Sony PMW-EX3 XDCAM EX

Pros: Interchangeable lens. Amazing viewfinder. Superb picture quality. Versatile shape and frame rates. Accepted by major broadcast companies for full productions.
Cons: Precarious position of the viewfinder. Sometimes hard to operate, especially if you have big sized hands.

Though I don't have The Sony PMW-EX3 yet (just trying from a rental nearby), I can assure myself this is my new favorite camera, and will probably stay that way for a long time (yet I know the speed of technology growth will negate my saying soon enough). The EX3 is the perfect combination of quality, versatility, size, and price. Retailing not more than $8,400 , we can call it the first true professional camcorder under $10k.

The EX3 is an upgrade from its very popular brother, Sony XDCAM PMW-EX1. The differences, in order of importance are: the EX3 can use interchangeable lenses, the EX3 has a magnificent viewfinder (I'll tell you why I call it magnificent later), and the last is that the EX3 doesn't have the bugs from the early productions of the EX1. The downsides, though it's minimum, still need to be mentioned that the EX3 viewfinder is now perched off to the side and seems prone to breakage, and the price is $2k more expensive than the EX1. But for wildlife and nature work, its obvious; go with the EX3 over the EX1, in fact, over any other camera you can find.

Interchangeable Lens
This feature is a winner, and that's a major plus because the default lens that is 14x Fujinon lens, although of exceptional quality (and amazing in low light), is barely adequate for wildlife. To change a lens simply release a lens lock button and then turn a lever upward while holding the lens. Pull the stock lens strait out (i.e., directly away from the camera). Reverse the steps to afix a new lens. Fortunately, lens can be changed while the camera is mounted on most rail or other support systems. The camera comes with a 1/2" adapter for standard Sony bayonet lens. Many wildlife videographers are puchasing third party adapters that allow the use of Nikon SLR lens (make sure its a lens with a manual diaphram ring). The use of such lens will increase your magnification by about 5-fold. I tested my EX3 on a Sigma 50-500 and the quality was amazing. The wider angles come in handy for finding your target before you zoom in on it. Of course, you will be on full manual mode with the use of such lens (what Sony calls "non-exclusive lens").

Magnificent Viewfinder
Imagine if you can open viewfinder of a camera and inside you can see an LCD, both have extraordinary resolution. Yes, the EX3 has this new kind of viewfinder, and you can now trust your viewfinder and your LCD when you want to focus your picture, because of it's amazing quality. The only downside is that the large viewfinder sets off to the side of the camera, connected at only one spot. It seems prone to breakage. Also, the unit may not fit as easily into your bag as the EX1 or many other models.

Like the EX1, the EX3 uses SxS memory cards. However, unlike earlier versions of the EX1 the EX3 comes ready to handle 32gb cards. In addition, the EX3 can use Kensington adapters and SDHC cards (such as those by Transcend and SanDisk) in the card slots, and with the doors completely close (unlike the EX1). These cards/adapters cost only about one-fifth the cost of SxS cards (but you can't overcrank at 1280x720 60fps with the adapters). I've had no problem with the adapters and I strongly recommend having a collection of them in your bag. The EX3 also has a hot shoe on the back for peripherals such as the Sony PHU-60k hard drive, but to be honest, I think a bag full of adapter cards is a cheaper and better solution.

The "chainsaw" shape of the EX3 allows for shoulder-mounted shooting by use of an extendable shoulder pad and/or a cheek pad. The shoulder pad is made of a foam-like material; it will be interesting to see how it holds up over time.

In summary, this camera sets a new standard for professional video. Canon, Panasonic, and JVC have their work cut out for them. With a decent lens this is an excellent camera for nature and wildlife work.

image source: www.testfreaks.com, www.dvuser.co.uk

Sony Handycam HDR-FX7

While $3,500 is rather expensive for some people and wouldn't call this Sony Handycam HDR-FX7 a budget version of its older sibling, but you can still save up to $200 by buying this instead of HDR-FX1 that priced $3,700. Just like its brother, HDR-FX7 is a three-chip, "prosumer" HD video model; has almost the same feature set and design. But when we're talking about sensors and optics, what it has is completely different and effectively make it an altogether different camcorder.

