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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 PV-GS500 has retained the GS400’s three 1/4.7" CCDs. Each chip has a 1070K gross pixel count and 700K effective pixel count. A 3-chip configuration is preferable to 1 chip for several reasons. The most basic is that incoming light is split by a prism behind the lens, distributing red, green, and blue light to dedicated CCDs. This separation allows each chip to focus on peak color performance for its specific color rather than trying to make sense of the entire spectrum.

At 3000 lux, the PV-GS500 appears to produce color as well or better than the GS400. Colors do not appear to be quite as saturated in the green, yellow, and red areas, but the GS500 features an improved gray scale in addition to blacker blacks and whiter whites.

There are two main distinctions between the GS500 and the GS400: noise and sharpness. The GS400’s video shows a noticeable amount of chunky noise. I use the word "chunky" to differentiate it from the GS500, which has noise of a much finer grain. This type of noise appeared on all the 2006 Panasonic camcorders we have reviewed this year and is likely a byproduct of a new auto gain function. While the noise gives the picture a darker appearance than those from the GS400, it is less distracting than the larger blocks of noise which created discoloration in that model.

The second, larger issue is sharpness. The GS500 looks significantly sharper, evinced clearly in the labels at the top of the chart and resolution trumpets. The GS400 could not adequately handle the resolution necessary to create smooth curves when the image is zoomed in this much.

Enlarged crops of the PV-GS400 (left) and PV-GS500 (right)

We also looked at the GS500’s performance in ProCinema mode. ProCinema is designed to allow the user to create a film like look. ProCinema produced a much darker image, and the noise levels appeared to be about the same as in normal movie mode. Sharpness was slightly decreased in ProCinema mode, though the level of in-camera sharpening was more or less the same. Both modes produced slight halos along high contrast areas. Because the picture is darker, the whites were much less bright than in movie mode.

The Canon Optura 600, one of a number of cameras in the GS500’s price and feature bracket, had higher levels of saturation, which gave the image a bolder look, but was softer along areas of high contrast. There was significantly less noise in the Optura 600. The PV-GS500 doesn't need to oversaturate because the 3 CCDs are producing a fair amount of color information already. The cameras had approximately the same levels of sharpness, but the Optura’s saturation help to strengthen the relief between black and white lines. The Optura 600 did have some slight Moiré patterns in the densest areas of the trumpets.

The Sony DCR-HC96 had a slightly darker imager, with equal levels of color saturation compared to the GS500. The camcorder produced more reds, which lightened the greens and made the yellows stand out a little more. The HC96 had about the same amount of noise, but it took on an entirely different form, creating a wavy, textured look rather than the gritty noise of the GS500. The GS96 tends toward more anti-aliasing, which made the curves look a little better.

Finally, the PV-GS300, which is the next model down from the GS500, produces lower noises than the GS500 but substantially decreased sharpness. Saturation levels are slightly higher on the GS300.

Video Resolution*(17.8)*

We tested the PV-GS500 for its 4:3, 16:9, and Pro Cinema video resolution by shooting a standard ISO 12233 chart and running stills from that footage through Imatest imaging software. In 4:3, the GS500 gave us 553.6 lines of horizontal resolution and 321.2 lines of vertical resolution, yielding an approximate resolution of 177816.32, resulting an a video resolution score of 17.8 (as a method of standardization, 4:3 aspect ratio determines the score for all camcorders).

We also tested the resolution of the GS500’s other video shooting modes, 16:9 and Pro Cinema. In 16:9, it gave 593.9 line of horizontal resolution and 307.1 lines of vertical resolution, yielding an approximate resolution of 182386.69. In Pro Cinema mode, the GS500 produced 663.3 lines of horizontal resolution and 366.3 lines of vertical resolution, producing an approximate resolution of 242966.79. It's a very sharp image.

 

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

The PV-GS500 was tested for its performance in low light at two light levels: 60 and 15 lux. For many camcorders, either of these might represent a challenge. The factor that most informs a camcorder’s performance is chip size. The GS500’s 1/4.7"CCDs lend itself to a solid performance. In bright light, the number of chips is important to performance; in low light, however, size matters more.

At 60 lux, the GS500 produced a very sharp image, though with an understandable loss of color vivacity compared to the 3000 lux image. Loss of color information was, however, even across the spectrum. No colors appeared more saturated or "processed" than any other. Noise levels remained relatively low, especially considering that the picture was already a little noisy in bright light. The CCDs appear to be noisy by nature, but this light level does not exacerbate the problem at all. A slight loss of apparent sharpness did occur: what were crisp, uniform borders and edges along the color tiles at 3000 lux were broken up and bleeding into one another at 60.

Comparatively, the GS400 also had a very noisy image. Its colors appear slightly more saturated than those of the GS500, particularly in the greens. The GS500 appears to have a better noise suppression system than the GS400, and is clearly a better performer on the whole.

The PV-GS300’s smaller 1/6" CCDs could not pick up as much light, resulting in a darker image. Noise was much heavier here, as it was in the 3000 lux tests. Of course, the GS300 cannot match the GS500’s resolution, but, on the whole, the colors were able to shine through and present a fairly good image.

The Canon Optura 600, despite a much larger 1/2.8" CCD, did not produce a correspondingly better image. The GS500’s whites were, in fact, significantly brighter. Color performance overall was about equal, with even tones throughout. Noise, however, was just as big a problem with the Optura. Whereas the noise in the GS500 is like black fleck marks, the Optura’s noise is a grainy pattern across the image. Moving into the violet regions also created some blue noise.

The Sony DCR-HC96 had the most obvious saturation boosting. The colors glowed unhealthily and unevenly, leaning heavily on the yellows and reds. Though the image was bright, it too suffered a lot of noise.

Like all Panasonics, the GS500 offers manual gain control. At 60 lux, the camcorder will have already punched up the gain to 12dB. The controls offer a boost up to 18db: when we manually boosted the image to 15dB, the image brightened a great deal. While the increase is noise becomes very apparent, this might not be a bad setting for getting details out of a shadowy area.

At the maximum gain setting, 18dB, color performance begins to suffer a great deal. The whites are close to blowing out, and this is not the sort of image you’d really want to be using.

We also looked at 60 lux in Pro Cinema mode. At 30 fps, the amount of incoming light has decreased notably. Noise is not so much of an issue, but the image as a whole looks blurred and soft.

At 15 lux in auto mode, the GS500 lost a good deal more color information. Noise also continued to increase, degrading fine details and decreasing sharpness along lines and borders. This may be a result of the noise suppression system mistaking fine detail for noise. However, the colors are still clearly recognizable, and the sharpness relatively good compared to the competition.

