Performance

Video Performance*** (10.5)*

The HDR-HC7, as Sony's top truly consumer HDV camcorder (we’re dismissing the HDR-FX7 as a contender in that category), comes equipped with only the best bits and pieces. Most of the top-end Sonys in each format offer a new imager, a 1/2.9" ClearVID CMOS sensor with 3,200,000 gross pixels (2,280,000 effective pixels in 16:9; 1,710,000 effective pixels in 4:3). We really liked what we saw with last year’s 1/3 ClearVID CMOS chips, which have been carried over to most of the second-tier models in each format.

At 3000 lux, the richness of the color was the most obvious characteristic. Sony does their market research, and rarely fails to give the public what they want. Saturated, rather than accurate, colors are preferred by the average camcorder owner, and the HC7 delivers. Our color chip chart looked like a box of crayons. Every color popped with remarkable crispness. The HDR-HC7 offers a Color +/- control, which affects saturation. Turning it up produced a horrid palette, reminiscent of some of Sony’s DVD camcorders from years past. But rolling the saturation down a little did improve the picture, especially if you find the HC7’s natural tendencies too strong.

The picture was also sharp, which is something that you can’t fake. Even against the HD camcorders we’ve seen so far, the HC7 looked very good. There are controls included for increasing and decreasing the sharpening, but we found that a sharpness bump only served to hurt the overall image quality, increasing the amount of haloing along high contrast borders and boosting the general levels of noise.

By comparison, the HDR-HC3, last year’s only consumer HDV from Sony, offered a sharp picture without quite so much saturation. We did, however, remark in that review last year that the saturation was higher than the previous year’s HDR-HC1, which indicates that boosting saturation is a trend. Last year’s HDR-SR1, the camcorder that recorded AVCHD footage to hard drive, offered a slightly duller color palate and more noise; the HDR-UX1 (the DVD version), even more so.

The HDR-HC7, along with the HDR-UX7, offers an X.V.Color shooting mode, which records video in the xvYCC color space. xvYCC has been around for a little while, but like the IEEE1394 cable, Sony is branding it with their own name in an attempt to create an association in the customer’s mind ("wow, those guys invent everything, don’t they?"). The new color space is both wider and deeper than sRGB, reportedly 180% better. Unfortunately, we’re in a difficult position to evaluate this. Only one television from Mitsubishi is currently on the market that can display the xvYCC color space. It was on the show floor at PMA, with a side-by-side sRGB image. At a cursory glance, the image looked more saturated than anything else.

Video Resolution* (18.9)*

We use a DSC Labs CamAlign chart designed to specifically gauge resolution in our camcorders, measured in line widths/picture height. At best, the Sony HDR-HC7 showed approximately 650 lines of vertical resolution and 580 lines of horizontal resolution. This represents a small improvement over last year’s HDR-HC3, but falls a bit short of the Canon HV10.

Low Light Performance* (3.14)*

Sony camcorders with the 1/3" ClearVID CMOS typically performed very well in low light. Imagine our disappointment, albeit unsurprised disappointment, that HDR-HC7 performed so much worse than last year’s HDR-HC3. The reason is simple, but one that we see frequently repeated in cameras and camcorders. The Sony HC3 had a 1/3" CMOS with 2,103,000 pixels; the HC7 has a 1/2.9" CMOS with 3,200,000 pixels. When a manufacturer boosts the number of pixels on the same surface area (or in this case, an infinitesimally larger surface area), those pixels have to shrink. Smaller pixels mean a reduced ability to collect light. This is practically a golden rule of optics (though we've already seen the low-end Canon ZR850 buck that trend). While the overall resolution is increased (and boy, does that look good on the bullet point specs at Best Buy!), low light performance and color performance go down, and noise goes up. 

At 60 lux, the HDR-HC7 looked considerably worse than the HC3, which was among the best low light performers of last year. We’re crushed to see Sony sacrificing something as crucial as low light for a boost in resolution. The picture was very grainy, and the colors had been compromised considerably. We ran the test over several times just to make sure we weren’t missing something. Sure enough, the difference in quality is evident. At 15 lux, the HC7 tried valiantly to retain some color, but the noise levels are tremendous.

Update (Feb. 20, 2008):

We came across some unusual results when testing the HC7’s replacement, the HDR-HC9, which prompted us to retest the HC7. It became clear that a human error was made during testing. The Auto Slow Shutter feature, which is meant to be deactivated, was left on. When we retested the HC7 with the Auto Slow Shutter off, the results were interesting. On the whole, having the Auto Slow Shutter turned off hurt the low light score, especially the sensitivity test. The retest showed that the camcorder was able to achieve 50 IRE at only 17 lux. We reconfirmed that previous score of 7 lux could only be achieved with the Auto Slow Shutter on.

However, the color error and noise – recorded at 60 lux – actually improved with Auto Slow Shutter off. The retest scores showed a color error of 11 (versus 11.9 in the original test) and a noise score of 2.52% (versus 3.04% in the original test). Looking at the whole series of results, is appears that the Auto Slow Shutter is beneficial for very low light levels, but at moderate low light, it may be advisable to leave the Auto Slow Shutter off.

These new results substantially widen the gap between the HDR-HC7 and the Canon HV20, the latter winning by a huge margin.

Stabilization* (6.88)*

The Sony HDR-HC7 utilizes the company’s Super SteadyShot Image Stabilization system, an OIS (optical image stabilization) to reduce the effects of camcorder shake on the image. OIS systems achieve this through an optical process that does not impact video resolution, often in the form of a gyroscopes built around the lens element. This contrasts with EIS (electronic image stabilization) systems that reduce shake through digital processing. The digital processing found in EIS systems does result in a slight loss of image resolution, and are inferior to OIS.

We tested the Sony HDR-HC7’s OIS system using our camcorder shake emulator. The shake emulator reproduces camcorder shake at different levels of intensity.

We tested the HDR-HC7 at Speed 1, equivalent to the shake produced while holding a camcorder and standing still; and Speed 2, equivalent to the more intense shake of a moving vehicle. The Sony HDR-HC7’s OIS reduced recorded image shake by approximately 75% at Speed 1, and 50% at Speed 2. These calculations were derived by measuring the motion difference between footage shot with OIS off and OIS on.

Wide Angle* (7.6)*

We measure the field of view of camcorders in their native recording mode - 16:9 for high definition camcorders and 4:3 for standard definition camcorders. The zoom is set to its widest angle, image stabilization is turned off, and we view the full video frame on an external monitor derive a field of view measurement. The HC7’s maximum field of view was 38 degrees.

