focus,' but too low and it really will look out of focus. Push it too high and you'll bring out the noise. Err on the side of caution here.

x.v.Color - x.v.Color is Sony's brand name for the xvYCC color standard, which provides a wider gamut for colors when recording high definition. In order to take full advantage of the xvYCC, you'll need an HDTV that supports it for playback, otherwise the extra data is simply discarded. The manual states that you should not record with x.v.Color on if you plan on editing with the in-the-box software.

Still Features

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****Still Features*** (9.0)*

Oh, so you buy a camcorder and you want it to record still photos too?!  That's fine, because almost every camcorder does that these days. Of course, what the salespeople at Best Buy and Circuit City don't tell you is that just because a camcorder can take stills, that doesn't mean it can do them well. It seems like we state this a lot, but we'll say it again. We've never seen a camcorder that makes a decent substitute for a dedicated camera. This includes the JVC GZ-HD40, which does the job a lot better than some.

To switch the GZ-HD40 to still mode, flip the tiny switch on the back from the video icon to the camera icon. The shutter button to snap off photos is located on top, directly under where your index finger falls. There are five resolution sizes to choose from: 2432 x 1368 and 1920 x 1080 (both in 16:9 aspect ratio), and 1824 x 1368, 1440 x 1080, and 640 x 480 (in 4:3 aspect ratio). You can also choose between Fine and Standard qualities for any of these sizes. Because the largest size still actually exceeds the pixel count of the sensor, it's clear that this size is undergoing some kind of interpolation. Even if that's the case, it doesn't hurt to always shoot in the highest quality you can.

The manual control options in still mode are pretty good. There's no flash, which is one obvious handicap towards making this an all-in-one device. However, nearly every manual control option from video mode is also here. You have control over exposure (called 'Brightness'), white balance, shutter speed, aperture, focus, Spot Exposure Control, Backlight Compensation, tele macro, and Scene Modes. You can even use the video light and the same great Focus Assist controls. There are no options for zebra patterns or sharpness. The biggest change is that the gain controls in video mode become a set of ISO controls in still mode. This makes complete sense. The difference between gain and ISO is largely a schism of nomenclature between the video and photography traditions. Both refer to sensitivity. The ISO options include: ISO 100, ISO 200, ISO 400, ISO 1000, and Auto.

Additionally, you can set the GZ-HD40 to record in One Shot, Continuous Shooting, or Bracketing mode. There is also a self timer mode of 2 seconds or 10 seconds.

When shooting, the Administrative (Main) Menu contains the following items:**

**

Still Performance* (7.26)*

The still performance was tested by shooting an X-Rite Color Chart at an even, bright light, then sent to Imatest imaging software for analysis on color accuracy, noise, and saturation. At best, the JVC GZ-HD40 produced a color error of 8.26, which decent compared to the competition. The Sony HDR-SR12 had the most accurate colors in this category. The GZ-HD6 performed a little better than the GZ-HD40. The Canon HF10 produced the least accurate colors. Imatest determined that the GZ-HD40 produced a noise of 1.545%. This noise score was on par with the the Canon HF10 and Sony HDR-SR12, but was considerably noisier than the older GZ-HD6. The increase in noise is likely a product of the new CMOS chip compared to the older CCDs. Finally, the saturation measured 115.7%.

Out of the lab in a typical indoor setting, the pictures are extremely noisy. It reminds me of cheap digital point-and-shoot cameras from a few years ago. We would not recommend this as a substitute for a dedicated camera.

Still Resolution* (9.84)*

The still resolution of the JVC GZ-HD40 was tested by shooting an Applied Image ISO 12233 resolution chart at an even, bright light. The stills were then imported into Imatest imaging software to determine the line widths per picture height (lw/ph). At best, the GZ-HD40 produced a horizontal resolution of 744 lw/ph - with a clipping of 2.87% and an undersharpening of 14.4%. The vertical resolution measured 882.5 lw/ph - with a 1.39% clipping and a 4.11% undersharpening.

Handling and Use

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Ease of Use*** (6.5)*

The GZ-HD40 has come a long way from the mammoth GZ-HD7, which offered advanced controls like external Aperture and Shutter Speed dials and a Focus ring. The two side by side are uncannily different, to the benefit of novice shooters. Fewer external controls mean less to worry about while shooting. However, JVC's menu structure is seemingly random and labyrinthine. Options are often located in unintuitive places. You can, of course, simply throw the GZ-HD40 into Auto mode, but there are certain situations that require manual adjustments. Whatever level you're at, good luck with that menu.