The GS400 produced an even brighter image at 15 lux, but the noise was more apparent. The image looks less sharp, and may have had trouble focusing at this light level. In testing, we use auto focus as a control measure.

The PV-GS300 was significantly darker, showing once again what a step down in chip size can cost. Noise levels are much higher, killing much of the fine detail. The Canon Optura 600 managed to retain a lot of detail, but did so at the cost of color performance: its image is bright enough, but seems to be moving toward a greyscale. All the Panasonic models (GS500, GS400, and GS300) showed more saturation. The Optura also produced a good deal of noise. Finally, the Sony HC96 again showed very high saturation levels. At 15 lux, however, the color balance and accuracy was totally off. This image had the least fine detail of any of the camcorders’, and, in some places, the noise appeared as blue rather than black.

We also looked at how a boost in gain affected the GS500 at 15 lux. The camcorder had automatically boosted gain to 15dB, leaving us only one increment higher, 18dB, to play with. This bump showed virtually no improvement in performance, though it did smooth out much of the noise. This might have been a boon to the image, have the image sharpness not been so adversely affected.

The ProCinema image at 15 lux was, again, slightly darker than the 4:3 image. The progressive capture seems to produce a totally different type of noise than the interlaced image – less individual pixels of noise and more blocky patterns. The interlaced image is much sharper, though, and carries more detail.

In conclusion, the GS500 is a solid performer in its class in terms of low light performance. Noise is an issue, as it was in bright light conditions, but the noise reduction system seems to keep it in check as the light levels decrease. Noise never overwhelms the image, and details can still be made out quite clearly at a macro level, even at 15 lux. Very small, pixel-width details can be lost, but this is something you’d find with just about any camcorder.

Wide Angle* (8.6)*

The GS500 was tested for the width of its field it its 4:3 and 16:9 modes. In 4:3, the camcorder showed a wide angle of 43 degrees. In 16:9, it produced a wide angle of 52 degrees. This large jump in the wide angle, without any loss to the information along the top and bottom of the image, prove that the camcorder offers true widescreen.

Format

Compression* (8.0)*

The Panasonic PV-GS500’s compression rate is the standard 25 Mbps which occurs with 6.35 mm MiniDV tape. This standard MiniDV compression level is still far superior to the compression used when shooting with DVD camcorders, which compress video footage into MPEG2 formatted files. Still images are recorded to SD memory card and may be recorded at two different picture quality settings.

Media* (8.0)*

Users can record video images to 6.35mm MiniDV format tape or capture still images to SD Memory card. Video is recorded with a 640 x 480 format, while still images have dimensions of 2288 x 1728, 2288 x 1288, 1600 x 1200, 1280 x 960, 640 x 480 or 640 x 360. While not included with the camcorder, both media options are easily found from numerous on and off-line sources.

Editing* (8.0)*

The PV-GS500 records to MiniDV tape – a mature format with a high degree of market penetration, and lots of well-developed pro editing options, including Adobe Premiere, numerous flavors of Avid, and Apple’s Final Cut Pro. This camcorder also comes packaged with Panasonic’s own MotionDV Studio and Quick Movie Magic software, a quirky application that deserves a look.

Installation is a fast and familiar process, and we had no problem getting the software up and running. When installation is complete, you have the option of getting to work in either program right away.

It’s reasonable to expect Panasonic’s proprietary editing program to recognize a Panasonic camcorder immediately, as do higher-end programs like Final Cut Pro. Sadly, this is not the case. Instead, you need to navigate through the Input Menu and select the PV-GS500 setting. In addition, Motion DV Studio only allows you to capture footage manually – by pushing play on the camcorder first, and then pressing the Capture Button in the application. Professional video editing software allows batch capture of logged clips: you can select the clips you want in advance, then leave the office while your computer automatically acquires them. This is a major deficiency for anyone but the most casual of editors.

In other ways, Motion DV Studio functions like most editing software on the market, enabling you to import audio clips, still images, and title clips. Each file type is organized by tab. The user interface is similar to Adobe Premiere, and allows for basic manipulation of clips on the timeline. However we found that the application did not allow us to leave blank space on the timeline and snapped clips together by default – a constraint that experienced editors will find annoying, since it restricts the ways you can work with your footage. There are few options for altering in and out points, and common keyboard shortcuts cannot be applied to the timeline, unlike with Premiere and Final Cut.

Motion DV Studio includes standard effects and transitions such as wipe, page peel, fade in, and fade out, but we advise you to test these out for yourself so you can make an informed decision about their quality. While transitions and effects are standard, the Video Title Menu includes some animations that most users will find surreal – and which were probably designed for Japanese rather than Western consumers. Nonetheless, if you feel the need to include primitive animations of dancing children in your video, it’s possible with Motion DV Studio. When your masterpiece is complete, exporting is easy, and your options include standard MiniDV, AVI and MPEG.

The biggest things Motion DV Studio has going for it is the price – it’s bundled free with the PV-GS500. While it does permit basic editing, anyone who has worked with a higher-end program will find that the limited number of tools greatly restricts workflow. However if you find yourself stranded on a desert island with your camcorder, your laptop, and Motion DV Studio, it will do--and the bizarre animations will keep you company while you await rescue.

Tour

**

The Front ***(8.5)*

The predominant feature on the front of the Panasonic PV-GS500 is the Leica Dicomar 12x optical zoom lens. This lens has a 43 mm diameter and a 3.3 to 39.6 mm Focal length. The GS500’s aperture range is F1.6 to F2.8, and the manual focus ring is a great feature, far better than digital focal control. That said, this is actually a step down from this camcorder’s predecessor, the PV-GS400, which provided users with an opportunity to control both focus and zoom with an external focal ring which has been dropped on the GS500. Another setback to this new design comes with the placement of the external in-camera flash. The flash sits to the left of the zoom ring and prevents the user’s hand from being able to access and control the external ring in a proper grip. Users will find themselves creating awkward, imprecise and absurd hand positions in an attempt to circumnavigate this design obstacle. Beneath the Leica lens is the camcorder’s stereo microphone unit. Beneath the flash, to the left of the microphone are the White Balance sensor, Remote Control sensor, and Recording Lamp for the PV-GS500.

**The Right Side ***(8.5)*

The right side of the PV-GS500 features a top-loading MiniDV tape compartment, which opens via a switch located on the top of the camcorder body. Horizontal striations running across the length of the body also provide a bit of texture on this side.

Near the front, users should notice a port cover with a lighter gray tone which sets it apart visually from the rest of the PV-GS500: it opens with a tab to reveal the Mic In/Remote port, and the A/V S-Video Out port. A rubber hinge at the bottom of this cover connects it to the camcorder. The hinge isn’t quite long enough to really allow the user to move this port cover out of the way for clean access to these ports, but the port’s placement does keep cables and wires away from the camcorder lens, as often occurs with ports at the base of the front face.