Format

Compression* (7.0)*

The Sony HC7 uses HDV compression, a flavor of MPEG-2 with a fixed data rate of 25Mbps – the same as standard definition DV compression. HDV is a terrific format in terms of video resolution, though it suffers a bit when capturing fast motion due to its use of I frames. In a 1080i camcorder like the HC7, this means that only one in fifteen frames is a full-frame picture, while the intervening frames are compressed in relation to each I frame – a technique known as interframe compression. By contrast, every frame in a DV stream is a complete picture, so renders motion better despite its much lower resolution. DV also uses a superior 4:2:2 color space while HDV encodes in a truncated 4:2:0 color space. The Sony HDR-HC7 is one of the first high definition camcorders to support the new xvYCC color specification. It can be turned on or off in the Camera Set Menu, and should produce video with a better dynamic range than prior HDV implementations.

Despite the inherent weaknesses of HDV, it is still the best high definition format available on the consumer camcorder market, and most consumers find its stunning resolution trumps the superior motion handling of DV. AVCHD, a new HD format that uses H.264 compression was introduced in 2006 and compresses video even more aggressively than HDV. Our tests of Sony’s HDR-UX1 and HDR-SR1 last fall show that while AVCHD video is very sharp, it suffers from grain and artifacts much more than HDV compression. The wildcard in the high definition arena is JVC’s upcoming MPEG Transfer Stream codec, which will appear for the first time in the company’s Everio HD7 HDD-based camcorder. MPEG Transport Stream compresses video at up to 30Mbps, and may rival or even outclass HDV compression. We’ll weigh in on this as soon as we can get a production HD7 into our labs.

Media* (6.0)*

Like other HDV camcorders, the Sony HDR-HC7 records to MiniDV cassettes which are an inexpensive and readily available format, and the same format used by standard definition DV camcorders. MiniDV cassettes have a run time of 60 minutes in SP mode, but can hold up to 90 minutes of lower-quality LP video. Unlike the DVD, SDHC memory card, and HDD formats, MiniDV tapes cannot be searched randomly. Searching for footage is a linear process, and transferring clips to a PC from tape is a real-time process. For anyone serious about the quality of their video, HDV recorded to MiniDV cassette remains the best option available. To date, consumer non-linear video formats do not support the highest-quality video compression codices for high definition (HDV) and standard definition (DV).

Editing* (7.0)*

The Sony HDR-HC7 records both HDV and standard definition DV video to MiniDV tapes, and both formats are now broadly supported by consumer and professional NLEs (non-linear editors) like Apple iMovie and Final Cut Pro, Avid Liquid and DV Express Pro, and Adobe Premiere. Moving transferring footage to a PC or Mac for editing is done via the included IEEE 1394 (otherwise known as FireWire, and branded as "i.LINK" by Sony) cable, so your PC will need an appropriate adapter, while all Macs are IEEE 1394 compatible.

Due to its higher compression rate, editing HDV taxes a computer’s processor more than DV, but any newer computer with at least 512MB of installed RAM (and preferably 1GB) and an HDV-compatible NLE should be able to handle 1080i footage.

The HC7 ships with Picture Motion Browser ver. 2.0 which includes rudimentary editing software and accompanying drivers for Windows computers.

Auto / Manual Controls

The Sony HDR-HC7 offers both very good automatic controls, as well as a high degree of manual control over the image. The Achilles’ heel of this camcorder is the multi-function Cam Control dial that serves as the primary manual control interface. If you are the kind of shooter who makes only occasional manual image tweaks, the dial’s undersized design should be only a minor annoyance, perhaps outweighed by the camcorder’s other fine qualities. If you are accustomed to making frequent changes to focus, exposure, and shutter speed, the quirky little Cam Control dial could be a deal breaker.

Automatic Control (8.0)

The HDR-HC7’s automatic controls are excellent, and this jibes with Sony’s well-deserved reputation for making great point-and-shoot camcorders. The HC7 also includes an Easy Button, Sony’s solution for users who want to place their camcorder in auto pilot. The Easy Button, clearly labeled and marked with a blue dot, makes an appearance on most HandyCams (Sony’s consumer camcorder line) and on the HC7 it’s tucked into the LCD cavity. Pressing the Easy Button increases the font size of on-screen displays, and makes many controls unavailable including Backlight, Display/Battery Info, the Cam Control dial, and the Manual button. Menu options are also restricted, and virtually every control shifts to either Auto mode or the camcorder’s default setting. Depending on what kind of shooter you are, Easy Mode may either be a godsend or unduly restrictive.

If you do opt for Easy Mode, the HDR-HC7 will perform very, very well in shooting environments that don’t present challenging lighting or contrast issues. Auto Focus and Auto Exposure turn in good results, but one of the best traits of Sony’s auto controls is the way they transition as conditions change. When moving from a brightly lit space to a darker space, Auto Exposure responds quickly and with subtlety, and Auto Focus performs its adjustments equally well. This contrasts with some camcorders, that either lag for a second or two, or transition too quickly. Either scenario can be jarring for viewers. In addition to auto mode, there are Spot Meter and Spot Focus options that can be used as long as the camcorder is not in Easy Mode. Engaging these options allows you to specify the part of the frame you want the camcorder to use as its reference for making automatic adjustments.

Finally, the HC7 offers a number of Auto Exposure modes that Sony calls "Scene Modes." These include Auto Mode which places the camcorder’s functions in Auto but is less restrictive than Easy Mode, Twilight, Twilight Portrait, Candle, Sunrise Sunset, Fireworks, Landscape, Portrait, Spotlight, Beach, and Snow. These Scene Modes will optimize the camcorder’s automatic controls to suit a given exposure situation that would challenge the camcorder’s straight Auto or Easy Modes. For example, the Snow mode overexposes the image so that subjects, who are relatively dark compared to the white snow around them, are not underexposed. The result may blow out the whites of the snowy surroundings, but preserves detail in the faces of the people in the shot.

As with any camcorder, the HDR-HC7’s automatic controls, no matter how refined, cannot deal with all environments, framings, and lighting situations as well as a manually adjusted image. In low light or low contrast situations, the HC7 has trouble finding focus, and tends to "breathe." The camcorder also may not focus or expose correctly for the subject of your shot, and if the Spot functions still don’t yield acceptable results, manually adjusting the camcorder may be the best option. The Scene Modes are also brute force fixes that don’t account for the specifics of a real-life situation. While they will certainly improve your image over vanilla Auto or Easy Mode, taking the time to adjust the camcorder manually will almost always produce the best picture. Finally, the camcorder’s auto white balance did tended to produce an oddly colored image, especially in artificial and mixed lighting. We expect any camcorder to have trouble rendering true colors in mixed lighting, but the performance of the HC7 in normal indoor lighting was poorer than expected, tending towards a sickly yellow. For this reason, we recommend manually white balancing whenever possible.

