Archive for the ‘Digital Video Cameras’ Category:
Canon XM2 Review
First impressions
The DM XM-2 (known as the GL-2 in North America) has a body styling that isn´t dissimilar from the model it now supercedes. However, closer inspection reveals a slightly longer, slimmer profile that provides increased accessibility to most commonly used controls. The manufacturer has cleverly positioned Focus auto/manual switch, ND Filter on/off and Colour Bars on/off on the left side of the XM2´s body where they can be operated without disrupting recording. Audio level control is possible in either auto or manual modes, with the main switch and thumbwheel level adjusters positioned right at the back where they can be seen. Manual control over exposure and white balance are also provided where they can be easily adjusted during recording. The inclusion of a 2.5″ colour LCD screen in addition to the 0.44″ 180K colour viewfinder does, in some ways, make this a more functional camcorder to the XL1S. The main power on (Camera/Play VCR) switch is positioned on the upper left side of the body where it can´t be missed. The onscreen data provided by XM2 in record mode is comprehensive, and provides all the information necessary without clogging up the screen. Notification of colour bars and ND filter usage is given, as is a stereo audio recording level meter – something that will be most welcome to all serious users.
Like its bigger cousin, the XL1S, the XM-2 also offers ClearScan – a utility contained in many professional camcorders which makes it easier for camera operators to include a computer screen in their shots without it flickering wildly. ClearScan can be set to synchronise with the monitor´s scanning frequency and eliminate the effect, if not completely then at least to an acceptable degree. This model, like the others in the XL and XM range, also features 16:9 widescreen shooting mode. Interestingly, the onboard microphone can be preset to be compatible with widescreen shots. In practice, we didn´t notice much of a difference, although there are tell-tale signs of a wider pickup field being employed. A third voice microphone setting is also offered in the onscreen menu system.
Audio monitoring is achieved by a digital linear meter at the bottom right of the viewfinder and LCD screen, in addition to a meter display on the left side of the body just ahead of the LCD screen. The LCD screen itself can be flipped over completely for frontal viewing as well as being able to be slotted back into its housing whilst displaying outwards.
Setting up
In addition to the physical buttons which provide access to the most commonly-used controls on the camcorder, the menu provides access to a wealth of other functions – ranging from camera setup modes to playback modes and even Memory Card functions too. The menu system is activated by a button which accompanies the thumbwheels at the back of the cam, with menu navigation being achieved by a dedicated thumbwheel. As with most thumbwheels, they´re a bit fiddly to use during recording (especially when the viewfinder is being used).
Optical qualities
As you´d expect, the image capabilities of the XM2 are excellent. In common with other members of the XL and XM range, the professional L-Series Fluorite lens delivers pictures of stunning quality to the 3-CCD, 470,000 pixel imaging device. A large, rubber knurled focus ring provides dampened manual focus control, with a small thumbwheel like toggle-switch enabling manual adjustments of exposure to be made during recording. Rendition of images with the 20x (4.2-84mm) F1.6 optical zoom lens is very good indeed even in macro mode, with colour balance and contrast ratio being everything you´d expect from a camcorder bearing the Canon marque. A 100x digital zoom mode is also provided, whose image quality fares reasonably well alongside some of the excessive ratios of competitors´ models. Sensitivity is very good, even in murky, low-light conditions and compares highly favourably against other comparable models – including the VX2000. In average quality external light conditions, the Canon renders impressive images; in conditions of bright weather the images are stunning, and more so when the ND (Neutral Density) filter is switched in to improve overall depth and balance. No manual control of zoom functions are provided, but the zoom toggle – positioned over the tape cassette compartment on the right side of the body – is fast and responsive where quick re-framing is required yet sensitive to touch where smooth ramping-up and down is required. Where the camcorder is being held by the distinctive carry-handle (and where shots are being monitored via the LCD screen) a smaller zoom toggle is provided to the rear of the intelligent accessory shoe, along with an additional record start/stop button. The carrying handle accomodates all the main VCR playback controls, which are housed underneath a flap on the upper surface.
Digital stills
In keeping with modern trends, the XM2 now features an Multimedia Card slot complete with 8Mb SD flash memory card. Depending upon the mode chosen, 1.7 megapixel images can be saved to the SD card in three resolutions, with provision for picture adjustment and the use of custom presets. For download of images to a USB-equipped Mac, Canon includes a Digital Video Solution disk, which contains the DVC Storage Driver together with ImageBrowser 2.3.5 and PhotoStitch 3.1 image manipulation software.
Sounds dodgy
Canon has received criticism of late for the high level of audible motor noise in recent camcorders, and sadly the XM2 doesn´t escape this problem. Even outdoors, the so-called Direction Accurate stereo microphone picks up the camcorder motor noise very clearly. Indoors, the intrusion verges on the unacceptable – and certainly not worthy of a camcorder of this pedigree. To confirm this, we connected a Sennheiser MKE300 shoe-mounted microphone and monitored audio via Sony MDR-V300 headphones which then produced acceptable results. The built-in microphone is also prone to pick up camcorder handling noise – something its bigger sibling the XL1S suffers from too. This is a problem that Canon must address soon.