The Mode Dial on the GS500’s back face forms a mound on the right side. Slightly in front of this mound is the in-camera playback speaker for monitoring captured footage.

A right-hand strap, with Velcro pads for adjustment, spans the length of the camcorder body. Its slender design forces users to clutch the top of the camcorder body when shooting; a wider strap could help alleviate this death-grip and allow the right hand to focus on navigating menus, manual controls, and zoom. Adding to this problem, the space between the strap connection on the front of the right face and the protruding mound at the back isn’t really wide enough for bigger hands. We like the layout of the right side of the camcorder because it's simple and really has very few features on it to get in the way of your hand.

**The Back ***(8.5)*

Positioned in the upper right corner, the Color Electronic Viewfinder has an extendable design which also allows for forty-five degrees of pivot away from the Panasonic PV-GS500’s body. This feature has really been falling out of favor of late. We haven't put as much emphasis on it as we should. The extendable and rotatable viewfinder really makes shooting much easier. With smaller, more compact camcorders, viewfinders have become incredibly difficult to use. Located on the underside of the viewfinder component is the Diopter Adjustment feature, which lets users individually adjust the distance between the eye and the viewfinder frame. This control was well sized and provided smooth adjustment without hassle.

Beneath the viewfinder is the Li-ion battery holder and battery. This battery may be removed and replaced via a tab located on the bottom of the camcorder body. To the right of the viewfinder, balanced on the cusp between top and back face, is the Off/On slider. A small blue button in the center of this control alters the GS500’s power setting. Beneath the Off/On switch is the Menu button, which displays the in-camcorder menu structure on the LCD.

The Mode Dial to the right has a joystick positioned in its center, a controller which allows the user to navigate menus as well as engage and manipulate manual control settings via displays located on the LCD. A blue LED ring appears around the joystick when it’s depressed and the control menu is displayed. In an interesting and advantageous design, Panasonic has set the Mode Dial at an angle to the back face of the camcorder so that the top extends further out from the back. The Mode Dial allows users to smoothly switch between Tape Recording Mode, Tape Playback Mode, Card Recording Mode, Card Playback Mode, and PC Connection Mode. To the left of the Mode Dial is the Record button for Tape Recording Mode. This controller is easily accessed by the right hand thumb.

**The Left Side ***(8.5)*

The most visually prominent feature on the left side of the Panasonic PV-GS500 is certainly the 2.7 inch wide view LCD screen. This screen swings out easily from the camcorder body and pivots 270 degrees, an action which allows users in front of the lens to view images.

When the LCD is rotated away from the camcorder, it reveals two ports and two controls: the Auto/Manual/Focus switch is positioned at the center of the left face, with the Power LCD control, which lets users increase or decrease the display’s brightness, located beneath. Moving toward the back of the camcorder from these two controls, users will find USB and DV ports. There is no port cover for these features, and the LCD will be necessary when accessing them due to their placement on the left side.

At the bottom of the left side, in the center of the GS500’s body, an SD card slot is balanced between this edge and the base of the camcorder. This SD card slot features a cover which easily and accidentally opened any time the hinge edge encountered a hand, table surface, or other object. It seems as though using the camcorder quickly could easily break this cover.

The Top* (8.5)*

The Open/Eject switch, near the front activates the top loading tape compartment on the right side of the GS500’s body. This switch activates from back to front, so users shouldn't be concerned about accidentally opening the compartment when holding the camcorder during shooting. Toward the back, still on the right half, is a Zoom Toggle which doubles as a volume controller during playback. The Photo Shot button is located behind the Zoom Toggle and may be activated by the index finger of the right hand when capturing still images. To the left of the zoom toggle, on the lens barrel in front of the viewfinder’s hinging unit, is the PV-GS500 hot shoe attachment.

Auto / Manual Controls

Picture & Manual Control
Automatic Control (6.0)

We know that a good portion of the Panasonic 3-chip camcorder fans are manual control enthusiasts, but every camcorder needs good automatic controls: fast and accurate responses to changing shooting conditions. Users engage the PV-GS500’s auto mode by pushing up on the auto/manual/focus switch located in the LCD cavity. In auto mode, the shutter speed ranges between 1/60 and 1/250. The aperture adjusts automatically to accommodate changing light conditions. Manual aperture, shutter speed, gain, and scene modes all become inaccessible, which we assume is meant to keep beginners from screwing up what could be a great shot.

You will get a great shot in auto mode. If you start with big CCDs (and three of them, to boot) you should expect this kind of performance. But the GS500 goes above and beyond with great white balance, something on which many consumer camcorders fall short. Exposure control looks great, as well, but is nothing noteworthy.

The auto / manual switch is located in the LCD cavity.

No Panasonic would be complete without Scene modes, the automated exposure settings meant to optimize the camcorder for certain shooting conditions. The Scene modes (sometimes called Program AE on other camcorders) are merely approximations of what you need. Manual adjustments will always give you more accuracy, but, in a pinch, scene modes can be quite useful. They include Sports, Portrait, Low Light, Spotlight, and Surf & Snow. The GS500 must be in manual mode to access these features.

The wheel-shaped manual control menu also offers a few additional automatic controls. Backlight compensation will boost the exposure in order to prevent blacking out a subject in strong backlight (i.e., someone standing in front of a window). The telemacro feature allows you to focus on subjects up to 50cm (20 inches) and will automatically zoom to its full 12x extent. Soft Skin mode is a feature that recognizes certain skin tones (read: "North of the equator") and softens the focus to smooth out facial flaws.

Overall Manual Control (7.5)

The GS500 splits its functions into two distinct menus: the main menu (which we’ll call the administrative menu) and the manual control menu. To access the administrative menu, you push the Menu button on the rear. In the administrative menu you’ll find a number of controls divided by sub-menus: Basic (Scene modes, record speed, wind cut, aspect ratio, clock set); Advanced (picture quality, picture size, flash, red eye, image stabilization on/off, fade color, audio bit quality, record lamp, hot shoe mic, USB function, digital zoom, zoom mic, mic level); Setup (onscreen display, date and time, power save, quick start, AGS, remote, beep sound, LCD set, EVF set, joystick LED light, initial set, demo mode); and Language.

If you’re in auto mode, many of the options will not be available. We list them all here, partly because the typical GS500 audience likes to know their options and partly to show you the extent of the controls in this menu. Navigating through the menu is smooth and simple with the joystick (more on that in a moment). However, the joystick pales in comparison to the GS400's ring.

