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  • Introduction

  • Front

  • Back

  • Left

  • Right

  • Top

  • Bottom

  • In the Box

  • Color

  • Low Light Color

  • Noise

  • Low Light Sensitivity

  • Low Light Noise

  • Low Light Color

  • Motion

  • Video Sharpness

  • Testing Samples

  • Ease of Use

  • Auto Mode

  • Handling

  • Portability

  • Battery Life

  • LCD & Viewfinder

  • Miscellaneous Controls

  • Audio Controls

  • Editing

  • Compression

  • Media

  • Still Features

  • Lens & Imaging System

  • LCD & Viewfinder

  • Connectivity

  • Media

  • Still Features

  • Other Features

  • Kodak Zi6 Comparison

  • Pure Digital Flip Mino Comparison

  • COMP 3

  • Conclusion

  • Photo Gallery

  • Introduction
  • Front
  • Back
  • Left
  • Right
  • Top
  • Bottom
  • In the Box
  • Color
  • Low Light Color
  • Noise
  • Low Light Sensitivity
  • Low Light Noise
  • Low Light Color
  • Motion
  • Video Sharpness
  • Testing Samples
  • Ease of Use
  • Auto Mode
  • Handling
  • Portability
  • Battery Life
  • LCD & Viewfinder
  • Miscellaneous Controls
  • Audio Controls
  • Editing
  • Compression
  • Media
  • Still Features
  • Lens & Imaging System
  • LCD & Viewfinder
  • Connectivity
  • Media
  • Still Features
  • Other Features
  • Kodak Zi6 Comparison
  • Pure Digital Flip Mino Comparison
  • COMP 3
  • Conclusion
  • Photo Gallery

Introduction

But with the market already inundated by similar products, including the extremely successful Pure Digital Flip Mino HD, Sony needs to create a stellar product in order to carve out its own niche. While the MHS-CM1 had overall video performance to rival the competition, it couldn't stand up to low light conditions and, perhaps more importantly in this category, it wasn't nearly as easy to use as models from Pure Digital or RCA. Plagued with complicated software installation, inconsistent menu operation, and a bland aesthetic, the Sony MHS-CM1 won't be enough to dethrone the Flip king.

Update: The Flip UltraHD was ultimately selected as our 2009 Ultracompact Camcorder of the Year. To see why we selected it and read about our other awards, check out the 2009 CamcorderInfo.com Select Awards.

Front

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Back

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Left

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Top

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Bottom

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In the Box

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  • AC Adaptor
  • Rechargeable internal battery pack (non-removable)
  • Component A/V cable
  • RCA A/V cable
  • USB cable
  • Picture Motion Browser software version 4.1
  • Wrist Strap

Color

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The Sony MHS-CM1 produced a very good image in our bright light color testing, especially when compared to other inexpensive web camcorders. The colors are relatively vivid and accurate—a credit to the camcorder's automatic white balance. According to Imatest, the color error was 4.97 and the saturation level 91.59%. We have yet to test other high definition consumer camcorders this year, but this is a good score compared to last year's YouTube camcorders like the Pure Digital Flip Mino HD and the Kodak Zi6.

Note: CCI is using a new color error formula this year for our new 2009-2010 rubric, so the numbers won't match up with the results from most camcorders we reviewed in 2008 and before. The new system uses the CIEDE2000 formula, which is the most accurate equation for determining color error, and will be in place on all our reviews as of 2009. The color error for the three comparison models below has been recalculated using the new formula. More on how we test color.

As you can see from looking at the side-by-side comparisons below, the biggest problem plaguing these budget cams is the inadequacy of the manual white balance. In most indoor lighting conditions, white balance plays an important role in conveying accurate colors. When your camcorder is incapable of performing a manual white balance, the result is usually a bluish or yellowish tone. To the Sony's credit, the automatic white balance performed admirably; the consumer is rewarded with vivid and accurate colors.

Low Light Color

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The color accuracy in low light conditions is not quite as good as in bright light. The MHS-CM1 loses quite a bit of its saturation, with just 76.17%. The color error score according to Imatest was 5.22. This comes hand in hand with the darker image, which especially skews the green and purple hues.

Note: CCI is using a new color error formula this year for our new 2009-2010 rubric, so the numbers won't match up with the results from most camcorders we reviewed over the past two years. The new system uses the CIEDE2000 formula, which is the most accurate equation for determining color error, and will be in place on all our reviews as of 2009. The color error for the three comparison models below has been recalculated using the new formula. More on how we test low light color.