Overall Manual Control (7.5)

The Sony HDR-HC7 offers a strong suite of manual controls that is superior to most consumer camcorders, and that’s appropriate on Sony’s top-of-the-line camcorder. Focus, exposure, shutter speed, and white balance can all be controlled either using the Cam Control multifunction dial, or via the conventional Sony touch screen icon-based interface. In addition to these basic manual controls, the HC7 offers both white balance shift and AE shift, picture sharpness and color adjustments, spot meter and spot focus options, zebras at 70 or 100 IRE, a histogram view, color bars, guide frames, and the ability to manually adjust audio recording volume. The addition of features like AE and white balance shift offer better fine control over the image than virtually any other consumer camcorder, while manual audio levels (not channel independent), mic and headphone jacks make this camcorder a workable solution for many prosumer applications.

We applaud Sony for building a strong manual control suite into the HDR-HC7. Unfortunately, the camcorder has what many experienced shooters will consider a fatal flaw: a Cam Control dial that is so undersized that actually making adjustments quickly is difficult at best. It’s frustrating for us to see a camcorder that produces such good images, and that’s equipped with such a strong manual control feature set hobbled by an inferior controller. The dial on the HDR-UX7, Sony’s top AVCHD camcorder is bigger, and easier to use, while the Cam Control ring on the HDR-SR1, Sony’s HDD-based AVCHD model, is best of all. Yet those camcorders use AVCHD compression which is not yet suitable for professional productions. This leaves Sony fans with a difficult choice: to go with the company’s best HDV camcorder, despite the fact that its dial makes manual control adjustments during a shoot a painfully slow process; or to go with one of the AVCHD models that are better on a shoot, but produce poorer-quality video that’s not yet supported by NLEs.

To be fair, the Cam Control dial isn’t a total dud. It’s far better than a touch screen manual control interface. After some practice, I was able to perform a basic rack focus using the dial, but performing that move with precision required numerous tries, and I felt like I was pushing the control to its limits. The Cam Control ring on the HDR-SR1 is much bigger, and that alone makes performing moves like a rack focus a pleasure rather than a struggle. The other problem with the multi-function dial is that toggling between the parameters it controls (i.e. from focus to exposure) entails pressing and holding the Manual button until a submenu with dial control options appears onscreen. You can do this while the camcorder is rolling, but it takes at least ten seconds to shift from one parameter to another, and pressing and holding the Manual button jars the camcorder. If there’s time to set up a shot, and lighting conditions are stable, the process of toggling from one parameter to another won’t be a big issue. In a high-pressure shooting situation, the Cam Control dial’s weaknesses are sufficient to send most pros looking for a better solution.

And that’s a shame, given the potential to produce great images offered by the HDR-HC7. Replacing the dial with a ring would make then manual controls much easier to use quickly and accurately, and turn this camcorder into a model we’d endorse as a plausible second camera for applications like event videography or documentary production, or even as a primary camera for low-budget filmmaking. Until the Cam Control improves, our praise for the HC7 will have to stop short of that.

Zoom (6.0)

The Sony HDR-HC7 has a very good zoom control that has a rocking lever design. This is Sony’s standard zoom controller, and is implemented better than the zoom toggles found on most consumer camcorders. The placement of the lever should feel appropriate for most users when hand-holding the camcorder, and ergonomic placement of this control is a simple but important detail that some camcorder manufacturers get wrong. The rocking lever design also offers a higher degree of control than the sliders found on some models, commonly on camcorders made by Panasonic and Sanyo. The rocking lever on the HC7 responds quickly, and stops on a dime. It also provides good control over variable zoom speeds, and with practice it is possible to move the zoom at a slow crawl.

A secondary zoom interface is provided on the left, or outside, edge of the LCD frame. These buttons lie above a secondary Record/Start/Stop button and are useful when operating the camcorder in a position that makes it difficult to reach the main controls easily. The secondary zoom buttons are not pressure sensitive like the zoom lever, and only permit fixed-speed zooming.

Zoom Power Ratio (10.0)

The Sony HDR-HC7 has an optical zoom power of 10x, placing it at the lowest end of consumer camcorders currently available in terms of zoom power – some entry-level Sonys boast optical zooms up to 40x, while Canon optical zooms reach 35x. A lower optical zoom power is typical for a high-end camcorder because zoom power is dependent on the dimensions of a camcorder’s image and the focal length of the lens. With its relatively large 1/2.9" ClearVID CMOS imager, the HC7’s optical zoom is constrained by the length of the camcorder’s body. 10x is modest, but the performance dividends offered by the large imager make it a worthwhile trade-off.

The HC7 includes a digital zoom option that can be set to 20x, or disabled. When the digital zoom is enabled, the horizontal zoom bar on the LCD display is divided into two sections to indicate the boundary between optical and digital zoom territory. As always, digital zoom should be used judiciously because it literally blows up the available pixels in the image to create the illusion of greater magnification. On the positive side, this digital zoom maxes out at a relatively low 20x, or twice the optical zoom power. This means that the pixels will only be enlarged by a factor of two rather than the outlandish digital zooms on many consumer camcorders that range up to and beyond 1000x.

Focus (7.0)

The Sony HDR-HC7 offers two ways of manually focusing the lens: the Cam Control dial, mounted near at the front of the left side, and a touch screen icon-based interface. The Cam Control dial is by far the superior method, in terms of speed and precision. Despite its small size (about a centimeter wide and only half a centimeter tall) the dial provides a good manual focus interface. As mentioned above, switching from one Cam Control setting to another can’t be done in a way that does not disturb a shot, but as a focus controller it’s a fine tool, better than a joystick, but not as good as a ring (or a larger dial).

Manual focus can be assigned to the Cam Control dial by first pressing the Menu Button in the LCD cavity, selecting the Camera Set submenu on the touch screen, then the Focus option, and finally pressing the Manual button on the touch screen. Focus is measured in meters. If another setting has been assigned to the Cam Control dial, such as exposure or white balance shift, you can toggle the setting to focus by pressing and holding the Manual button next to the dial. When the Dial Set menu appears on screen, rotating the dial moves through assignment options, and pressing the Manual button again when Focus is highlighted sets the dial for focus control. The users manual notes that the at wide angle, the HC7 can focus on an object as close as 1cm from the lens, while at telephoto the minimum distance is about 80cm.

Unlike the HDR-HC3, there is no Extended Focus feature (often known as focus assist) on the HC7. This one-touch button digitally zooms in to help with fine focusing, and can prove to be extremely useful. Why they would cut a feature like this is puzzling, at best. The HC7 also lacks a peaking function, often found on HD camcorders, that increases contrast to help define edges while focusing.

Exposure & Aperture (6.3)

The Sony HDR-HC7 offers exposure control in the form of 24 EV steps via either the touch screen interface, or the Cam Control dial. Although this camcorder does not offer independent iris control per se, it is possible to set the shutter speed independently and then make adjustments to exposure. According to the manual, once a given image control has been set, adjusting another parameter does not change other settings. This means that when the shutter speed has been set, say at 60 frames per second, adjustments to exposure may only affect the iris. However, because the HC7 does not allow for control over gain, even setting the shutter speed does not guarantee you’ll make iris-only adjustments.