Pushing in on the joystick engages the manual control menu, bringing up a mid-sized circular icon in the lower right portion of the screen. The manual control menu is split into four portions or pages, indicated by fractions (1/4, 2/4, 3/4, and 4/4), which you flip through by pushing the joystick in. Page 1 contains options for fade, backlight compensation, and the information function. This last function works to explain what each of the sometimes enigmatic icons in the menu mean – quite convenient, really.

Page 2 of the manual control menu lets you engage the Soft Skin and Telemacro modes. Page 3 has the MagicPix and 0Lux MagicPix modes. Page 4 has the Recording check option, which shows you the last 2-3 seconds of recorded footage, and Blank Search, which finds the next free spot on the tape.

Panasonic PV-GS500 users should be pleased with the options and settings provided with this 3 CCD camcorder, which include  zoom levels, shutter speed, focus, white balance, aperture, and gain. However, they shouldn't be happy with the controls themselves. Panasonic made a big mistake in dumbing down the GS500's control. Although a manual focus ring is a great control option, this actually comes as a downgrade from the 3CCD predecessor to this model. The PV-GS400 was equipped not only with this manual focus ring but also with a manual zoom ring, which made the camcorder stand out from the rest of its price range and provided options that were entirely unavailable to consumers with competing manufacturers.

The manual joystick control on the back of the camcorder body functions as the interface for control over settings like white balance, shutter speed, aperture, and gain. While this control is easy to access and engage, actually navigating sections of the menu may be less than simple or immediate; this arrangement does not surpass dials and real button control. Setting changes are complicated, due to the constant need to activate the joystick when moving through each manual control feature’s range. While this isn’t an issue for a setting like white balance, the plethora of impressive settings encountered with the aperture range will require a bit of patience to navigate. The GS500 doesn't offer the ease of control and quick access that prosumers need.

Users who can’t quite afford the price of the Panasonic PV-GS500, but love its the manual control variety and range, can find the same options on any of the camcorders being released by Panasonic this year. Even one-chip and DVD camcorders possess the same options as those found on the PV-GS500, although they have no external focal ring. The added control that the PV-GS400 offered over the other models was one of the biggest justifications for buying it. Panasonic has taken that justification away: now there are virtually no control differences between the PV-GS300 and PV-GS500. The PV-GS500 does offer more control, and more intelligent control than any other camcorder in it's price range, however, and it's tough to argue with that.

Zoom (7.0)

A toggle located on the top of the camcorder body controls the zoom level for the Panasonic PV-GS500. This control is comfortably accessed with the index finger on the right hand and was highly sensitive to slight adjustments to speed levels when shooting. It could snap to each end of the zoom spectrum as well as proceed at a sloth-like and controlled pace. When the PV-GS400 was released two years ago, Panasonic got strong accolades from this publication and others, due in part to the inclusion of an external zoom ring as well as a manual focus ring. Unfortunately, consumers should note the obvious lack of a zoom control in the new PV-GS500: if zoom and focal rings are important to your shooting style, it would be wise to look at this camcorder’s predecessor.

There are no fixed zoom speed options, something you'll find on many higher end camcorders as well as all the 2006 Canons, starting at their entry level models.

The GS500's zoom toggle and focus ring

Zoom Power/Ratio (12.0)

The GS500’s 12x optical zoom level is definitely adequate, although markedly lower than those of one-chip camcorders being marketed by Panasonic this year. For instance, the GS39 comes with 30x optical zoom and last year’s PV-GS31 had 24x optical zoom capability. However, high zoom levels require a tripod or a truly impressive optical stabilization feature; without them, they probably won’t see much use.

There is also a digital zoom range available when shooting with the PV-GS500, although users should expect to see a fairly immediate and discernible level of image degradation. Digital zoom may be set with a cut off point of either 30x or 700x. While some users may find the degradation up to 30x to be tolerable, the 700x digital zoom level is just preposterous and entirely unusable.

Focus (6.5)

The GS500 offers a better than average focus control with the inclusion of a focus ring. The GS400 offered a multi-function ring that could also control zoom, so we’re glad they decided to spare at least one feature. To access the manual focus, push down on the auto/manual/focus switch located inside the LCD cavity. A small "MF" icon will appear in the upper right corner of the screen. The ring can then be used to adjust focus.

Despite the good handling that a ring offers (compared to joysticks and touch screens), there is no numerical indicator to tell you where in the focus range you are. The image in the LCD can only be of so much help at the relatively small size of 2.7".

The Sony HDR-HC3 uses a multi-function dial on the side of the lens barrel, or alternately, + and - buttons on the LCD, to adjust focus. While the GS500 has a better feel, the HC3 at least provides distance readings on screen. No consumer Canons have focus rings.

Exposure (Aperture) (5.5)

The aperture range for the PV-GS500 is located within the joystick screen display set-up. To access this control, users must press the joystick; the fifth menu screen will provide them with manual control for Iris, White Balance, and Shutter Speed. With the Iris control, users will be able to control both Aperture and Gain levels. Pressing the left and right arrows on the joysticks scans the aperture levels for the Panasonic PV-GS500. Unlike some camcorders, which would allow you to scan the menu settings by merely holding the joystick, the GS500 demands that users press the joystick for each control transition. Switching from one end of the aperture control to the gain control involves pushing this external control upward of forty times: what fun.

Besides this control design snafu, the Aperture range and numerous settings are highly satisfying for fine tuning the camcorder’s iris setting. Aperture settings of Open (F1.6), F1.7, F2.0, F2.4, F2.8, F3.4, F4.0, F4.8, F5.6, F6.8, F8.0, F9.6, F11, F14, F16, and Close are available when scanning the Aperture range. The next model down, the GS300, has a smaller maximum aperture of F1.8. Each setting on the Aperture scale has two steps, but there are eight steps from F16 to Close, an interesting detail which will allow users to control brighter lighting with a higher level of nuance.

This is the same aperture range as the GS400. Canon gives you Aperture Priority mode, which allows you to adjust the aperture while the camcorder automatically adjusts all other controls. Sony only allows exposure control in EV steps, and it cannot be adjusted independently of shutter speed.

*Shutter Speed (7.0) *

To access shutter speed control, users must enter the camcorder into manual mode and proceed to the fifth menu, which also provides access to manual control over white balance and aperture/gain control. The shutter speed range begins at 1/60th of a second at the slow end and provides settings of 1/100, 1/120, 1/180, 1/250, 1/350, 1/500, 1/750, 1/1000, 1/1500, 1/2000, 1/3000, 1/4000, and 1/8000. These controls are easy to navigate and, with a shorter menu than Aperture, continually pressing the joystick won’t be nearly as much of a hassle.

The GS400 had the same shutter speed range. Canon offers Shutter Priority mode, which allows you to adjust the shutter speed while the camcorder takes over control of all the other controls. Sony offers no shutter speed control.