A 5.22 color error score isn't great for a high definition camcorder, even in low light. It means that the white balance worked fine, but that noise and desaturation prevent the image from retaining the most accurate colors. The CM1's competition fared better, with the Kodak Zi6 and the Flip Mino HD both turning in significantly better scores.

Noise

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Noise levels on the Sony MHS-CM1 are relatively low, even for a high definition camcorder. They can't quite compete with the upper echelon of consumer HD models, but they are a slight improvement on most of the YouTube camcorder market. According to Imatest, the noise percentage was 0.6725%. More on how we test noise.

In the competition, noise often comes in the form of chunky, blurry distortion like what you see in the Kodak Zi6. The Sony's noise level is of a much finer grain—finer even than what we saw on the Pure Digital Flip Mino HD.

Low Light Sensitivity

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Low light sensitivity was one of the weakest areas of the CM1's performance. This was, frankly, a surprising result, considering the large 1/2.5-inch sensor. Often, budget YouTube cams with large sensors are able to pick up more light. The MHS-CM1 required 27 lux to produce 50 IRE on our waveform monitor.

Clearly, the internal processing and the f/3.3 maximum aperture did not do the CM1 any favors in low light sensitivity. More on how we test low light sensitivity.

Low Light Noise

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In low light noise levels, the MHS-CM1 once again fails to impress. The clear image we saw in bright lighting conditions is dark and marred by a sheet of fine noise. According to our Imatest results, the noise percentage came in at a whopping 1.33%. More on how we test low light noise.

The noise on the MHS-CM1 isn't as discolored as what you'll see in the Kodak Zi6, but it's just as omnipresent. For a clear image in low light, you're much better off going with the Flip Mino HD or even the original Flip Mino.

Low Light Color

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The color accuracy in low light conditions is not quite as good as in bright light. The MHS-CM1 loses quite a bit of its saturation, with just 76.17%. The color error score according to Imatest was 5.22. This comes hand in hand with the darker image, which especially skews the green and purple hues.

Note: CCI is using a new color error formula this year for our new 2009-2010 rubric, so the numbers won't match up with the results from most camcorders we reviewed over the past two years. The new system uses the CIEDE2000 formula, which is the most accurate equation for determining color error, and will be in place on all our reviews as of 2009. The color error for the three comparison models below has been recalculated using the new formula. More on how we test low light color.

A 5.22 color error score isn't great for a high definition camcorder, even in low light. It means that the white balance worked fine, but that noise and desaturation prevent the image from retaining the most accurate colors. The CM1's competition fared better, with the Kodak Zi6 and the Flip Mino HD both turning in significantly better scores.

Motion

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The Sony MHS-CM1 records HD video in just a single frame rate: 30P. There isn't usually much flexibility in how these low budget camcorders record, so the one-frame-rate-option doesn't feel like much of a constraint. Fortunately, the CM1 does well with what you're given.

Motion is, unsurprisingly, a bit choppy and there's considerable motion trailing in the areas of high contrast—like the color pinwheel and the red train stripes in the video above. The results appeared to be about on par with the high definition offering from Pure Digital, the Flip Mino HD. Motion was definitely superior to the Kodak Zi6, which showed a lot more compression artifacting. More on how we test motion.

Video Sharpness

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Resolution on the MHS-CM1 was far superior to what we saw on the competition. In fact, the CM1's resolution was good enough to compete with the best of the high definition consumer camcorders from any manufacturer. The CM1 captured a horizontal resolution of approximately 700 lw/ph and a vertical resolution of 800 lw/ph. This is a great performance for any camcorder. As we get more 2009 camcorders into our lab, we doubt there will be many models consistently outperforming the CM1 in resolution. More on how we test video sharpness.

Testing Samples

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Ease of Use

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In most respects, the Sony MHS-CM1 is easy to use. It has very few manual controls or buttons to trip you up. There's no separate video record mode and still photo record mode. It's small and colorful, which helps convey the message 'Pick me up! I'm cute and easy to use!' Believe it or not, that goes a long way toward decreasing the tension inherent between camcorders and technophobes. On the other hand, the design isn't as elegant as the Pure Digital Flip Mino, which is a more attractive fashion accessory for first-time users.