This becomes apparent when shooting in relatively low light, such as an interior space lit by a few 60 watt bulbs. After setting the shutter speed to 1/30, it was impossible to achieve proper exposure without seeing significant grain in the image – a byproduct of automatic gain kicking in. Still, the ability to adjust shutter speed and exposure independently allows more control than is found on most other consumer camcorders, and especially most Sonys.

In addition to manual exposure control, the HDR-HC7 offers a healthy array of Scene Modes, often known as AE, or Auto Exposure modes. The Scene Modes are automatic exposure settings that are tailored to a variety of lighting situations, and include Twilight, Candle, Sunrise Sunset, Fireworks, Landscape, Portrait, Spotlight Beach and Snow. In each case, the camcorder’s exposure, shutter speed, and white balance controls are modified automatically to keep achieve video with an appropriate look.

Shutter Speed (8.5)

The Sony HDR-HC7 offers manual control over shutter speed via either the touch screen interface, or the Cam Control dial on a range from 1/4 to 1/10,000 of a second, with 20 intervals to choose from. This is a considerable range that is among the best available on a consumer camcorder. The ability to manually raise the shutter speed, i.e. to 1/1000 in brightly lit environments, allows the camcorder to capture fast motion without blurring. Dropping the shutter speed below 1/60 will heighten the camcorder’s light gathering ability in low light, or allow for capturing scenes with a blurred, stuttering appearance.

In addition to manual control over shutter speed, the HC7 has an Auto Slow Shutter option that can be turned on or off. When this feature is engaged, it allows the camcorder’s shutter speed to drop to 1/30 in darker settings. A shutter speed of 1/30 doubles the light gathering capacity of the lens, but will not produce the obvious stuttering effects of an even slower shutter. The Color Slow Shutter option does allow the shutter speed to automatically drop below 1/30 in accordance with available light. This setting should be used when color fidelity is more important than accurate motion capture, and shutter speeds below 1/30 will produce a blurry, stuttering footage.

White Balance (6.5)

White balance on the Sony HDR-HC7 can be adjusted manually using the One Push white balance option. Although historically we’ve been critical of Sony’s touch screen interface (for reasons including the fact that the icon-based displays impede your ability to accurately assess the image, and the screen’s tendency to pick up fingerprints), One Touch white balance suffers less from being a touch screen control. To set white balance manually, press the Menu button, select the Camera Set submenu, and then the White Balance option. The White Balance screen appears, with options for Auto, Outdoor, Indoor, and One Push. When One Push is selected, the One Push button becomes active and pressing the button sets white balance to match ambient light.

The HC7 also has a White Balance Shift feature that allows you to fine-tune a manual white balance setting. White Balance Shift is an option in the Camera Set submenu, and is also assignable to the Cam Control dial. An onscreen scale appears, with a minus sign at left, and a plus icon at right. Adjusting the WB Shift value lower produces cooler, bluer color, while moving it higher produces a warmer, redder color. White balance shift is rare in consumer camcorders, and is a very useful way to fine-tune the white balance of your image on the fly. It’s an excellent addition to the HC7’s manual control suite.

Gain (0.0)

Alas, gain is the one major manual control Sony has omitted on the HDR-HC7.

Other Manual Controls (9.0)

Spot Meter - The Spot Meter feature is located in the Camera Set submenu. When Spot Meter is engaged, a wire frame appears around the edges of LCD display. Touching any point within the frame will force the camcorder to automatically expose for that point. This is a very useful, if inexact tool. It can speed up the process of achieving an acceptable exposure in high-contrast settings, but it is not always be possible to select the precise spot to meter using this feature.

Spot Focus - The Spot Focus feature is located in the Camera Set submenu, and as with Spot Meter, a a wire frame appears around the edges of LCD display when engaged. Touching any point within the frame forces the HC7 to automatically focus on that point. Again, this is a useful but inexact tool. It is a good shorthand method for focusing accurately when auto focus does not yield the desired results, but it will not always work well, especially in low contrast settings.

Sharpness – Another Camera Set submenu option, Sharpness can be used in increase or decrease the amount of in-camera sharpening of the image. As with many image control settings, this one should be used with care. Excessive in-camera sharpening can produce unwanted artifacts and unnaturally contrasty borders.

Camera Color - Camera Color is an adjustment that allows you to modify the intensity, or saturation of color in the image. When the Camera Color option is selected, a display appears on screen with a plus icon on the left, and a minus icon on the right. Lowering the Camera Color value reduces saturation, and increasing the value raises saturation. Camera Color resides in the Camera Set submenu.

Zebra Pattern – The Zebra Pattern option will display moving diagonal stripes on portions of the image that surpass a specific brightness level, and are a useful tool for determining the proper exposure in a given setting. Zebras default to off, but can be set to 70 IRE or 100 IRE. Many videographers consider 70 IRE to be an appropriate exposure level for highlights on a subject’s skin; objects in the frame that surpass 100 IRE are over-exposed, and may lose detail during playback. Zebra settings can be found in the Camera Set submenu.

Histogram – The histogram option displays a small onscreen graph that represents the distribution of brightness throughout the displayed image. Like zebras, the histogram graph can be used to asses the exposure of your image, but represents the overall distribution of brightness across the image rather than pinpointing specific instances of a given exposure level in the picture. The histogram display can be turned on in the Camera Set submenu.

Conversion Lens – The Conversion Lens setting in the Camera Set submenu defaults to Off, and includes Wide and Tele conversion options. This setting optimizes the camcorder’s OIS (optical image stabilization) for wide or telephoto conversion lenses.

X.V.Color – X.V. Color is a new color space developed to take advantage of the improved dynamic range of HDTV. The setting can be turned on or off in the Camera Set submenu.

Microphone Level – The level of recorded audio can be adjusted by selecting the Mic Level option from the Standard Set submenu. When manual levels are selected, the camcorder will record audio at a constant level without automatic modulation. This control does not allow for independent level control over the left and right channels of a stereo microphone.

Guide Frame – The Guide frame option in the Standard Set submenu overlays horizontal and vertical lines on the frame to assist with framing an image properly, and maintaining an accurate horizon.

Color Bar – Color bars can be displayed onscreen and recorded to tape by selecting the Color Bar option from the Standard Set submenu. This is a rare feature on a consumer camcorder, and a useful aid in calibrating playback monitors for HC7 footage.

Still Features

Still Features* (8.75)*

Sony’s HDR-HC7 is a better-than-average hybrid device, capturing stills at resolutions up to 6.1MP, and featuring Sony’s new "Dual Record" mode. Many consumer camcorders offer the ability to record digital stills while recording video by pressing the photo button, but those simultaneously recorded stills are usually constrained to the resolution of a video frame. Sony’s Dual Record mode captures still images to MemoryStick at a much higher 4.6MP resolution when recording HDV or 16:9 standard definition video, or 3.4MP when recording 4:3 standard definition video. High resolution stills are possible thanks to the CMOS imager in this camcorder, which permits faster data processing than the CCDs still found in the majority of consumer camcorders. In addition to Dual Record mode, the HC7 can capture video screen grabs to MemoryStick when the camcorder in Playback mode.