One of the change I would like to mention first is that while the HDR-FX1 has a practical, 12x zoom lens with an excellent (for a camcorder) wide-angle start of 32.5mm (35mm-equivalent). For the HDR-FX7, Sony sacrifices some wide-angle attitude for a more marketing-driven 20x zoom monster.

The small body and streamlined feature set also put the FX7 more firmly in the prosumer category. It weighs about 3.3 pounds with tape and its 2,200 mAh NP-F570 battery. Well you can see the huge cavity in the battery pod, and that's because the camcorder can accommodate the 6,600 mAh NP-F970 as well, for triple the battery life. The battery lasts a reasonably long time, but it won't charge while the camcorder is on, which can be quite annoying. If you think that would annoy you as well, you'll probably want to spring for the external battery charger.

Rather than the three CCDs of the HDR-FX1, the HDR-FX7 uses a trio of Sony's 1-megapixel ClearVid CMOS chips, the same sensor technology used by the single-chip HDR-HC3. CMOS technology typically draws less battery power than CCD does, and Sony rates the HDR-FX7's battery life at about 8 hours, compared with the HDR-FX1's 6.5 hours. Each of the HDR-FX7's sensors has a lower resolution than the HDR-HC3's, though.

On the lens barrel are servo-controlled zoom and focus rings and a dial for adjusting exposure. Focusing via the ring works very well, especially when used in conjunction with the Expanded Focus button that falls under your left thumb; popping into EF mode zooms the view of the middle of the area for easier manual focus. A one-push override provides an autofocus lock that you can tweak manually, which makes it much faster to focus on hard-to-lock subjects; just use the override to focus on something nearby, then manually adjust for the subject. There's also a two-step neutral-density filter control, which I really like.

Sony compromised on the location of frequently--but not ubiquitously--used options. Buttons for backlight and spotlight compensation and shot transition presets are gone, replaced by six buttons (three on the barrel, three under the LCD) to which you can each assign one of 15 controls, including Steady Shot, color bar display, and focus peaking. I think a couple of those still deserve their own keys, such as Steady Shot. However, the company did address one of our complaints about the HDR-FX1, so you can now use focus peaking and Zebra stripes simultaneously. Gain, shutter speed, and white balance still have their own dedicated buttons. And a handy Status Check button, which sits next to the custom-setting Picture Profile control, pulls up all your current settings, because there's a lot to remember.

Now here's a little downside. People who are accustomed to midrange camcorders will have little trouble adjusting to the HDR-FX7; using it is very much like using models such as the older HDR-HC1 or the Panasonic AG-DVX100B. When shooting at eye level, your right hand controls only zooming and snapping still photos. The bulk of the operational burden--and the weight of the camcorder--falls on your left hand.

Now I'm not too crazy about the zoom-ring operation, however, which in typical servo fashion has no defined beginning or end point. I much prefer the zoom rocker, which has a nice, responsive feel. A lens cover is built into the bundled lens hood, which is great if you leave the lens hood on all the time. If you take it off, as I do, it's not so great.

Though it has a cold (unpowered) accessory shoe, it does have a powered mic minijack--a completely undocumented and ambiguously labeled mic jack and accessory shoe. In fact, the audio support on this model is seriously underwhelming; it basically consists of the built-in mic, the aforementioned jack, and a single input volume control which doesn't allow for adjusting the stereo channels individually. Call me cynical, but it seems intentionally limited to keep from cannibalizing the market for the almost identical pro model, the HVR-V1U, which provides 2 XLR inputs (and some other stuff) for another $1,000 or so. There is a headphone minijack, however.

Sony packed enough features into the FX7 that you should feel like you're getting your money's worth. It records 1080i HD video, as well as standard MiniDV, to tape. Each of the three, 1/4-inch ClearVid sensors has a 1.1-megapixel gross resolution, for effective video and still resolutions of 1 megapixel for 16:9 and 778K in 4:3 mode. The 20x Zeiss Vario-Sonnar T* lens--one of the good Zeiss lenses--covers the 35mm-equivalent angle of view as 37.4mm-748mm (16:9) and 45.7mm-914mm (4:3), with a nice maximum aperture of f/1.6-2.8, and the camcorder supports a shutter speed range of 1/4 secpnd to 1/10,000 second. As you'd expect, it incorporates Sony's Super SteadyShot optical image stabilization technology.