There is also the problem that the CM1 is not nearly as easy to use as the Pure Digital Flip Mino and Flip Mino HD, which have reduced complexity down to only a couple of buttons. While the Sony has a handful of Scene modes and a few one-touch manual controls, the Flip has none. The Sony has a traditional horizontal design with a swing-out LCD panel (albeit in miniature form); the Flip is cell-phone shaped and easily pocketable. In short, the Sony is easy to use, but the Flip is downright idiot-proof.

We did run into some strange idiosyncrasies while handling the Sony MHS-CM1. For instance, the button in the center of the D-pad (the 'OK' button used to confirm selections) only needs to be used about half the time. The other half of the time, you can simply scroll down to your selection in the menu, then exit the menu. Just highlighting it is enough to confirm your choice. On any piece of technology—whether it's designed for beginners or more advanced users—we think feedback is essential. If the user doesn't immediately know how to use the device properly, that's a flaw in the interface. It's inconsistencies like this that make the Sony experience less than perfect.

There's also that pesky editing software, which we found to be a complete nightmare. With the Flip Mino and many other competitors, you really can just push one button and have your videos uploading to YouTube in no time. The installation process of the Sony was one of the most cumbersome experiences we've had with a camcorder.

Auto Mode is confusingly called Dual Shot mode

The menu systems on the Sony MHS-CM1 are very limited, a conscious attempt to simplify operation. Pure Digital took a similar route with the Flip camcorders, as did Kodak, Creative, and others. However, Sony has been making camcorders for a long time, and evidently had a hard time shaking old habits. The menus are much more extensive than the Flips', and the operation is a little jumbled and uneven.

In its defense, the menus are longer for a reason. The MHS-CM1 has more manual controls than those other camcorders. It has Scene modes and multiple quality settings. Those are all good things and don't confuse operation too much. There's also a full administrative menu, and that does feel overwrought for a camcorder striving to compete with the Flip.

An issue we've talked about in other sections is worth rehashing here. There are some inconsistencies in the menu operation. When you're working inside the administrative menu, you use the D-pad to scroll through options, then you push the OK button in the center to confirm your selection. But when you're scrolling through Scene modes in a different part of the menu, the OK button yields no response. Apparently, the Scene modes are automatically activated simply by scrolling over them, but there's no way of knowing that. It's a relatively small complaint, but indicates that Sony failed to take to heart what a truly simple camcorder is supposed to feel like.

Auto Mode

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The Sony MHS-CM1 is its own auto mode. Since there aren't any manual adjustments you can make, you'll be relegated to cruise control for the entirety of your shooting experience. Fortunately, the automatic features work well in most shooting conditions.

Exposure can be tricky in very dark and very bright conditions: highlights are often blown out and, as we mentioned above, the low light sensitivity is not very good. Focus works well except in dark conditions, where it has trouble settling on a focal subject. The really pleasant surprise was white balance, which is often terrible for consumer camcorders shooting in indoor lighting. The Sony MHS-CM1, however, handled itself well and gave us accurate color balancing in most indoor scenarios.

Low Light Modes - The Sony MHS-CM1 does not have any specific low light shooting mode, except for the Low Light scene mode listed below. This is one of the ways that the Webbie differs from other Sony camcorders. Extraneous features have been removed to maintain simplicity. More advanced Sonys include multiple low light modes that play with the auto shutter speed to allow more light into the sensor. The CM1 could have used something like to make up for its abysmally low light performance.

Scene Modes - While many features have been stripped away, a grouping of Scene modes did make the roster. They are listed in the menu and include: Sports, Landscape, Low Light, and Backlight. In an apparent effort to make operation simple, the designers have actually complicated some of the operation here. Normally, you would use a directional-pad (D-pad) to toggle up or down a list of items, then push the OK button to confirm your selection. But in the Scene modes list, you don't actually need to confirm. In fact, it doesn't even respond to a tap of the OK button. How do you know if you're shooting in a Scene mode? Only a tiny icon onscreen indicates the selection, and the icons are vague enough that only long-time Sony owners or those that have studied the manual will be able to decipher it.

The iAuto mode button is difficult to find, but when you do find it the option for turning on the mode looks like this.

Handling

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The Sony MHS-CM1 is part of a growing trend of small camcorders that don't include a hand strap on the right side of the body. Most strapless camcorders you see are of the upright variety, meaning they are held like a pistol. The MHS-CM1, however, is horizontally-shaped and its design is somewhat clumsy as a result.