On the bright side, the GZ-HD40 requires no external media to fiddle with since all videos and stills are saved to the massive 120GB HDD. You also have the option of recording AVCHD files (not MPEG-2 TS) to microSD cards. 

Handling* (6.6)*

Handling has not changed much since the GZ-HD6. All in all, the JVC GZ-HD40 is a comfortable camcorder, but it caters more to the weekenders than the serious videographers. Long gone are the focus ring and dedicated shutter and aperture buttons from the series progenitor, the hefty JVC GZ-HD7. Nearly all of the interface is now handled through the joystick, which is located along the left edge of the LCD screen. Comparatively, this is great control. The Canon HF10 and HF100 use an the same type of joystick in the same location.

Though slightly smaller than the GZ-HD6, the GZ-HD40 is still a hefty little thing in hand. It's a good deal larger than the Canon HF10 and HF100. There are some elements of the GZ-HD40's construction that continue to bother us. First, the hand strap, once again, is low-slung along the right side of the body. No matter how tight you cinch it to your hand, the camcorder still flops over like a dead mackerel when you release your grip. The hand strap itself is needs work. The material is not comfortable and will grate your skin after a while.

If you're an average shooter, you probably use the zoom toggle a lot. Well, we hate to break it to you, but the construction and the placement of the zoom toggle are pretty poor. It's too small, too loose, and positioned too far forward on the body, which means you have to use your middle finger instead of your index finger.

The Sony HDR-SR11 and Sony HDR-SR12 are the camcorders to beat in this category. While they include the same touch screen interface as all Sony models, they are equipped beyond that, thereby escaping the curse of greasy fingerprint smears and huge icons cluttering up the screen. The strength of the Sonys is in the front-mounted Control Dial that allows for seamless shifting of exposure, white balance, and focus. The larger than average 3.2-inch LCD is also a plus, making the touch screen interface less painful. Of course, the HDR-SR11/HDR-SR12 lacks basic manual controls like shutter speed and aperture, which might knock it off the list of a serious shooter.

Overall, the handling will suffice for most users. Beginners will definitely want some practice time with the manual close by. No matter which way you push the joystick, it seems to activate some sort of special feature, which can be a little frustrating.

Menu* (6.5)*

The menu structure is confusing in its layout and frustrating in its sluggish responsiveness. The Basic menu is located halfway down the main Administrative menu. Manual Controls are at the top and a slew of random options like DIS and Focus Assist are just hanging out in the Administrative menu. Panasonics menus are the opposite--they're simple, clean, and broken into categories for quick navigation.

All action is governed by the LCD-mounted Joystick. The Administrative menu contains the Manual Controls and Basic submenus, along with a gaggle of other free agents.

The Administrative menu contains the following options:

The Basic Settings menu contains the following options:

Portability* (6.5)*

The GZ-HD40 is the latest installment in JVC's shrinking Everio line. When you look at JVC's monstrous debut, the GZ-HD7, it's amazing to see that the GZ-HD40 is about 2/3 its size. The GZ-HD40 measures 73mm x 68mm x 123mm (2-7/8' x 2-11/16' x 4-7/8') and tips the scale at 540g (1.20 lbs.). The GZ-HD40 is slightly smaller than the Sony HDR-SR12, and will fit in a small camera bag with ease. No removable media means you don't have to worry about buying tapes or DVDs. However, if 120GB is not enough, JVC included a microSD card slot -- good luck keeping tabs on a little chip half the size of a postage stamp. The GZ-HD40 is not as solidly constructed as the previous HD Everios. The GZ-HD7 could withstand a hearty beating, but the new wave of Everios have delicate port covers and an accessory shoe cover that's not attached to the body of the camcorder. Portable? Yes. Durable? We don't think so.

The 2.8-inch, 207,000-pixel LCD

LCD and Viewfinder* (5.2)*

The GZ-HD40 is equipped with a 2.8-inch LCD screen with a 207,000 pixel count. The LCD screen flips out 90 degrees from the body of the camcorder and rotates up to 270 degrees. The GZ-HD40's LCD screen is the only monitor on the camcorder, as JVC decided to axe the viewfinder after the GZ-HD7. The LCD screen has not received any upgrades since the introduction of the HD Everio models. The LCD panel contains the Battery/Index and Function buttons, along with the Joystick for two-handed shooting convenience. The glossy surface of the GZ-HD40's LCD screen has a tendency to reflect, obscuring the clarity of your view--this is where a viewfinder comes into play, but alas, you won't find

one here. You have the option to brighten or darken the LCD, as well as set the backlight behind the LCD to become brighter or to automatically adjust.