The HDR-HC7 can record images in a wide range of resolutions, depending on the current mode. In Camera Memory (still photo) mode, 6.1MP (2848x2136, 4:3), 4.6MP (2848x1602, 16:9), 3.1MP (2048x1536, 4:3), and VGA (640x480, 4:3); in Camera Tape (video) mode, 4.6MP (2848x1602, 16:9), 3.4MP (2136x1602, 4:3), 2.3MP (2016x1134, 16:9), and 1.7MP (1512x1134, 4:3); and in Play/Edit mode, 1.2MP (1440x810, 16:9), VGA (640x480, 4:3), and 0.2MP (640x360, 16:9).

An onboard flash pops out from the right side of the front, next to the lens. The flash button, near the back of the right side can be used to toggle between flash settings for Auto, Forced Flash, and No Flash.

The Memory Set submenu provides access to many still photo settings, including quality and image size, file organization and file deletion. The Format option in the Memory Set submenu will format a MemoryStick card, deleting all images. The File No. option allows you to determine how still images are numbered on the MemoryStick card. The "Series" setting will number images in sequence within a given recording folder, and will carry the count over if a new MemoryStick is inserted. The "Reset" setting will begin the count from 0001 when the MemoryStick card is changed. The New Folder command in the Memory Set submenu creates a new folder on the flash card but the HC7 will automatically create a new folder whenever the number of images in the current recording folder reaches 9,999 – though we wonder if any HDR-HC7 user will ever witness this auspicious event… The Recording Folder option in the Memory Set submenu allows you to set the folder to which new images are recorded; and the Playback Folder option allows you to set the image playback folder.

The HCR-HC7’s Picture Application submenu (labeled Pict. Appli.) includes some additional still image capture features including Interval Recording (labeled Int.Rec-Stl) and Slide Show. Interval photo recording is touted in the users manual as "useful to observe the movement of clouds or the changes in daylight, etc." As you’ve probably guessed from the description, the HC7 will record images at set intervals of 1, 5, or 10 minutes when this option is engaged. If you’ve ever wanted to document the growth of mold on a plate of leftovers, and play it back in 30 seconds, this interval photo recording is just the tool you’ve been waiting for.

The Slide Show option plays back all images in a given folder, or all images on a MemoryStick card. With the HC7 connected to an HD monitor, this presents a handy way to show images from a trip to the clan, though with Mac and PC software that can effortlessly add a soundtrack to a slideshow, it probably won’t be the most popular bell and whistle on the HC7. A number of Picture Effects can be applied to still images during either recording or playback, including Skintone (for smoother looking skin – if you’re photographing melanin-challenged folks), Neg Art (inverts color and brightness), Sepia, B & W, Solarize (applies a solarizing filter), Pastel (the manual describes this as making stills look like "a pale pastel drawing" – whatever that means), and Mosaic (applies big, fat pixels to the image – only available during still image recording).

The HDR-HC7 features a full complement of still image printing and sorting options that allows you to delete specific images, set up a DPOF print queue, and protect select images from erasure. Together, the still options offered by the HDR-HC7 make this camcorder a virtually self-contained still image studio. All of the image sorting, printing, and editing options available would be more easily accomplished after transferring photos to a Mac or PC. But for those intrepid adventurers who want to squeeze all the functionality they can out of their camcorder, the options are there. On a more practical level, DPOF does allow you to print out stills without lugging along a PC – a boon to backpackers and anyone else who likes to cut the computer tether from time to time.

Still Performance* (13.3)*

The Sony HDR-HC7 was tested for color accuracy in its still images by shooting a Gretag McBeth Color Checker chart and running those stills through Imatest imaging software. At best, the camcorder produced an uncorrected mean color error of 4.5. In order to get this score, we set AE Shift to -1. The score for auto exposure had a marginally higher color error score, and AE Shift of +1 was higher still. Colors at the best setting (AE Shift -1) were oversaturated by an average 15.9%, with skin tones (browns, yellows, and reds) especially pushed towards the green end of the spectrum. This represents good color accuracy for a point-and-shoot camera, but the oversaturation shows that Sony has catered this image to a consumer market that likes colors that pop.

Still Resolution* (26.7)*

The Sony HDR-HC7 was tested for the resolution of its still photos by shooting an Applied Image ISO 12233 resolution chart and running those stills through Imatest imaging software to determine line widths per picture height (LW/PP). For the horizontal, Imatest found an approximate resolution of 1416 line widths per picture height, undersharpening of 1.39%, and clipping of 1.78%. For the vertical, the resolution was approximately 1273 line widths per picture height, undersharpening of 5.54%, and clipping of 2.14%. It is unusual to see a camcorder produce an undersharpened image, as most consumer camcorders are oversharpened to give the illusion of higher resolution. Sharpening occurs in the processor as a way of increasing contrast along borders and compromises the recorded image.

Handling and Use

Ease of Use* (7.5)*

Like most Sony camcorders, the HC7 does not require a degree in rocket science to operate. Between the Easy button, touch screen menu, and retractable lens cover, the HC7 is geared toward the technically savvy consumer. The Easy button condenses the P-menu and doubles the font size for those who need to simplify their shooting experience. Although we have chastised Sony in the past for their implementation of smudge-prone touch screen menus, they are a hit among consumers because of their straightforward, easy to use interface. The retractable lens cover eliminates the need to flip a switch or throw on a lens cap.

On the other hand, the P-menu is exceedingly extensive and takes a great deal of time to maneuver through. For instance, if you want to adjust the white balance, you have to scroll through various submenus and selections before reaching a screen that requires you to select on or off before adjusting. Then again, the manual focus wheel comes to the rescue for on-the-fly shooting, but we would have preferred a focus ring. The HC7 is Sony’s top of the line consumer HD camcorder for 2007, and its amalgamation of user-friendly features and advanced features makes it a stellar contender within its price range.

Handling* (6.0)*

Handling the Sony HDR-HC7 is mostly excellent, and if only the Cam Control dial were better, this would be an all around stellar camcorder to work with. Unfortunately, the Cam Control dial has a direct bearing on the efficacy of several key manual controls. But before harping on the dial, I’ll wax poetic about why this camcorder is a pleasure to handle in other ways . For users who don’t rely heavily on manual controls, the pluses will probably outweigh that significant minus.