No hand strap definitely makes the Webbie sleeker and more portable, but it also makes it more difficult to grip and, most importantly, far more prone to dropping. Even though the camcorder is very light, it has a strange feel because there's nothing there to support the back of your hand. The small size may also feel undesirable to people with large hands, as fingertips easily extend behind the top of the camcorder and into the LCD cavity.

The most important buttons on the MHS-CM1 (record button, shutter button, and zoom toggle) are all positioned well and offer easy access during shooting. The buttons located on the directional pad, however, are just a bit out of your thumb's reach when you grip the camcorder. There aren't too many controls located there, but it would still be nice if they were easy to access.

The MHS-CM1 offers a completely different handling experience than the upright-designed Flip Mino, Flip Mino HD, and Kodak Zi6. If you're used to a horizontally-shaped camcorder, you may prefer the full-handed feel the MHS-CM1's design provides. We simply don't think it's ergonomic enough, or comfortable enough to deserve great marks from us. We suggest you try out the camcorder at a store before you make your purchase.

These dedicated buttons give you quick access to aperture and shutter speed controls.

Portability

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The Sony MHS-CM1 is exceptionally portable for a camcorder. It's one of the primary draws. However, this is a compact camcorder. Ironically, there are plenty of point-and-shoot digital still cameras that take equally good video, which pits the Webbie camcorders in battle even within the Sony-brand family of products. It's also difficult to take on the genre-leading Pure Digital Flip Mino HD, which is significantly more compact and easier to use (or, if you prefer, more 'dumbed down').

The MHS-CM1 sorely lacks a built-in lens cap. There is a small rubber lens cap that you can tether to the front of the camcorder, but be sure you remember to cover the lens before tossing it in a cluttered bag. And if you lose that cap, expect to find plenty of scratches. The Flip and its clones have skirted this issue by taking a similar route to cell phones: lenses are screened by scratch-resistant plastic, trading off potential image quality issues for simplicity.

Battery Life

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The Sony MHS-CM1 comes equipped with a non-removable, internal battery. Like an iPod, this means that once the battery dies, so does your camcorder, unless you want Sony or a third-party agency to service your product. On the plus side, it's one less thing to carry around or lose. On the downside, if you get stuck with a dud battery, you're short a camcorder until you can get it repaired or replaced. And more seriously, if you're in the middle of an important shooting event and the battery dies, there's no way make a quick replacement. Fortunately, the CM1 will operate with the DC power plugged in if you can get to an outlet.

We tested the battery for its lifespan while continuously shooting. In total, it lasted 124 minutes. See the chart below for how it stacked up to the competition. More on how we test battery life.

LCD & Viewfinder

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The Sony MHS-CM1 features a 2.5-inch LCD with a decent resolution of 153,000 pixels. This is both larger and of a higher resolution than any of the Flip camcorders or the Kodak Zi6, so far as we know (Kodak did not offer some of these specs). Like any full-featured camcorder, the MC1 has an LCD panel that flips out from left side. This adds a traditional feel, but also adds bulk. The Flips and the Kodak took the other route, building their LCDs into the back to save space. Before you leap to the 'smaller is better' rationale, consider what its like shooting on sunny day when the LCD screen is awash in glare. At least you can adjust the Sony screen.

There is no viewfinder on the Sony MHS-CM1, or any other camcorder in the ultra-compact category.

Miscellaneous Controls

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Histogram

Cryptically, the Sony MHS-CM1 offers an optional onscreen histogram, which demonstrates the exposure levels within your current frame. With no tools for making manual adjustments, this seems like superfluous information to provide—and potentially confuse—your user. Even if the histogram tells me that levels are too high or too low, there's not much I can do other than find a flashlight or go shoot somewhere else.

Audio Controls

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There are almost no audio features on the Sony MHS-CM1, beyond the fact that is does record audio along with your video. The built-in microphone is mono, not stereo. There is no mic input jack, no accessory shoe, no special features – nothing. Audio is compressed in the AAC format.

Editing

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With the MHS-CM1, Sony is attempting to duplicate the easy, swift YouTube upload process that is prominently featured on Pure Digital's Flip series of camcorders as well as other low-end models. Sony definitely didn't succeed at this task. Yes, the MHS-CM1 includes internal uploading software—but, no, it isn't easy or seamless to use. The software is too complicated to install, has far too many components, and isn't compatible with Mac operating systems.