Other ports include a LANC terminal for controlling external devices, component and HDMI output, and a FireWire (i.Link) connector. You can snap stills to a Memory Stick Duo Pro and download them to your PC via the USB 1.1 connection.

Overall, the HDR-FX7 performs quite well. It has a smooth, responsive zoom, a quick autofocus system and a usable manual-focus mechanism, combined with a bright 3.5-inch LCD that's pretty good in direct sunlight and excellent eye-level viewfinder. Similarly, the video quality in both bright sunlight and dim interiors is pretty impressive--within the limitations of the HD video format.

Because of its weak audio options, as well as a lack of time-code controls and other editing-friendly essentials, I wouldn't recommend the Handycam HDR-FX7 for budding indie filmmakers, despite the attractive price for those users. The admittedly more expensive Panasonic AG-HVX200 remains my top choice for prosumers who put the emphasis on "pro." But if you want lots of video adjustment options and have only basic audio needs, the HDR-FX7 will can make a great HD starter camcorder for early-stage wannabes.

If you have this camcorder, or any other camcorder, then what are you waiting for? Go out there and shoot!

image source: hd-camcorders.com

Canon EOS 5D Mark II

Three years is a continued time for any artefact to adhere around, abnormally back the technology changes as rapidly as it does for agenda cameras. And with abounding of the imaging apparatus of the 1Ds Mark III (including a after adaptation of the image-processing engine, Digic 4) for a amount tag $5,000 lower, it's absolutely an adorable alternative. Though it's consistently had a big fan base, Canon EOS 5D users accept nonetheless been agog for more. The almsman Canon delivers: the EOS 5D Mark II is in abounding means a must-have upgrade, abnormally for the bells photography army for whom the 5D is a workhorse. It's additionally priced adequately aggressively compared with the antagonism admitting its fresh 21-megapixel CMOS sensor and groundbreaking cine abduction capability.

Slightly added than its predecessor, the Mark II weighs aloof over 2 pounds. Canon says it beefed up the dust and acclimate sealing a bit about the agenda awning and buttons and bigger rated bang backbone for up to 150,000 cycles. The anatomy itself is a animate anatomy covered with magnesium alloy. But while it's acutely absolutely made, it about doesn't feel absolutely as tanklike as the D700. Like all of Canon's pro dSLRs, it's actual adequate to anchor and shoot. The downside of the adapted architecture is that it takes fresh accessories, including a fresh array and fresh vertical grip.

The camera comes in two official configurations: the body-only or a kit adaptation with the EF 24-105mm f/4L IS USM lens. Usually I'm not a fan of the lenses that address as allotment of kits like this, but I concluded up affection the 24-105mm a lot added than I accepted and anticipate it's a acceptable bout for anyone attractive for a aboriginal lens to brace with the camera. As with all of the high-resolution models, however, it absolutely makes a aberration to go for the sharpest lenses in the arsenal.

Canon reorganized the controls a bit from the blow of its models. On the top sits the capital punch additional four dual-purpose buttons that admission adjustments for the metering (huge 3.5 percent spot, 8 percent partial, center-weighted, and evaluative) and white balance; AF (single, AI Servo and AI Focus) and drive modes; and ISO acuteness and beam compensation. Unlike the Sony Alpha DLSR-A900, the top cachet LCD displays complete information; you can cull the accepted settings up on the rear LCD as well, but can't cross them the way you can on that camera. I absence that, as able-bodied as the direct-control metering about-face on the A900 and Nikon D700. The approach punch on the top larboard offers aloof the basics--as it should: Bulb, PASM, Auto, three custom settings slots, and the Creative Auto approach that debuted in the EOS 50D

The top rear appropriate has buttons for initiating AF, acknowledgment lock, and focus-point selection; bottomward the larboard rear are the Live View/PictBridge, Menu, Picture Styles, Info, Playback, and annul buttons. Unfortunately, best of the buttons on the anatomy feel identical to their neighbors. The 5D Mark II uses the aforementioned joystick multicontroller and Quick Control punch with Set button as its added contempo models. I still like them. (Click through the accelerate appearance for added on the camera's architecture and features.)