Battery Life* (9.7)*

We tested the life of the GZ-HD40's BN-VF815U's rechargeable battery pack by recording continuously in Manual mode with the LCD flipped open and the image stabilization disabled until the battery choked. JVC's battery stamina has increased slightly with each new Everio--the GZ-HD3 lasted approximately 91 minutes while the GZ-HD6's battery clocked in at just over 95 minutes. All three camcorders feature the same BN-VF815U battery pack. The GZ-HD40's battery life is 97 minutes and 39 seconds (1 hour, 37 minutes, and 39 seconds. Yet another slight improvement on battery life, but nothing to hold a parade for. Perhaps we expected more from the switch to a CMOS sensor, which is frequently cited as being more power efficient than CCDs.

 

 

Audio / Playback / Connectivity

**

****Audio*** (8.5)*

JVC carried over the Mic and Headphone inputs from the GZ-HD6, which was a smart move. On-board audio on any consumer camcorder is a sad deal, and a Mic jack will offer the opportunity to add an external mic, which can be handheld or fitted into the GZ-HD40's cold accessory shoe. The ability to connect headphones will enable the shooter to monitor audio live to minimize mistakes. You can adjust the volume of the headphones from within the main menu using the Joystick.

You can also monitor audio using Mic Level. Just like Canon, a dual channel (Left and Right) meter will appear on the bottom of the LCD screen. Up to 11 notches will fluctuate depending on the intensity of the sound levels, allowing you to adjust audio pickup accordingly to minimize clicks, pops, and hisses. You can also adjust the external mic sensitivity to -2, -1, 0, +1, or +2 decibels to accommodate a range of mics that have different native sensitivity levels. Of course a Wind Cut feature is available, but it seems like child's play after all of JVC's audio improvements over the GZ-HD6.

Playback* (3.75)*

Playing back video clips and stills on the GZ-HD40 is easy, yet playback controls are a bit of a gamble. In order to access Playback mode, press the Play/Rec button. A list of thumbnails will appear representing individual video clips or stills, depending on what mode you're in. The Joystick navigates through the thumbnails and pressing its center will select a clip of still so that it will play within the entirety of the LCD screen. You'll notice that there are no visible playback controls like on a Canon or Sony. Up on the Joystick selects the Next clip, down selects the Previous clip, right is Fast Froward, left is Rewind, and center is Pause. You'll have to memorize these actions, as JVC has made no effort to help you out with visual cues, and they should do something about that. There are three Rewind/Fast Forward speeds on the GZ-HD40: 5x, 15x, and 60x. Volume is controlled by the Zoom toggle, and the Index button brings you back to the thumbnail screen. The GZ-HD40 also includes a bevy of Fades and Wipes that can be applied to clips, much like in post production.

The Playback menu can be accessed by pressing the Menu button either from the Index screen or While a clip is playing. The Playback menu contains the following options:

Connectivity* (10.0)*

The GZ-HD40 features a slew of ports, including a docking station. However, the port enclosure designs are frail and cheap. Just to warn you, the port covers are constructed of a flimsy plastic material and they are anchored to the body of the camcorder via two fragile plastic strips. These are easy to rip out and difficult to snap back into place. The Sony HDR-SR12 is a model of how ports should be designed, and JVC needs to cheat over Sony's shoulder if they want a more competitive construction.

The USB terminal is located in front, which is a satisfactory placement because you'll only be using this output to transfer video files after shooting. It will never get in the way of a shot, unless you plan to modify this into a webcam. On the right side of the GZ-HD40, toward the lens end, you'll find the Mic and Headphone jacks, which are very difficult to tell the difference between unless you look at the outside of the port cover. The right side of a camcorder is an optimal placement for ports because it frees up the LCD screen and doesn't lead to clutter in the back.

The back is where you'll find the rest of the ports. Starting from the top you've got your AV, Component, HDMI, and DC inputs. Since these are post-oriented ports, this location is fine. Plus, you can always use the included docking station which features the exact same ports in the back, but adds a 1394 IEEE (FireWire) port for a faster transfer of the MPEG-2 TS files.