The big software inclusion on the MHS-CM1 is Picture Motion Browser (PMB), which is commonly included with Sony's consumer camcorders. The software assists with transferring footage from the camcorder to your computer and can organize files using a variety of attributes (i.e. in albums, by date, etc.). New on the MHS-CM1, however, is PMB Portable, which is a program designed to upload your videos straight to video sharing sites like YouTube.

The software can be easy to use once you get it installed, but Sony provides too many 'Tools' along with the software that only make the program more difficult . For a system that is meant to be perfectly simple, why in the world does Sony include an Information tool, Location Settings tool, Media Check tool, PMB Portable Maintenance tool, and a Settings Initialization tool? All these extra installations make the software seem far more daunting than it really is. Some of us were left wondering whether Sony was parodying itself by making things as complicated and confusing as possible.

The PMB software features pre-installed upload setups for YouTube, Crackle, Dailymotion, Shutterfly, Picasa, and Photobucket. It also gives you the option of choosing your own sites or blogs for quick upload. The process is relatively simple once you get the hang of it, but don't expect to be able to plug the MHS-CM1 into your computer and get things rolling right away. The software installation process takes some time and getting used to all the aspects of the PMB Portable program is a lengthy process. For an overview of the software that ships with this and other camcorders, see our article: Video Editing Software For Your Camcorder{{product.brand.name}}-Included-Software.htm.

Compression

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The Sony MHS-CM1 records in the MPEG-4 AVC/H.264 codec, which is more or less the new standard for compact camcorders. It's a highly efficient codec in terms of file size, so you can fit a lot more video per gigabyte than you could with an older MPEG-2 camcorder. Video clips are wrapped in an .MP4 container, making them easy to transfer from the camcorder into any media player software. This is a benefit that should not be overlooked. Frequently, a new camcorder owner's biggest complaint is the inability to easily drag and drop files from camcorder to computer. AVCHD camcorders, in particular, have been inducing headaches since their inception. In this category, at least, the Sony Webbie is a winner.

The camcorder records only at 30 frames per second (30P), while higher-end consumer camcorders tend to offer 60 interlaced fields per second (60i) as a second option or the only option. Frame sizes include 1920 x 1080, 1280 x 720, and 640 x 480. Read more about the advantages and disadvantages of various high definition compression types.

Media

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Video and stills on the Sony MHS-CM1 are recorded primarily onto MemoryStick PRO Duo cards. Cards load into a slot in the bottom of the camcorder. Any camera shop, or even convenience store, in your area will likely carry the memory cards you need, as well as hundreds of online retailers. The drawback is that MemorySticks are a Sony-proprietary format, and unlike SD cards, you won't find much use for them outside of Sony-branded products.

There is also a meager 12MB of internal memory on the MHS-CM1 camcorder, good for a few still photos. Read more about the advantages and disadvantages of various media types.

Still Features

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There isn't much offered in the way of still features. Only one size and quality is offered: 2592 x 1944 (5-megapixels). Stills can be recorded to either the MemoryStick or, we suppose, to the 12MB of internal memory. (Though, 12MB will only hold a small handful of stills.) Just as there are no manual controls available for recording video, there are no possible adjustments for still photography. The only small bonus Sony gives you is a self-timer, for propping your Webbie on a table and running to join your friends in the picture. On the other hand, a lot of these ultra-budget YouTube camcorders don't include any still functionality, so perhaps something is better than nothing.

There is one small oddity about the still photography on the CM1: the angle in your photo ends up being much wider than what you're viewing on the LCD. If you think you're zoomed in on someone's face, it turns out that you'll probably capture most of their torso and the people on either side too.

The still color performance of the MHS-CM1 is nothing to write home about, but we've certainly seen worse. According the Imatest, the CM1 had a color error of 6.48, with 118% saturation.

This is a much better score than the abominable 18.9 scored by the Kodak Zi6, which likely suffered from white balance problems in addition to poor processing. The only other ultra-compact camcorder we've reviewed with still capabilities is the RCA EZ210 Small Wonder, which also turned in poor color performance with a 13.7 color error. In the Sony, the Kodak, and the RCA, saturation was about the same.

The rest of the competition—including the Pure Digital Flip Mino, the Pure Digital Flip Mino HD, and the Creative Vado—are not able to record still photos.