White Balance (7.0)

Situated within the Joystick menu icon are white balance controls, including a full auto mode, a couple of presets, and a full manual control that is easy to use and set when shooting quickly. The white balance mode will allow users to select between preset indoor and outdoor mode options. While a start, these will probably not stand up to the demands of multiple source lighting situations. Luckily, the manual white balance setting should produce accurate results through a simple control structure. Users must select the manual white balance mode: once the image is flashing on the LCD, they can press the joystick upward. The screen will flash black temporarily. A 3CCD sensor automatically sets the black balance when the manual white balance level.

Gain (7.0)

The Gain control is located in the other portion of the Iris menu. It allows users to set Gain levels to numerically displayed settings of 0dB, 3dB, 6dB, 9dB, 12dB, 15dB, and 18dB, with settings located between each shift. Gain control has the same problematic structure as the Aperture range, and users should be aware that scanning these features won’t be a feasible fade in/fade out without post processing time compression. That said, the settings are generally highly satisfactory and comprehensive, providing gain control that is not often found on camcorders within this price range.

Pressing the joystick in and selecting the Iris sub-menu displays the Gain menu along with the aperture range for the Panasonic PV-GS500. Gain levels for the PV-GS500 will provide users with a number of settings which should produce more concise results than are often found with this control on similarly priced camcorders. Each numerically displayed setting also has one other step before the next Gain level is displayed. This means that each setting has two steps, even more control options than may be initially expected.

The gain range and the aperture range share the same control interface problem: users must press the joysticks left and right to initiate each new setting. This means that switching from 3dB to 9 dB will necessitate the user pressing the joystick at least four times. Without a sliding scale, transitions between settings are neither smooth nor cleanly executed. Viewers will immediately able to visually recognize changes and the hand which initiated them. If not bolted onto a tripod, the camera can easily jar and shift during gain control.

Other Manual Control (0.0)

There are no other manual control settings on the Panasonic PV-GS500, many of which were lost on the PV-GS400. . With an extensive number of subtle settings, including aperture and gain controls, and an external focal ring, the options found with the GS500 should be more than satisfactory. The GS400 offered options to adjust the picture color, exposure, and contrast.

Still Features

Still Features* (9.0)*

A number of still feature controls and settings carry directly over from the manual control and preset shooting mode options provided with the Panasonic PV-GS500. The Still Image mode allows users to produce still images at their maximum size: 2288 x 1728. Users may also choose image size options, which will result in images of 2288 x 1288, 1600 x 1200, 1280 x 960, 640 x 480 or 640 x 360. These formats are selected through two separate menus located within the Basic Menu. The Picture Size menu allows users to select from settings of 4M, 2M, 1M, and 0.3M. In addition to this menu, users will also be able to select whether the image has a High or Normal Picture quality setting and choose to shoot in either a 4:3 or 16:9 aspect ratios. Stills for the PV-GS500 are recorded to SD memory card as JPEG images.

The GS500's flash and SD card slot.

Still feature controls are located within the Advanced, Basic, and Joystick menus, in a similar structure and layout to that of the Tape Recording Mode. As previously discussed, users can control image resolution and quality within the Basic Menu and can also shoot in a variety of preset modes. Preset Scene Modes for the PV-GS500 include Sports, Portrait, Low light, Spotlight, and Surf and Snow modes. In the Advanced mode, users can select Burst Mode, Flash Settings, Red-eye Reduction, Flash Levels, and Optical Image Stabilization control. Finally, in the joystick menu, users will have access to White Balance, Manual Focus, Aperture, Gain, Shutter, Soft Skin, Self Timer, and Backlight Compensation controls.

The Panasonic PV-GS500 also includes an in-camera flash, positioned to the left of the camcorder lens when viewing the camcorder from the front. This flash is terribly placed, not only because it impedes the focus ring’s functionality but also because it will cast harsh, unflattering shadows. Taking vertical shots will align the flash in a proper orientation, but remembering to do so or having this frame be feasible is not always possible.

These still features are merely par for a consumer camcorder, and making a good hybrid was clearly not Panasonic's intention with the GS500.

Still Resolution* (6.2)*

The stills of the GS500 were tested for their resolution by shooting a standard ISO 12233 resolution chart and running those stills through Imatest imaging software. The largest still possible, 2288x x 1728, yielded an approximate resolution of 620256.27. The largest 16:9 still, 2288 x 1288, yielded an approximate resolution of 250025.00.

The chart below show how the GS500 fared against the competition. The PV-GS500's stills don't match up to it's video performance.

Still Performance* (6.6)*

The PV-GS500 is not a replacement for a still camera; that much is clear. At a max still size of about 4MP, it may seem to match up on paper with a bottom-end point and shoot camera, but the still quality is low. That’s because the GS500 uses interpolation, a process by which each pixel is split in four, effectively quadrupling the number of pixels. But the four new pixels are not capturing any more information than the original, single pixel. The resulting picture is four times larger than it was, but with exactly the same amount of information. A 4MP dedicated still camera would actually capture four times more information, making for a much sharper picture.

The GS500’s 4MP (2288 x 1728) image makes apparent just how little detail the camera captures, and curved lines appear to stair-step. There is a fair of in-camera sharpening occurring, which caused white halos along black/white borders. Significant amounts of blue flared up along contrasty areas with heavy blues (blues, purples, grays). This did not seem to be a result of sharpening so much as bad compression. Color performance as a whole was decent for a camcorder, except for a big drop off in the green saturation levels. The whites were also too bright, and seemed on the verge of blowing out.

The GS300, with a max still size 20148 x 1512, managed to dump just as much noise into its stills as it did in its video. It had nearly identical color performance with the GS500. The GS300 did not seem to suffer the same compression artifacts, but the sharpening was still a little too high in black/white areas.

The Sony DCR-HC96’s stills produced flat color performance compared to those from the GS500. The larger 1/3" chip was able to produce large stills without the interpolation, thus giving their images a much sharper look. Less sharpening in the Sony yielded fewer issues with contrasty areas, and the whites were in a lower, better looking range than the GS500’s.

The Canon Optura 600 produced heavily saturated stills that were pretty far from accurate. That is the only major strike against it. Noise was relatively rare, the picture looked very sharp, and the sharpening levels were remarkably low for a camcorder. There did seem to be some lens drop-off in the lower left corner, something that we did not notice in the video performance.

All in all, the PV-GS500 is no great competitor as a still camera. If you’re a big Panasonic supporter, maybe you should seek out a Lumix (though the noise problems won’t go away there, either).