The viewfinder is hardly beyond and a bit brighter than the 5D's. While it offers broader advantage than the D700's--98 percent against 95 percent--it avalanche abbreviate of the 100 percent provided by the A900 and by midrange models like the Olympus E-3. C'mon Canon, eke out that aftermost 2 percent, please.

The best notable affection advantage the 5D Mark II has over its competitors is the movie-capture capability. Canon supports 1,920x1,080 at 30fps, accurate 1080p HD, with a address mic congenital in and stereo mic input, with clips of up to 12 account (on a 4GB card). All things considered, it's a appealing nice implementation. Though you can't autofocus, you can acclimatize acknowledgment while shooting; the optical stabilization works; and you can administer Picture Styles.

Many of the fresh capabilities absolutely ambition pros: a brace of low-resolution raw formats (10 and 5.2 megapixels), added changeable focusing-screen options, in-camera peripheral-illumination alteration to atone for accuracy contrast beyond the image, and a bashful Live View mode. There's additionally Face Detection AF, but it alone works in Live View mode. If you do HDR work, you'll apparently acquisition the 5D Mark II's bracketing accomplishing a alloyed bag. It's abundantly adjustable compared with most--in some respects. For instance, you can bracket in any increments of 1/3, 2/3, 1, 1 1/3, 1 2/3, or 2 abounding stops, centered about any EV up to +/- 4 stops. Unfortunately, it banned you to three exposures area added cameras let you do bristles or seven.

The 5D consistently acquainted a bit apathetic to me, admitting absolute achievement numbers to the contrary. This camera delivers the aforementioned abstinent performance, but feels abundant zippier. And overall, it fares absolutely able-bodied compared to the D700. It wakes up and shoots in 0.3 additional and takes amid 0.3 and 0.6 additional to shoot, depending aloft lighting conditions. It about runs about 0.4 additional from attempt to shot.

The Mark II uses a fresh array pack, the LP-E6, which seems to aftermost a analytic continued time: it's CIPA rated at amid 750 and 850 shots, depending aloft temperature. It additionally supports some adequately avant-garde advertisement features. For instance, you can annals the packs and again the camera will clue the date aftermost used, cardinal of shots you've taken on it back aftermost recharge, and its adeptness to authority a charge, in accession to the absolute accommodation on a allegation status.

However, the camera's still missing some appearance offered by the competition. Admitting one doesn't use the on-camera beam as a aphorism in this class, it absolutely is nice to accept in an emergency. Canon additionally continues its attitude of not including an in-camera wireless beam controller; some traditions deserve to die. And if you appetite on-board angel stabilization, the A900's your alone option.

For access shooting, however, it's the slowest of all the fresh models, partly because of Nikon's decidedly lower resolution and Sony's acceleration up on the processors to advance access rates. Neither its 3.8fps burst-shooting acceleration (unlimited JPEG/14 Raw) nor its center-intensive 9-point AF arrangement absolutely lends itself to actively fast, connected cutting of affective subjects. And if your cutting appearance requires lots of AF credibility above the average division of the frame, this apparently isn't the camera for you. But for centermost focusers like me, it works absolutely well.

I'm acutely admiring with the affection of the photos the 5D Mark II delivers. As you'd apprehend from a archetypal in its amount class, it renders authentic and constant exposures and colors. Given its resolution, its babble contour is decidedly good: no babble or babble abolishment artifacts until about ISO 1600, at which point all you see is a slight bit of softening. Depending aloft accountable matter, photos can abide accessible as aerial as ISO 12,800. My alone artifice is with the ever balmy tungsten white balance. Even the video looks and sounds good, admitting the mic could use a wind filter. (Click through the accelerate appearance for angel samples and added altercation of photo quality.)

When I aboriginal blogged about the camera in September 2008, I commented that it "doesn't abet the knee-jerk WANT acknowledgment I expected." After cutting with it for about a month, I accept to admit, I'm sold. I appetite this camera. I adulation the Nikon D700 as well, but the 5D Mark II's college resolution and decidedly acceptable video abduction put it over the top for me.