The Sony MHS-CM1 had a poor noise score in still performance, with 1.0575% noise. This isn't a great score, especially in bright lighting conditions, where the camcorder performed so well during video recording.

The Kodak's noise percentage was 0.7975%, while the RCA EZ210 Traveler had a noise score of just 0.5725%. These noise scores may best the high noise levels of the CM1, but the Sony also boasts the highest quality for still images. Its 5-megapixel stills will be superior to the 3-megapixel and 1-megapixel stills recorded by the Zi6 and Traveler, respectively.

The still resolution is further evidence that Sony likely dropped a DSLR sensor into the body of the MHS-CM1. Most camcorders have a relatively low still resolution, especially the ultra-budget YouTube camcorders like the Flip and Small Wonder series. The MHS-CM1, however, produced a decent horizontal resolution of 1189 lw/ph, with 7.1% oversharpening and a better vertical resolution of 1397 lw/ph, with 0.8 oversharpening.

Lens & Imaging System

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The Sony MHS-CM1 is a modest camcorder, by many measures, but packed with some impressive specs. Inside, you'll find a huge 1/2.5-inch CMOS chip with a gross pixel count of 5,040,000. On the surface, that would seem to provide the makings of one of the best performers of the year. However, there's much more to video quality than simply the sensor. In fact, it's likely that Sony simply inserted a chip from one of its still cameras, surrounding it with a lackluster processor, lens, and manual control system. Our testing showed that the Sony MHS-CM1 produced incredible video resolution for a camcorder in this price range, but other aspects of performance were not so good.

The lens is on the low-end. The f/3.3 maximum aperture does not exactly scream 'low light champ' and the 37-degree wide angle is weak compared to full-featured camcorders.

LCD & Viewfinder

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The Sony MHS-CM1 features a 2.5-inch LCD with a decent resolution of 153,000 pixels. This is both larger and of a higher resolution than any of the Flip camcorders or the Kodak Zi6, so far as we know (Kodak did not offer some of these specs). Like any full-featured camcorder, the MC1 has an LCD panel that flips out from left side. This adds a traditional feel, but also adds bulk. The Flips and the Kodak took the other route, building their LCDs into the back to save space. Before you leap to the 'smaller is better' rationale, consider what its like shooting on sunny day when the LCD screen is awash in glare. At least you can adjust the Sony screen.

There is no viewfinder on the Sony MHS-CM1, or any other camcorder in the ultra-compact category.

Connectivity

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The connections on the Sony MHS-CM1 are quite limited, as you might expect for a camcorder this size. The right side of the camcorder has a single port cavity, covered by a clever sliding cover. The AV output is a proprietary jack that is compatible only with the composite and component cables supplied with the camcorder.

Media

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Video and stills on the Sony MHS-CM1 are recorded primarily onto MemoryStick PRO Duo cards. Cards load into a slot in the bottom of the camcorder. Any camera shop, or even convenience store, in your area will likely carry the memory cards you need, as well as hundreds of online retailers. The drawback is that MemorySticks are a Sony-proprietary format, and unlike SD cards, you won't find much use for them outside of Sony-branded products.

There is also a meager 12MB of internal memory on the MHS-CM1 camcorder, good for a few still photos. Read more about the advantages and disadvantages of various media types.

Still Features

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There isn't much offered in the way of still features. Only one size and quality is offered: 2592 x 1944 (5-megapixels). Stills can be recorded to either the MemoryStick or, we suppose, to the 12MB of internal memory. (Though, 12MB will only hold a small handful of stills.) Just as there are no manual controls available for recording video, there are no possible adjustments for still photography. The only small bonus Sony gives you is a self-timer, for propping your Webbie on a table and running to join your friends in the picture. On the other hand, a lot of these ultra-budget YouTube camcorders don't include any still functionality, so perhaps something is better than nothing.

There is one small oddity about the still photography on the CM1: the angle in your photo ends up being much wider than what you're viewing on the LCD. If you think you're zoomed in on someone's face, it turns out that you'll probably capture most of their torso and the people on either side too.

The still color performance of the MHS-CM1 is nothing to write home about, but we've certainly seen worse. According the Imatest, the CM1 had a color error of 6.48, with 118% saturation.

This is a much better score than the abominable 18.9 scored by the Kodak Zi6, which likely suffered from white balance problems in addition to poor processing. The only other ultra-compact camcorder we've reviewed with still capabilities is the RCA EZ210 Small Wonder, which also turned in poor color performance with a 13.7 color error. In the Sony, the Kodak, and the RCA, saturation was about the same.