Handling and Use

Ease of Use* (6.0)*

Panasonics offer a lot of great features, but ease of use is not one of their stronger points. The company emphasizes video quality and manual controls. Most users with a little experience will appreciate that, but truly green beginners might have a hard time learning their way around the PV-GS500.

Unlike Canon and Sony, who put their auto or "easy" modes out in the open for everyone to find, the GS500 hides the auto/manual control in the LCD cavity. If you are only interested in point and shoot operation, you’d probably be able to record your kid’s baseball game with no problem, once you switched the camcorder to auto. Now if Panasonic had maintained the prosumer features on this camcorder, it might make sense that the ease of use options were a bit hidden. But they didn't, they dumbed it down without improving the ease of use for what you think is their new target market for the PV-GS500. Unfortunately, you’d never be able to take advantage of the huge list of manual controls and automatic features. For that, the camcorder must be in auto mode. And, once in auto mode, you must tackle the menu.

The menu (as described in the Manual Control section above) is split into two parts: the main (or administrative) menu and the manual control menu. The former is simple to navigate; the latter is complicated enough to warrant a special "info" feature just to explain what all the icons mean. In fact, if you dug around, you’d probably find the menu featured in some semiotics case studies.

Handling* (8.5)*

Panasonic’s design teams are virtuosos when it comes to cramming lots of functionality into their high-performing but compact camcorders, and the PV-GS500 is no exception. This is not a large camcorder at 61mm (2.4 inches) wide x 32mm (1.26 inches) tall x 91mm (3.58 inches) long, and is smaller (e.g. more portable) than the PV-GS400. In terms of look and feel, Panasonic has chosen not to adopt the common upright compact (a.k.a. pistol-grip) shape as Canon did with the Optura 600, and opted for a more traditional, barrel-like design. We think this is a wise choice, making for more comfortable handling.

Accessing the numerous controls of the PV-GS500 is done primarily via the joystick, which we find to be the most efficient interface for navigating menus and controls with the exception of the combo ring which was on the PV-GS400, which is why we reduced the score. We also prefer a jog dial and real button control to what they've included. While prosumer camcorders are large enough to accommodate dedicated buttons, consumer camcorders just don’t have the surface area to accommodate them. Touch pads work like joysticks, but tend to be more awkward to use, especially for people with large fingers. Touch screens become greasy and smudged over time, a big drawback when the LCD is your primary means of assessing image quality. They also suck battery power and necessitate large icons that can obscure the image during a shoot. Kudos to Panasonic for choosing a joystick as the main camera control device. This year, the joysticks made their way onto every consumer camcorder in their line.

The PV-GS500 menu layout is also streamlined and easy to navigate – assuming you have taken the time to learn about the considerable functionality offered by this camcorder. The menu is divided into an administrative section, which reads and functions like a typical menu, and a manual control section. The manual control section is accessed by pressing the center of the joystick, providing quick access to commonly used adjustments like white balance. The unobtrusive placement of this menu in the screen’s lower right corner allows you to see the effect of adjustments to the image immediately. The manual focus ring works very well, though it is no longer the multi-function focus/zoom ring found on the PV-GS400.

Portability* (4.75)*

The PV-GS500 is not terribly compact – it’s not a camcorder you could fit in any but the largest of coat pockets, and, at this price, you’ll want to invest in a decent camera bag anyway. What it does better than most camcorders on the market is pack a lot of power and manual functionality into a small package. By this "power per pound" measure, the PV-GS500 is still an exceptionally portable dynamo, like its arguably superior predecessor, the PV-GS400. It is also slightly larger and heavier, and therefore less portable, than the PV-GS300 – but that’s to be expected with added features. The bottom line: there are smaller camcorders out there, but few that pack as much power into a body that weighs in at a little over half a KG.

LCD/Viewfinder* (6.25)*

The LCD screen on the Panasonic PV-GS500 is a widescreen display with a 2.7". Solarization tended to be a problem with this camcorder, despite options to adjust the LCD screen brightness by manipulating the Power LCD button on the left side of the camcorder body.

An extendable, pivotable Electronic Color Viewfinder displays menus as well as images and functions quite nicely as a backup viewing device when necessary. This viewfinder, unlike less expensive models being produced by Panasonic, comes with a rubber rather than hard plastic eyecup, great for those who use this feature regularly. A diopter adjustment feature underneath the viewfinder adjusts the focus. The GS400 had a larger 3.5' LCD which is why we so dramatically reduced the priced.

 

Battery Life* (13.4)*

The PV-GS500 ships with the CGA-DU14 battery, which has an estimated charging time of 2 hours and 45 minutes. We tested the battery for its longevity during shooting by leaving the LCD open and the backlight on and performing no zooming or manual control operation. In total, the battery lasted 134 minutes and 15 seconds (2 hours, 14 minutes, and 15 seconds. This is an excellent battery life, and should preclude the need for toting along the battery charger on all but very long trips.

Audio / Playback / Connectivity

**

**

Audio* (7.25)*

The Panasonic PV-GS500 gives users several control options. A stereo microphone is on the front of the camcorder body near the base, beneath the behemoth lens. Users will also be pleased to hear that Panasonic has placed a Mic In port on the right side of the camcorder body in front of the top loading tape compartment. By not putting this feature on the front of the camcorder body, Panasonic has really eliminated any concern users might have over obscuring the lens with cables and wires. We have to generally commend Panasonic for giving users a mic input, something so many manufacturers are sacrificing.

In addition to these options, users can choose to set a wind cut filter through the Basic menu. This high pass filter will cut out low tones produced when wind strikes the microphone surface. It is possible to also set the microphone level and use a feature titled zoom mic, which acts as an automatic Gain feature, boosting all audio levels in an attempt to capture audio produced by subjects in the distance. Not surprisingly, users are warned to not use this feature in noisy situations.

Within the advanced menus users can record via the hot shoe with either low cut or normal frequency range. It is also possible to control the microphone’s audio levels through the mic level sub-menu also in the Advanced menu. From here, Auto Gain Control automatically adjusts gain levels, Set+AGC engages AGC only to reduce or eliminate distortion, letting the user set the recording levels, and Set puts both gain and recording levels under the user’s control. This last adjustment produces the most controlled results, but only if the user is able to monitor and understand audio dynamic range and respond properly to varying levels of amplitude. Audio may be recorded in either 12 or 16 bit sample rates.

Finally, we regret to inform you that the GS500 has no headphone jack, so hearing a live preview of all these great features is not possible.

VCR Mode* (6.5)*

Selecting the Tape Playback mode on the Mode Dial enters the VCR mode. A diagram on the LCD then explains how to navigate the MiniDV tape with the joystick: the up arrow functions as Play/Pause, right arrow for Fast Forward, down arrow for Stop, and left arrow for Rewind. These controls are easy to use, and the user doesn’t need to hold the control once a function has been initiated. There is no frame by frame or slow feature, so users will need to be quick on their feet or have time code or frame by frame control options within their editing suite on PC. It is possible to view playback images via both the 2.7 inch LCD and the Electronic Color viewfinder.