In my hand, the HC7 feels wonderfully balanced which should reduce hand and wrist strain on an extended shoot. The three main index finger-operated controls, zoom, Photo and the Mode dial are all easily reached. The rocking lever design of the zoom controller is very good, and it makes accurate zooms at various speeds a breeze. This camcorder also has a solid feel that exudes quality and gravitas much more than most low-end consumer camcorders, including cheaper Sonys. While models like Sony’s DCR-HC48 feel flimsy, the HC7 feels and looks the way a $1400 camcorder should. The LCD hinge is well made, and doesn’t buckle when you press buttons on the screen. The Advanced Interface Shoe cover, and the other port covers are made of tough plastic, and snap tightly back into place when their not in use. The placement of terminals on the camcorder is also generally quite good, and the i.LINK, Component out and AV terminals can be used without obstructing the screen. On many other camcorders, ports are tucked into the LCD cavity, while these ports are positioned along the base of the camcorder’s left side.

Those features that are positioned in the LCD cavity (with the exception of the USB terminal, which will block the screen) have been chosen smartly, and they include the MemoryStick slot, and the Display/Batt Info and Easy buttons. The battery slot is open, and deep enough to accommodate an extended life battery without protruding too much. The battery release however is another sore point since it’s on the underside of the body. That leaves you no option but to detach the camcorder from a tripod to swap out batteries – a time-consuming process that could spoil an important shot. Thankfully, the tape transport mechanism has a top-loading design.

We don’t love Sony touch screens because they are terrible manual control interfaces, and inevitably pickup greasy fingerprints. However, the Sony menu is easy to navigate, and with some experience it can be traversed efficiently. For users who do use manual controls frequently, the Cam Control dial is a huge improvement over the touch screen for making adjustments to parameters like focus and exposure. Sadly, this Cam Control dial is a classic case of "so close…yet so far." The Cam Control ring on the HDR-SR1 was the best manual control interface seen on a consumer camcorder since the multifunction ring on the HC7’s ancestor, the Sony HDR-HC1 introduced in 2005. With the Cam Control dial on the HC7, Sony’s engineers took a giant step back. The dial is just too small to use comfortable. Although it offers the same functionality as the SR1’s ring, focusing with tiny finger nudges is an onerous process compared to focusing with the large wrist movements allowed that a ring permits.

Coming down so hard on this little dial may seem unfair, and users accustomed to making occasional manual image adjustments might not see it as a problem at all. I do rely on manual image controls to get the best shot possible, and having worked with both of these camcorders, I know that there are shots I could have gotten with the SR1 that I could not with the HC7. If you’re looking to buy a top-shelf consumer high definition camcorder, consider the HDR-HC7; but think long and hard about whether you’ll rue the day dropped $1400 on the camcorder that choked on the money shot.

Menu* (6.0)*
The main HC7 menu is accessed by pressing the Menu button in Easy mode and the P-Menu in standard recording mode.  In Easy mode, the menu is reconfigured in a simplified interface that enlarges the size of buttons, and restricts options to the basics: recording format (HDV or DV), beep on/off, clock set, and Display Guide.  In standard recording mode, all options become available when you press the P-Menu button near the lower right corner of the LCD display.

The P-Menu options appear as buttons on three screens, six to a page.  Page one includes options for Menu (which contains most of the camcorder’s settings and manual controls), Disp Guide, Scene Select, Smooth Slow Record, Tele Macro and Fader; Page 2 includes: Exposure, Shutter Speed, AE Shift, WB Shift, White Balance, and Spot Focus; Page 3 includes: Spot Meter, X.V Color on/off, Dial Set, Beep on/off, Language, and P-Menu Set Up (allows customization of the P-Menu).  Pressing the up or down arrows on the left side of the screen move from page to page.

Pressing the Menu button provides access to all the camcorder’s submenus, including Camera Set (AE modes, manual controls, etc.), Pict. Appli. (digital effects and faders), Edit/Play, Standard Set (general camcorder settings like Recording Format and DV aspect ratio); and Time/Language.  Pressing any option within a sub-menu displays an interface specific to that option.  For example, Camera Set > White Balance brings up a screen with buttons for Auto, Outdoor and Indoor presets, One Push (Manual) and manual set. The Sony HDR-HC7 menu is wide and deep, but the touch screen interface makes it easy to understand with almost zero ramp-up time.

I would be remiss if I didn’t revisit the reasons we think touch screen menus are a bad thing – despite the fact that they are practically idiot-proof.  First and foremost, the LCD is the primary means of monitoring the recorded image on this camcorder, and a touch screen interface impedes effective use of the screen.  Fingerprints will inevitably build up, making it difficult to see the display clearly and assessing exposure or focus on a screen cluttered with icons is at best a compromised endeavor.  Worst of all, making manual control adjustments using virtual buttons displayed over the image you are adjusting is only slightly easier than herding cats.  

Portability* (5.5)*

The Sony HDR-HC7 is bulky for a consumer camcorder, but the added size makes for better handling, and greater stability than a smaller model. The HC7 measures 3 1/4' x 3 1/4' x 5 1/2' (82 x 82 x 138mm) and weighs 1 lb. 6 oz. (650g) with tape and supplied battery, and it feels quite solid in your hand. Canon’s HV10 produces a fabulous picture in bright light (though its low light scores were disappointing), and offers a more compact alternative. That camcorder has an upright design unlike the horizontal body of the HC7, and is nearly (but not quite) pocket-sized, measuring 56mm x 90mm x 29mm (2.1" x 3.5" x 1.1") and weighs in at 440g (15.5 oz.) making it significantly smaller than the Sony. The upcoming Canon HV20 has a design that resembles the HC7, is comparable in terms of features, and is nearly identical in size.

LCD and Viewfinder* (7.5)*

The 16:9 LCD display on the Sony HDR-HC7 is measure 2.7' diagonally and has a resolution of approximately 211K pixels. It renders a very sharp image with reliable color reproduction, and like other Sony LCDs can be viewed from an angle without significant solarization. The screen opens to 90 degrees from the body, rotates through 270 degrees, and can be folded into the LCD cavity screen-side out for monitoring from the left side.

The color EVF (electronic color viewfinder) is extendable from the body, and has a resolution of approximately 123K pixels. A dioptric adjustment on the right side of the EVF allows you to customize the display to your eyesight, but the lever is relatively small and difficult to adjust. This eyecup is made of hard plastic, but its larger than average for a consumer camcorder, and does a decent job of blocking light entering from the sides.

Finally, the screen doubles as a touch screen menu and manual control interface – a technology that only Sony has implemented on its consumer camcorders – and it’s not our favorite innovation from the consumer electronics behemoth. It smudges up, due to natural oils created by the skin. After a day of using the touch screen menu, you will notice a cloudy barrage of fingerprints in most lighting. This creates an inaccurate reading with spot meter on because everything will look out of focus. In addition, certain buttons like the P-menu are small and difficult to access, so start growing your nails. The 2.7" LCD screen provides a sharp picture with over 211K pixels, and the color is fairly balanced. A zoom panel and start/stop button is located on the left side of the LCD panel for expatiated recording.