The rest of the competition—including the Pure Digital Flip Mino, the Pure Digital Flip Mino HD, and the Creative Vado—are not able to record still photos.

The Sony MHS-CM1 had a poor noise score in still performance, with 1.0575% noise. This isn't a great score, especially in bright lighting conditions, where the camcorder performed so well during video recording.

The Kodak's noise percentage was 0.7975%, while the RCA EZ210 Traveler had a noise score of just 0.5725%. These noise scores may best the high noise levels of the CM1, but the Sony also boasts the highest quality for still images. Its 5-megapixel stills will be superior to the 3-megapixel and 1-megapixel stills recorded by the Zi6 and Traveler, respectively.

The still resolution is further evidence that Sony likely dropped a DSLR sensor into the body of the MHS-CM1. Most camcorders have a relatively low still resolution, especially the ultra-budget YouTube camcorders like the Flip and Small Wonder series. The MHS-CM1, however, produced a decent horizontal resolution of 1189 lw/ph, with 7.1% oversharpening and a better vertical resolution of 1397 lw/ph, with 0.8 oversharpening.

Other Features

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NTSC/PAL Outputs

The Sony MHS-CM1 lets you output to either a standard NTSC or PAL television. Every American television is NTSC-compliant, but if you're traveling to Europe, it wouldn't hurt to be able to watch your footage on televisions over there. Native PAL camcorders usually record at 50fps or 25fps, but the CM1 records at the usual 30p, then translates your footage for PAL televisions.

Kodak Zi6 Comparison

There are a lot of differences between the Sony MHS-CM1 and the Pure Digital Flip Mino HD. First and foremost, there's the question of aesthetics and handling: the CM1 is of a traditional horizontal design, while the Mino has the ultra-compact, upright style that Pure Digital made successful. The Mino is also a sleeker, sexier camcorder. You can create your own unique design with the Flip or settle for the orange, purple, or silver options of the CM1.

Pure Digital Flip Mino Comparison

  • The Sony is a traditional horizontal design, while the Kodak is an ultra-compact upright
  • The Sony comes in three bright, fashionable colors
  • The Kodak offers an extra 60p recording option, but the Sony's single offering is of a higher quality (1920 x 1080)
  • Video performance is slightly better on the Sony, which boasts superior resolution and better automatic white balance
  • The Kodak is a better low light performer and about on par in still photography
  • The Kodak is easier to use

COMP 3

The original Flip Mino is at an immediate disadvantage, since it shoots only low quality, standard definition video. So, the overall video performance of the Sony MHS-CM1 is superior to that of the Pure Digital Flip Mino. However, even with its HD video quality, the CM1 can't stand up the inexpensive Mino in terms of low light performance.

There's also the fact that the Mino, like its cousin the Flip Mino HD, is emminently easier to use and of a more elegant design. If you really require HD video, pass up the CM1 for the Mino HD. If you're shooting mostly for YouTube and looking to save a little money, the original Flip Mino is still a great recession special.

Conclusion

When compared to the competition, there aren't a lot of compelling reasons to choose Sony's new entry into the ultra-budget YouTube market. The Sony Webbie HD MHS-CM1 is inexpensive, but it's not nearly as easy to use or as easy on the eyes as the popular Pure Digital Flip Mino HD. The former is colorful and simple, but not nearly the bare bones fashion accessory that you'll get from the latter.

In terms of video performance, the CM1 is only a little better than the Flip and isn't nearly as good in low lighting conditions. There's the added bonus of still photography, but you're much better off just taking still photos with your point and shoot digital camera instead.

So what remains for Webbie? Traditionalists looking for a horizontal body design and the added 'umph' of a 5x optical zoom might spring for the MHS-CM1. But the upload process is such a chore and the low light performance so unimpressive, we find it difficult to recommend the Webbie when there are other fish—fish named the Flip Mino HD—in the sea.

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Meet the tester

Kaitlyn Chantry

Kaitlyn Chantry

Vice President, Editorial Management

@WhyKaitlyn

Vice President of Editorial Management, Kaitlyn oversees the editorial departments of Reviewed.com’s various sites. She has been writing about technology since the turn of the century. Outside of her Reviewed.com home, Kaitlyn is also a theatre director and avid gamer.

See all of Kaitlyn Chantry's reviews

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