Conclusion
With its comprehensive digital and analogue video and audio inputs, together with its professional-standard features, the DM-XM2 is a worthy successor to the XM-1. Image quality is superb, as is its range of operating features. It´s designed with the serious user in mind and it´s a joy to use. On-screen menu options provide useful functions rather than the overwhelming gimmickry of competitors´ products, and controls are exactly where you´d expect them to be. If Canon can do something about the motor noise problem, they´ll have a camcorder that´s nothing short of exceptional.
Canon Legria FS200 Review
Solid-state camcorders are generally smaller and lighter than those that use hard disks or tape, but even among this month’s company, the FS200 is tiny. It’s not quite as slim as Sony’s HDR-TG3E, but at 225g, it’s the lightest here.
Canon has still found room to include a chunky Li-ion battery and a 37x zoom lens. The battery lasted for three hours and 17 minutes, long enough to record over 12GB of video. Emblazoned on the side of the camera are the words ’41x Advanced Zoom’, advertising the fact that the 0.8-megapixel sensor can capture a little more detail even after the lens has reached its full 37x magnification.
JVC Everio GZ-HD40 Review
The Everio GZ-HD40 is a significant camcorder for JVC. The AU$1,999 model supports AVCHD in addition to JVC’s traditional MPEG-2 TS format, offering more flexibility in your video-editing options. It also marks a shift from using three, low-resolution CCD sensors to a single, comparatively high-resolution CMOS sensor — a 2.7-megapixel 8.5mm sensor, if you’re curious. The result is an Everio with video quality able to compete with similarly priced HD models from Canon and Sony.
Design and features
Considering there’s a 120GB hard drive inside, JVC kept the HD40 reasonably compact at 73mm wide by 68mm high by 123mm deep, and with battery it weighs 123 grams. An otherwise identical 80GB version, the GZ-HD30, is available for AU$1,649. Out in front there’s a 10x optical zoom lens but, alas, there’s no optical image stabilisation, only electronic stabilisation.
Behind the lens on top of the camcorder’s body is a serviceable stereo mic followed behind it by an accessory shoe for use with an external microphone attachment. It’s worth noting that the shoe’s cover is not attached to the body, pretty much guaranteeing that it’ll eventually get lost. Another niggling design issue: like most straps on camcorders this size, it’s positioned too low on the body, causing the weight to be off-balance and the camcorder to flop to the left with the slightest relaxation of your grip. In the case of the HD40, it appears the location is low to avoid having the strap block inputs, but that doesn’t make it any less irritating.
Flipping open the 2.8-inch LCD reveals a set of buttons on the camcorder body’s right side: Direct DVD for burning discs without a PC using an Everio Share Station, Focus Assist (explained further on), Play/Rec for switching to playback mode and back again, and Delete. There’s also a Power button, although the camcorder does have an instant-on setting for when the LCD is opened. On the left side of the LCD are the remaining controls for menu navigation and settings: Menu and Index buttons and a five-way thumb-stick.
Ports include HDMI, AV and component outputs at the back above the DC input for power and charging, a mic input and headphone out on the body’s right side near the lens, and a USB mini-connector in front below an LED lamp to lens’ right. On the left of the lens is a switch for sliding the manual cover open and close. On the HD40′s bottom is a microSD/SDHC card slot for recording still photos or AVCHD video to cards up to 8GB in capacity; MPEG-2 TS video can only be recorded to the hard drive. There’s also a docking port for use with the included base that adds a FireWire port for file transfers.
The Everio HD40 has a number of manual controls for white balance, exposure, sharpness, shutter priority, aperture priority and brightness. You get manual focus, too, controlled by the stick to the left of the LCD. To help you actually see what’s in focus JVC has a very handy Focus Assist feature. Turn it on and the LCD’s picture becomes black and white, while what’s in focus will be outlined in your choice of one of three colours. There’s an exposure assistant, too, that puts zebra stripes across areas that are overexposed in your shot.
Changing settings can be tortuous depending on what you’re looking to adjust. The Menu button gets you into a majority of your options, but important settings are buried three levels deep, and there doesn’t appear to be any order. For example, switching between MPEG-2 and AVCHD — one of the major reasons for buying this model — requires you to press the Menu button, go to Basic Settings, find the selection titled Stream Format and then choose either SD Video, which is in fact MPEG-2, or AVCHD. Then once you’re back out, you have to hit Menu again, find Video Quality and select what recording quality you want to use. True, this probably isn’t a setting you’ll be changing all that often, but it’s illustrative of the rest of the menu system, so if you’re easily intimidated by digging through settings, you may want to try the JVC before buying.
Recording speed options for AVCHD (MTS files) include XP at 17Mbps, a 12Mbps SP mode, or EP video at 5Mbps. JVC’s MPEG-2 TS — recorded as TOD files — are 26.6Mbps variable bitrate (VBR) when set to full high definition (FHD) or 27Mbps in 1440 CBR (constant bitrate). The 120GB hard drive will store up to 10 hours of FHD MPEG-2 video or 15 hours of the more compressed AVCHD format at XP quality.