Battery Life* (9.8)*

The Sony HDR-HC7 ships with the NP-FH60 battery pack, which slides into the cavity on the back of the camcorder with room to spare. The deep slot means an optional longer life battery, like the NP-FH100 (good for a reported 415 minutes of continuous HDV recording) won’t protrude more than it has to.

We tested the life of the included battery pack for continuous HDV shooting, with no manual controls or zoom engaged, and OIS set to off. We found the battery on our HDR-HC7 lasted 98 minutes and 14 seconds (1 hour, 38 minutes, and 14 seconds). This is in the average range for a supplied battery pack on a consumer HDV camcorder. Keep in mind that Sony also lists both continuous and "typical" recording time for its batteries. In the case of the NP-FH60, the Continuous time listed is 95 minutes, while the typical recording time is 50 minutes, and takes into account zooms, pauses, and adjustments. If you like to shoot away from home for days on end, you may want to invest in a second battery.

Audio / Playback / Connectivity

Audio* (8.0)*

The HC7 records MPEG-1 Audio Layer-2 stereo sound at a 16 bit quantization (48 kHz) in HDV mode. In standard DV mode, you can record PCM audio in high quality 16 bit stereo, or choose 12 bit (32 kHz) dual-channel recording. PCM is a standard in digital video and records extremely high quality audio at the sacrifice of its large, uncompressed size. MPEG2 audio does not match the sound quality of PCM, but is compressed at a lower bitrate which takes up less space.

In this early stage of HDV development, those seeking an affordable, compact camcorder with an amazing image and the best sound quality will be shorted. You cannot have both in the world of HDV at the moment. In this case, look to a native DV camcorder and shoot in 16:9. But for those who crave the 1920x1080i HDV picture, Sony provides a 3.5mm microphone jack for an external microphone. Much higher sound quality can be attained with an external mic, but, as mentioned earlier, only Sony brand microphones are compatible with the HC7 due to its Active Interface Shoe in place of a standard hot shoe like the one found on the HC7’s arch rival, the HV20.

The HC7 also includes a 3.5mm headphone jack, which is a necessity of directors and cinematographers. It’s one thing to get the shot, but using headphones ensures flawless audio. The HC7 gives you the best HDV audio available at the minute, but don’t be surprised if future HDV models crank up the audio quality dial.

Playback* (5.5)*

Playback on the HC7 is very similar to most Sony models. Switching the mode dial into play/edit mode cues the blue playback screen. All the major touch screen VCR controls are laid out horizontally: stop, rewind, play, fast forward, and P-menu. These buttons appear to have been flattened and are known for dodging fingers due to their minute size. If you carry a stylus around with you, we suggest putting it to use. The playback volume is adjusted by wading into the P-menu, cuing the "standard set" category and selecting "volume." Whereas some camcorders shift the playback volume control to the joystick or zoom toggle, Sony creates a vexing trail to follow in order to execute such a simplified task. Midway up the right side of the LCD screen is the guide button, which condenses certain menu functions.

The HC7 is capable of VAR. SPD PB (Various speed playback) and lets you play footage backwards, in slow motion, or frame by frame. Frame by frame playback helps the shooter analyze their footage before capturing it to an editing program, and you can choose the output (HDV or DV) when connected to an i.Link cable. When in memory mode, stills stored on the Memory Stick Duo Pro can be played back, which is nearly identical to the tape playback menu.

Connectivity* (11.0)
*The HC7 is rife with ports. Starting with the long rectangular panel underneath the LCD panel from left to right is the LANC jack, i.Link terminal, component output, A/V output, and headphone jack. In the LCD cavity, there are two ports. One is a slick USB terminal that opens via a tiny sliding door that is difficult to move unless you have long fingernails. The second is a Memory Stick Duo Pro slot, which only accepts Sony brand memory sticks. As stated earlier, this confines the consumer strictly to Sony products, quashing any hope of alternative memory options.

In back, there is a large HDMI port, which is the digital output for playback on an HD TV. Beneath the HDMI port is the DC input, which sports a rectangular design that is more stable than most circular DC inputs.

On the front of the HC7, Sony provides us with a glorious microphone jack—a necessity for the more serious filmmaker.

On top, the HC7 is equipped with an Active Interface Shoe, which, like the Memory Stick Duo Pro slot, only accepts Sony brand accessories. Since the HC7 is devoid of a camera light, you are forced to choose between light or sound (ultimately, audio is more important because you can externally light your picture). However, there are only three shotgun microphones available from Sonystyle.com, ranging from $70-150. Think of all the other microphones in the sea. Sony loses credibility for pigeonholing their consumers in order to maximize brand recognition.

Other Features

What’s in the Box?

All the essentials are here:

-AC Adapter

-Power Cord

-Wireless Remote Control

-A/V Connecting Cable

-Component Video Cable

-i.Link (IEEE1394) Cable

-USB Cable

-NP-FH60 Rechargeable Battery Pack

-"Handycam Application Software" CD-ROM

An HDV tape would have be nice, as most people want to start shooting right out of the box.

Other Features* (4.0)
**Super NightShot - *Sony’s Super NightShot system is a cool but marginally useful infrared recording mode that’s built in to most HandyCams. When this mode is enabled, an infrared beam at the front of the camcorder illuminates nearby objects with an infrared beam. The camcorder records objects illuminated by the beam as grainy greenish images that are reminiscent of military night vision.

*Super SteadyShot OIS- *The HC7 employs the Super SteadyShot OIS, an optical image stabilization system. Image stabilization reduces the effects of hand held camera shake and other vibrations on the recorded image. OIS systems stabilize the picture optically, as opposed to EIS (electronic image stabilization) systems that use digital processing to achieve the same effect. When EIS systems are engaged, they reduce video resolution because they use the margins of the frame as a digital "buffer zone." OIS systems like Super SteadyShot OIS retain all information in the frame, and are a superior stabilization method.

*Fades - *The Sony HDR-HC7 includes a healthy dose of digital image effects that can be applied to footage during recording. These include Black, Monotone, Mosaic, and White fader effects. Applying a fade-in to the start of the shot is easy since you can set up the fade before pressing the Record Start/Stop button; applying a fade-out to the end of a shot is trickier, since you need to enable it in the touch screen menu. Good luck doing this without jarring the camcorder and ruining your shot.

*Scene Modes - *Scene modes are also digital effects applied in-camera, but they affect the look of a given clip, and are akin to Photoshop filters. These effects include Monotone, Mosaic, Negative Art, Pastel, Sepia, Skin Tone and Solarization Cinematic Effect, Flash Motion, Old Movie, Still, and (to evoke scenes from the Teachings of Don Juan) "Trail"

Comparisons / Conclusion

Comparison
Sony HDR-HC5
The Sony HDR-HC5 ($1099 MSRP) is the next step down from the HDR-HC7. It loses out on a lot of features, like the manual focus wheel and mic and headphone jacks. The HC5 must also cope with the fact that it has a slightly smaller 1/3" imager that produces 2100K gross pixels vs. the 1/2.9" chip found on the HC7, cranking out 3200K gross pixels. This may actually aid it in low light performance, though. We’ll have that review soon. Both camcorders share the 2.7" LCD panel, 10x optical zoom, and rugged body construction. The other major element is price. For $300 more, the HC7 gives you the higher res imager (which we saw produce terrible low light performance), mic and headphone jacks, and manual focus wheel. Are those truly worth three additional Benjamins? The real test won’t be known until we can get a unit in our labs. But if last year’s camcorders have anything to say about it, the HC5 might actually be the better buy.  See specs comparison.