Ports* (6.5)*

Three areas around the body of the Panasonic PV-GS500 are dedicated to ports, with the first located on the right side of the camcorder body in front of the tape compartment hatch. The port cover is made of a hard plastic that is slightly lighter in color than the metallic silver body to which it’s attached via a small hinge at its base. A slight tab is located at the back of this cover and, when opened, reveals an A/V port and a Remote/Mic port. A USB 2.0 compliant port and DV in/ out IEEE1394 4-pin port are beneath the LCD screen on the left side. Finally, the SD memory card slot is on the edge between the left side and the base of the camcorder body, inaccessible when the camcorder is on a tripod. They've really downgraded the camcorder when it comes to ports compared to the PV-GS400.

Other Features

**

Widescreen/16:9 Mode*** (7.5)*

Unlike the GS300, which uses a crop-and-zoom technique (cutting information from the top and bottom to create a 16:9 frame) to obtain a 16:9 aspect ratio, the GS500 has true widescreen. Like most camcorders, the also offers a 2.7" widescreen LCD on which to view the image. The GS400, on the other hand, had a much larger 3.5" LCD that was not widescreen (frankly, we’d take the GS400). Switching aspect ratios is not as simple as it is on some camcorders, which offer an external, dedicated button. On the GS500, you must go into the administrative menu, scroll down a few options, and select between 4:3 and 16:9.

Scan Rates/24p* (1.0)*

The Panasonic PV-GS500 shoots at the standard 29.97 frames per second, the expected frame rate for camcorders within this price range. A somewhat vague "Cinema Pro" setting shoots at "30 fps" with a "strobe-like effect," according to the manual, while recording audio with, "more presence". If pseudo-film fetishism must be met, perhaps users should swallow the price increase and buy a camcorder with a 24 fps rate.**
**

Other Features* (7.5)*
*Optical Image Stabilization (OIS) *- This a feature that assists in stabilizing the recorded image – smoothing out jittery hand movements. OIS is the preferred method for stabilizing a video image because it retains image quality, literally enabling the lens to move with some independence from the rest of the camcorder.

Backlight Compensation - This feature helps to keep backlit subjects from appearing too dark, very useful if you are shooting someone indoors who is sitting in front of a window. Shooting a subject who is backlit should be avoided if possible, and is one of the most common pitfalls for beginning videographers: rather than using this idiot-proofing feature, we advise you to light properly or move your subject so that the window illuminates them from the front.

Tele Macro - This feature is less a "feature" than a shortcut that automatically zooms the lens into 12 x, and brings the subject into focus at as little as 50 cm (20") - something you could accomplish by manually zooming the camera all the way in to 12 x. Why does Panasonic bother to offer this redundant feature? By zooming all the way in, Tele Macro also instantly produces the shallowest depth of field the PV-GS500 can achieve. This shallow depth of field enables you to throw the background of a nearby object out of focus for dramatic effect (no doubt the reason Panasonic designates Tele macro with a flower icon). As with any small camcorder, a compact optical mechanism means you will only get this blurred-background effect when objects are close to the lens.

Wind Cut - This will reduce the low-end spectrum of the on-board microphone’s range, helping to reduce the buffeting noise that plagues sound in windy situations. While Wind Cut works well in a light breeze, its ability to compensate is limited. If you need to shoot extensively in a windy environment, and sound is important, you’re better off with an external mic equipped with a wind sock.

Red Eye Reduction - Red Eye Reduction functions only in still mode and reduces the probability of red-eye when using the flash. Like other cameras with this feature, it flashes twice: the first flash causes your subject’s pupils to shrink and the second captures the image.

*Flash *- The flash is used for still photos, illuminates subjects in low-light situations.

Zoom mic - This captures audio that sounds close at hand when the lens is zoomed out and distant when the mic is zoomed in. It is a cool feature that some people will find useful, but is no replacement for professional external mics that you can place close to the most important sound.

Quick Start - This is like a PC’s standby mode. When it’s enabled, the PV-GS500 enters Quick Start standby when you close the LCD. A green light replaces the normal red operating light to indicate this. The lens cover remains open, and power consumption is cut in half from pause-record mode. Opening the LCD wakes the camcorder from standby and it resumes pause-record mode in 1.7 seconds.

Auto Ground-Direction Standby - This is a new Panasonic feature that, when turned on in the menu, stops recording when the camera is in a "down" position, i.e. upside down. AGS is intended to keep you from wasting tape when you forget to hit the Pause button. If you know you are not going to be recording from an unusual angle, and find that you frequently waste tape, AGS will be useful.

Comparisons / Conclusion

**Comparison
***Panasonic PV-GS400*
When Camcorderinfo.com reviewed the PV-GS500’s predecessor – the PV-GS400 – we called it the best camcorder value ever. Panasonic has distinguished itself by offering top-notch video performance combined with a range of manual controls that make their products stand out in a competitive market. Sadly, with the release of the PV-GS500, Panasonic has opted to drop toward the pack. Many of the features that made the PV-GS400 popular among serious videographers are now gone. As a trade-off that many still question, the price dropped significantly – from $1500 to $1000. Of course, video quality has improved and the size has been reduced, but is that enough?.

For most users, we believe that the answer is no. The PV-GS400 is a better camcorder because it offers far more professional features: a dual-function focus/zoom ring, analog-to-digital pass through, a 3.5" LCD, 30P Frame Mode, the built-in mic on the wired remote control, picture adjust, color bars, and zebras. While the PV-GS500 is a very good camcorder in its own right, it is hardly a worthy successor to the GS400.

Sony HDR-HC3
Sony’s HDR-HC3 is perhaps this year’s best example of where the consumer camcorder market is headed, and it’s a future that looks bright. With last year’s HC1, Sony trumped the competition by putting HD video within reach of the consumer market. This year’s HC3 combines the stunning picture quality of HD with Sony’s renowned ease of use, all at a fantastically low price. Yes, the Panasonic PV-GS500 offers some options that are absent from the HC3, including a manual focus ring (instead of the less user-friendly dial on the Sony) and better control over shutter speed and white balance. We do place a high value on manual controls, but in this case, the stunning video performance of the Sony’s 1/3" CMOS sensor leaves the PV-GS500 in the dust.