Performance
Video quality on the whole is very good. Colours lean more toward saturated than natural, but are definitely pleasing and enhance the high-resolution video. This was particularly true when recording in MPEG-2 TS, which produced a more consistent tonal range compared to the more digital-artefact blockiness of our AVCHD recordings. White balance, when left in Auto, was a bit warm and dull; it’s definitely best to use the manual white balance option or one of the three presets (Fine, Cloud or Halogen).
Low-light performance was better than expected and actually quite good. There was some noticeable off-colour noise, but the amount was certainly acceptable for dim shooting conditions. As with most consumer camcorders’ auto-focus systems, the HD40 tended to hunt in low-light shooting, causing it to bounce in and out of focus. Not surprisingly, the higher-bitrate MPEG-2 TS presented finer detail and smoother-looking video than the AVCHD results. But frankly as long as you’re shooting in good lighting and unless you’re really examining the video you’d be hard pressed to see a significant difference.
Photo quality is OK for a camcorder. It won’t replace a dedicated point-and-shoot camera, but it’s there if you need it.
Conclusion
For a high-def camcorder priced less than US$1,000, the JVC Everio GZ-HD40 has a lot to offer — especially if you’re into manual settings and are not easily intimidated by digging through a convoluted menu system. However, the lack of optical image stabilisation is regrettable for a camcorder of this calibre.
Thanks to Cnet
Sony Handycam HDR-XR520V Review
The Sony HDR-XR520V packs a lot of punch—and a lot of hard drive capacity—into a relatively small consumer camcorder. The retractable viewfinder and the return of last year’s excellent manual control dial are just a couple of the features that will intrigue proficient camcorder users. Also intriguing? The incredibly low noise levels, clear and smooth motion, built-in GPS, and 240GB internal hard drive.
There are some downsides that consumers of every ilk will have to weigh for themselves: no manual aperture/shutter control, mediocre low light performance, the lack of 24p or 30p frame rates, and an intimidating array of buttons, switches, and layered menus. It’s not the ideal camcorder for a first-time user, nor does it offer every bell and whistle that the experienced videographer could want. It does have some intuitive features and excellent video performance: a combination that might be just what some consumers are looking for.
There are some downsides that consumers of every ilk will have to weigh for themselves: no manual aperture/shutter control, mediocre low light performance, the lack of 24p or 30p frame rates, and an intimidating array of buttons, switches, and layered menus. It’s not the ideal camcorder for a first-time user, nor does it offer every bell and whistle that the experienced videographer could want. It does have some intuitive features and excellent video performance: a combination that might be just what some consumers are looking for.
Buy the Sony Handycam HDR-XR520V
Panasonic HS200 Review
The HS200 is something of a pocket battleship in that it packs a lot of top-end technology into a small and practical frame.
Both video and stills can be stored on a decent-sized 80GB hard disk along with multichannel audio. Full HD video resolution is offered while stills are captured at over 10MP. A good-sized f1.8 lens extends to a respectable 10x optically and there’s a flash alongside it.
Under the 16:9 colour LCD is a touchscreen for menu operation, while buttons are found for an optical image stabiliser, manual mode and the sockets. Menus are easy to negotiate and reveal all the regulars including colour night view, soft skin mode and red eye.
All the socketry is matched with the right cables, except the HDMI. Pictures are exceptionally clean and realistic. Hues are natural and rich with no problems recording even the brightest of reds. Detail is pin sharp, and even when shooting subjects in motion or low light we were happy with the results.
The auto functions, whether focus, white balance, or exposure, dealt capably and quickly with changes in the environment. Despite the upward-pointing microphone, sound was recorded to a high quality with virtually no handling noise audible.
The Panasonic HDC-HS200 features a 3MOS System and high-quality 12x optical zoom Leica Dicomar lens that captures both motion and 10.6-megapixel resolution still images with vivid colour and stunning detail. This system also features high 8.3-megapixel resolution for still images whilst simultaneously shooting video.
3MOS System
3 Full HD Sensors ensures high quality for both motion and still images
For videos of important moments you want to preserve, you want high image quality. That’s what Panasonic’s 3MOS System delivers, with a combination of optical technologies that further enhance the quality of full-HD images. The 3MOS System produces extremely accurate images with superb rendition of differences in darkness and light, rich colour expression, and a full 1,080 lines of horizontal resolution. This advanced technology helps turn once-in-a-lifetime moments into vivid, beautiful images
Still picture recording at 10.6MP
In still-image mode the HD camcorder can record stills with up to 10.6 megapixels.* When simultaneously shooting a moving picture, it can record still images with up to 8.3 megapixels.** This high pixel count and Advanced O.I.S. means that images look dense and beautiful. Also, when playing back the moving pictures you shot, you can capture 2.1MP still images of any scene you want. Panasonic’s HD camcorder lets you enjoy high quality in both motion and still images.