The cold accessory shoe on top is subject to an unfortunate design flaw--the unattached cover! This will be lost within the first week you own the GZ-HD40. Much rethinking needs to be done about the Everio ports, but this one should be fixed by the next camcorder--no excuses.

 

 

Other Features

What’s in the Box?

The JVC GZ-HD6 ships with the following items:

-AC Adapter

-BN-VF815U Battery Pack

-Component Cable

-Audio/Video Cable

-USB Cable

-Shoulder Strap

-CD-ROM

-Remote Control

-Lithium Battery

-CU-VC7U Everio Dock

The docking station adds a FireWire terminal and allows the AC adapter to take a rest, which is convenient during post. You'll need another battery pack for longer shoots, due to the BN-VF815U's mediocre stamina. On the plus side, a 120GB HDD renders the need for additional media virtually useless because of the massive space.

The contents of the box

Other Features* (2.0)**

Data Battery/HDD Index - *In order to keep tabs on your remaining battery life, the Data Battery and HDD Index allow you to monitor exactly how much juice is left in the GZ-HD40. Press the Battery/Index button when the camcorder is either powered off or on and a battery meter appears displaying the remaining time via a percentage meter. When the camcorder is powered on, the Battery/Index button will display the remaining HDD space in numerical values and a pie graph.    

Drop Detection - *If you're accident prone, the Drop Detection feature will suit you just fine. When Drop Detection is activated, the camcorder will remove the needle from the HDD when it senses a sudden change in gravity to save your precious moments.
*

*Digital Effects - *JVC's digitally rendered in-camera effects include Sepia, Monotone, Classic Film, and Strobe.

Conclusion & Comparisons

Conclusion

The JVC GZ-HD40 ($1299 MSRP) is a big step forward for the high definition Everio series of camcorders. JVC has finally joined the kids at the popular table by allowing the camcorder to record in AVCHD, while maintaining the ability to record in MPEG-2 TS. The qualitative difference is interesting. MPEG-2 video is clearly of a higher quality, which should satisfy the enthusiast set. But AVCHD fits more video on the hard drive, and may work better with a consumer's typical editing workflow.

Is this a good fit for pros and enthusiasts? The switch to a large CMOS chip was JVC's smartest move. The low light performance improved dramatically over the previous generation. The manual control set remains solid: exposure, aperture, shutter speed, an excellent manual focus, sharpness, some control over gain, and a bunch of other little controls. However, this is a far cry from the pro-feel of the enormous GZ-HD7. Gone are the HD7's focus ring and external buttons. Nearly all of the GZ-HD40's interface takes place on the joystick, which is often a bane for pro shooters. Compounding that problem is the menu layout, which... in a word... sucks. It's sluggish and poorly laid out. Options are never where you want them, and it's hard to remember where things are. 

It's not a perfect camcorder, but it's a damn fine one if you ask us. There's no doubt that it produces the best looking video we've seen from an Everio so far. The low light performance, multiple compression options, manual controls, and massive capacity make the GZ-HD40 a strong contender against the Canon HF10 and Sony HDR-SR11/HDR-SR12. For all the same benefits with a little less hard drive, consider the JVC GZ-HD30.

 

• **Who It’s For*
  Point-and-Shooters
  ** The beginner circuit will find it difficult to navigate through JVC's convoluted new menu system. There is an Auto mode, but you'll also have to choose what format you want to record in. The GZ-HD40 is not particularly grandma-friendly.
  **

Budget Consumers
** $1300 is not really within the budget range. Panasonic will give you the cheapest HD camcorders, so look into the HDC-SD9 and HDC-HS9.
**

***Still Photo / Video Camera Hybrid*
**The GZ-HD40's still features aren't the best on the block--Canon and Sony have you covered in this department.

***Gadget Freaks*
**The GZ-HD40 looks cool, but there's nothing intergalactic about it. The ability to record in two compressions is pretty cool, though. **
**

***Manual Control Freaks*
**JVC's Focus Assist is a stellar feature, but we could have used some more White Balance settings. The exposure control is average and Shutter Speed can dip fairly low. Canon and Panasonic are better bets.

***Pros / Serious Hobbyists*
**The video quality has improved a great deal, particularly in low light, and the manual controls are good. The GZ-HD40 falls short in handling, though, as you have to rely entirely on the joystick.

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