The PV-GS500 suffers from poor in-camera sharpening and relatively lackluster low light performance, and its resolution, while great for an SD (standard definition) camcorder, is still only SD. In terms of price, the PV-GS500 is still a great buy – MSRP of $999 vs. around $1500 for the HDR-HC3 – but we think the Sony is even better given the quantum leap in video performance it offers. If the GS500 had the control of the GS400, we might even say it was a good sparring partner for the Sony HC3. If it had that better manual control, it'd be a choice for better video on the HC3 or better control on the PV-GS500. But the PV-GS500 doesn't. Panasonic has attempted to go after Sony's ease of use market and, well, they just don't do it as well as Sony. So in the end, you have an SD camcorder that's an ease of use wanna-be, and a hot tech high definition camcorder that is an ease of use superstar. The bottom line is you’ll get a lot of bang for the few hundred extra bucks you’ll spend on the Sony HDR-HC3 and there is really no competition.

Panasonic PV-GS300
The PV-GS300 is this year’s step-down model from the PV-GS500. Like the GS500, the GS300 took a big step back from its predecessor, dropping a lot of features and lowering the price to try and entice consumers. It is missing a manual focus ring and has smaller chips (1/6" vs. 1/4.7), a smaller maximum aperture (f/1.8 vs. f/1.6), a cold rather than hot accessory shoe, a smaller optical zoom (10x vs. 12x), a lower max still size (3.1 versus 4.0), and no Cinema mode. The smaller chip size made a sizable impact in low light performance. Finally, the GS500 offers true widescreen, while the GS300 uses a crop-and-zoom technique to obtain 16:9 aspect ratio.

That is a pretty substantial list. Do these features add up to $300? That’s the real question you need to ask yourself. Even if you do choose to step up to the GS500, you’ll still be missing many of the great features of the GS400 and GS250 (the GS300 predecessor). Yes, the GS500 is better than the GS300, but we first recommend you dig around for some of last year’s model.

Canon Optura 600
When we compared the Canon’s latest top-of-the-line Optura 600 to last year’s penultimate Panasonic, the PV-GS250, we gave the GS250 our vote based on its wealth of manual control and professional-level features. The gap widens when the Canon’s compared to Panasonic’s new top-end PV-GS500. With three 1/4.7" CCD’s, great video quality, and the ability to capture much larger stills, the single CCD Canon dozen’t have quite the image quality (though it does have a very large chip at 1/2.8" and its stills looked very good).

The Canon also lags when it comes to manual controls and, notably, lacks a focus ring. Also, the fact the Canon chose to shape their top camcorder in a compact, upright body took a toll on handling. Last but not least, the Canon costs more, at about $1100 vs. the $999 MSRP for the PV-GS500. If you strongly prefer a pistol-style grip and slim profile, or are a devoted Canon fan, the Optura 600 is worth a look, but on the final tab, Panasonic wins this race.

Sony DCR-HC96
It is again interesting to note that, when we compared Sony’s top-of-the-line DCR-HC96 to Panasonic’s PV-GS300, we still gave Panasonic the edge. The PV-GS500 ends up even further ahead of the Sony for reasons you can probably guess: much better manual control, more features, a non-proprietary audio jack, and a cheaper still media (SD cards vs. MemoryStick Duos). On the other hand, the Sony is generally easier to use – partly as a result of fewer features – and does have an Easy Mode with great automatic controls.

While the PV-GS500 wins this head-to-head, the industry is always changing, as our final comparison will show.

**Who It’s For*

Point-and-Shooters (4.0)
*The point and shooter will likely find this camcorder out of their budget. If you never plan on taking advantage of the features that define the GS500 as a top model, the entry-level PV-GS29 and PV-GS39 offer a lot of the same features at a fraction of the price.

*Budget Consumers (3.5)
*At $999 (MSRP), the GS500 is likely too expensive for this crowd. Again, the GS29 and GS39 have a lot of great features, though they won’t match the image quality of the GS500.

*Still Photo / Video Camera Hybrid (3.5)
*The GS500 takes 4MP stills, but they use interpolation, and only have about as much quality as a 1MP still. Read the Still Performance section above for more info, but this is not a great replacement for a still camera.

*Gadget Freaks (2.0)
*There’s nothing new or revolutionary on the GS500, so gadget freaks will likely shy away from this camcorder.

*Manual Control Freaks (8.0)
*It’s a split call for this crowd. The GS500 certainly can’t match the controls on the GS400, but it’s still a top-end Panasonic, which means great manual control when compared against the entire market.

*Pros/ Serious Hobbyists (6.0)
*If you’ve been reading this review up until this point, you know that this is a poor substitute for what the GS400 offered. If you count yourself in the pro / serious hobbyist category, you should strongly consider finding a leftover or gently used GS400.

Conclusion

You have to give Panasonic credit for attempting a new market strategy, but wow, how the mighty have fallen.  The PV-GS500's predecessors, the PV-GS400 and the PV-DV953, were revolutionary, ushering in new levels of performance and control at remarkable prices. We fell head over heels for them for almost three years and recommended them every chance we could. Panasonic had made the almost perfect camcorder for the high end consumer / prosumer user. They developed thousands of fans and dominated that market. Sadly, though,  Panasonic has destroyed our beloved camcorder while aiming for a broader and different customer base.

The consumer camcorder market is wrought with competition, and Sony’s "easy mode for all" approach has certainly worked well for them. They are the indisputable market leaders. Panasonic thinks they can compete - we think they are better off concentrating on the slice they served so well in the past. Instead of being a leader with the PV-GS500, Panasonic has become a follower, and the GS500 will probably become an also-ran forgettable camcorder.

Gone are many beloved pro features – the multi-function ring, zebras, color bars, and more. Even some of the basic features for a top-of-the-line model have vanished: analog input, and a headphone jack. If the GS500 was released under any other name and not as a replacement, we would undoubtedly be praising this camcorder. As we’ve said throughout the review, image quality is excellent,  manual controls are outstanding, and handling is among the best in the market. But the GS500 does not, of course, exist in a vacuum. It is a replacement model for a beloved product, and it must also be judged in that context. The GS500 is a poor shadow of the GS400, as far as most users are concerned. No doubt eBay sales of the GS400 skyrocketed in January when the GS500 was announced, and will continue to do so for some time.

When you place the PV-GS500 in the context of other models in its price range, it also delivers a pretty pathetic showing. Its biggest competitor is unquestionably Sony's HDR-HC3, which offers better ease of use and a better picture by way of high definition. We can't really justify buying a PV-GS500 if you have the extra $100-$200 for the HC3.

Our only hope is that the PV-GS500 is a mistake from which Panasonic moves on like it was a bad one-night stand. When they come out with their first high definition consumer camcorder to compete with Sony's HDR-HC3, the company may rediscover the leadership and innovation qualities that produced two of the greatest digital camcorders of all time, the PV-GS400 and PV-DV953.

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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