Canon HV20
Ladies and Gentlemen, let’s get ready to rumble! Welcome to the ultimate HDV camcorder battle of the year: The Canon HV20 ($1099 MSRP) vs. the Sony HDR-HC7. The HC7 unsheathes its 1/2.9" CMOS chip and spews out 3200K gross pixels, but is countered by a blast from the HV20’s 1/2.7" CMOS chip, which hurls 2960K pixels in the HC7’s direction. The HC7 flings a slew of features at the HV20: manual focus wheel, mic and headphone jacks, and a touch screen LCD. The HV20 answers with its own manual focus wheel and mic and headphone jacks, but twists the knife deeper with a rear-mounted joystick and 24p mode! The HC7 has a simulated digital cinema effect, but will likely not match true 24p video recording. The HC7 has an Active Interface Shoe (which is a Sony proprietary fit) and Memory Stick Duo slot at the HV20. The HV20 counters with a hot shoe and SD card slot, two features that are universally recognized. And now the HV20 is going for the jugular! The HV20 flips its price tag and the crowd goes wild! For the price of an HC5, you can have the HV20 with its 24p recording with tried and true Canon imaging. The HC7 weeps in the corner, plotting for next year. The full review is coming very soon, where we will put the HV20’s feet to the fire to see if it can top last year’s poor low light showing. See specs comparison.

JVC GZ-HD7
The JVC GZ-HD7 ($1799.95 MSRP) is a bit out of the HC7’s price range, but will pique the interest of the avid HDD camcorder enthusiast. With a 60GB hard drive, 3 CCDs with a gross pixel count of 570K each, and a focus ring, the HD7 is a warrior. The most notable feature on the HD7 is its MPEG2 streaming with pixel shift technology. Although no much is known about MPEG-2 yet, it transfers at a variable bitrate as high as 30mbps, compared to DV’s 25mbps. This should prove to be a quality jump, though the first owners of an HD7 will most likely be guinea pigs in the workflow lab. The HC7’s single CMOS chip still produces a significantly larger amount of gross pixels than the HD7, and records to high quality HDV tape. If you are a fan of HDD camcorders, and you have an extra $400 to spend, it would be worth testing the HD7 before making a decision. For those whose main objective is high quality video via the HDV format, the HC7 will not let you down.

Panasonic HDC-SD1
The Panasonic HDC-SD1 ($1499 MSRP) is a bit of a different bird. It is an AVCHD camcorder that records to SD cards. Although AVCHD models in the past have been grilled for their minimal recording time, the SD1 boasts 90 minutes of HD recording on a 4GB SD card (which is supplied). It has 3 CCDs, a massive 3" wide LCD screen, 5 built-in microphones, and looks like a glistening bullet from the future. This camcorder looks hot. One of the things that makes it not as hot is that it transfers at a maximum bitrate of 13Mbps while the HC7 has a max of 25Mbps. You’re probably going to get a better image with the HC7, but the low light tests remain to be seen on the SD1. Gadget freaks, the SD1 will find its way into your heart for only $100 more.

Who It’s For
Point-and-Shooters

Point-and shooters will enjoy the HC7’s company, but will never fully understand all that it has to offer. They will use it to record beautiful, hour-long shots of Mt. Rushmore and hook it up to their oversized HD TV, explaining to the extended family that the footage was "filmed" using an "HDTV" video camera from Sony.

Budget Consumers

If you don’t have that much cash to front, $1400 is not going to lure your wallet. The HC7 is a bang for your buck, but for quite a pretty penny.

Still Photo / Video Camera Hybrid

Not much going on here in the realm of hybrid camcorders. There’s the Memory Stick Duo Pro slot, but that is not what the HC7 was designed for. Sorry hybrid fanatics.

Gadget Freaks

Gadget freaks will rally over the HC7’s sleek design, deep battery chamber, and HDV recording format. However, for those looking for the latest in "cool," the Panasonic HDC-SD1 will wow your pants off.

Manual Control Freaks

Manual control freaks will feel at home here with the HC7’s manual focus, white balance, exposure, spot meter, and shutter speed.

Pros / Serious Hobbyists

For the pro on a budget, the HC7 will provide decent video quality coupled with a respectable gamut of manual controls. However, the HV20 looms in the distance with its 24p. Nevertheless, these are still consumer camcorders and the pro will seek out more advance features like 3 CCDs and zoom and focus rings found on the Canon XH A1 or Sony HDR-FX7.

Conclusion

It’s impossible for us to conclude our review of the HDR-HC7 without thinking about what could have been. This is an excellent consumer camcorder that has the performance and features to make it a reasonable option as a backup for pros who need an inexpensive fallback or second cam, or a low-profile unit for tight spaces situations where a larger camcorder would attract too much attention. Yet Sony’s decision to go with a tiny, difficult to operate Cam Control dial rather than a ring places some real limitations on its appeal to pros. When it comes down to getting a shot or not, the dial is simply inferior to a larger ring that allows for faster and more refined manual adjustment.

Even worse, Sony has left shooters who want an HDV camcorder for under $1500 with respectable manual controls no options. The HDR-SD1 has a good Cam Control ring that offers the same functionality of the dial on the HC7, but that is an AVCHD model, and AVCHD is not yet a suitable format for professional production. For better manual controls and video performance in an HDV cam, you’ll need to jump all the way to Sony’s professional line of camcorders – which means about an $800 jump in price if you spring for the "low-end" prosumer HVR-A1U. Surely the A1U is a terrific camcorder, adding XLR inputs and onboard audio mixing, a focus ring, and a host of professional image controls lacking on the HC7.

Your guess about Sony’s motivations for going with an infuriating little dial is as good as ours. If the intention is to force pros to shell out an extra $800 for better manual controls (and a slightly inferior image), the company may have shot itself in the foot: the Canon HV20 includes a slightly better focus (not multi-funtion) dial, 24p recording, and focus assist, all at a current street price $150 lower (about $1100.) We almost loved this camcorder, but the Cam Control dial was a thorn in our side we couldn’t overlook.

The other big disappointment was low light performance. This was an area in which Sony was excelling. The fact that they were willing to sacrifice low light performance on their top-of-the-line camcorders for a boost in pixels (which reads a lot better on a specs sheet to the average consumer) is not a good auger of things to come. Oh well, there’s always next year (or better yet, last year).

 

Specs and Ratings

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