Nikon D300

It's an abundant camera to alpha with, like the Nikon D300, the ambiguity caliber increases alike more. In some ways, I ambition Nikon would accept artlessly (or additionally) alone the amount on the D300 rather than accomplish the few changes it did: abacus video abutment and tweaking performance. When a camera has an 18-month artefact cycle, it's adamantine to annihilate some disappointment back its chase up has alone a few enhancements, admitting the actuality that it's accepted to alone accomplish a above amend with every added generation. Alike the average artery amount hasn't afflicted decidedly on the D300 back the D300s' announcement, at atomic at the time of this review, and as far as I can tell, Nikon has no affairs to bead it. Just as Canon had a aggressive gap in its band for the D300 for years until it appear the EOS 7D this summer, Nikon has annihilation adverse off with the 50D. (Note: I'm reserving acumen on how the D300s endless up in its articulation until I get a adventitious to analysis the 7D.)

Ironically, I feel like I get more good after-effects with the almost bargain 18-55mm lens, which can additionally focus a lot closer--10.8 against 19.2 inches. Nikon's alms a body-only box of the D300s, admitting so far a kit has additionally alike with the 18-200mm f3.5-5.6G ED VR II lens (27mm-300mm equivalent), an adapted adaptation of this lens. I activated primarily with that kit, as able-bodied as the all-over 18-55mm f3.5-5.6 VR model. If you're because the kit, the 18-200mm archetypal represents a actual acceptable focal ambit in a almost bunched anatomy that balances able-bodied on the D300s, but it's artlessly not as aciculate as I'd like for the money, the zoom arena has an annoying, inconsistent circling feel, and it still suffers from lens edge (Nikon put a lock on it to anticipate edge back it's not in use, but that doesn't advice while you're alive with it).

The anatomy architecture and interface haven't afflicted essentially back the D200: that's both acceptable and bad. It's still congenital like a tank, dust- and weather-sealed, admitting it's put on a brace of ounces. Despite its heft, it's adequate to anchor and operate, with one of the nicest viewfinders in its class--big and ablaze with 100 percent advantage and an alternative filigree display--and a attainable automated blueprint for the acceptable cutting controls. As with its predecessor, I absolutely like the about-face for the AF-Area modes, and would accept admired a agnate activity ascendancy for the metering selector, to acquiesce for thumb-only operation, such as with the D3.

As time goes on, however, assertive aspects of the camera's operation accept amorphous to abrade me. For example, Nikon carries over the ultraflexible user-settings airheaded that abide of two banks--shooting settings and custom settings--with four nameable slots each. But I begin myself adulatory they were added calmly accessible, such as sitting on the approach punch a là Canon.

Canon Vixia HF S21

While Canon spent a acceptable accord of accomplishment convalescent the appearance for the HF S21, it didn't do abundant (if anything) to advance the video achievement of the camcorder. In our testing, the HF S21 absolutely did worse with blush accurateness than aftermost year's HF S11, although it did do hardly added good with video accurateness and low ablaze sensitivity.

The new-and-improved flagship camcorder from Canon is Vixia HF S21 ($1399 MSRP). With 64GB of centralized beam memory, two SD/SDHC anamnesis agenda slots, and a cast fresh touchscreen LCD, Canon appears to accept put in absolutely an accomplishment in revamping aftermost year's HF S11.

As for the improvements on the HF S21, we thoroughly enjoyed them for the best part. The cyberbanking viewfinder is a amusement to see, and the 3.5-inch LCD absolutely helps back you're framing a shot. We had our doubts about Canon's fresh touchscreen system, but it added or beneath won us over in the end. The blow arrangement didn't assignment able-bodied for authoritative absolute adjustments or abyssal assertive menus, but appearance such as atom focus and AF/AE tracking formed so able-bodied with the touchscreen that we were able to absolve its faults. We additionally admired the slight modifications Canon fabricated to its ascendancy dial, the amplification of assertive chiral controls (like accretion control), and the attendance of two SD/SDHC anamnesis agenda slots (the camcorder is additionally accordant with SDXC cards).

The HF S21 is allotment of the HF S alternation from Canon, which additionally appearance the HF S20 and HF S200 (all three are fresh models for 2010).

Pros should additionally adulation the actuality that the Canon HF S21 offers a built-in 24p almanac mode—a affection that was ahead bare on non-tape customer camcorders. Canon additionally still has its PF30 and PF24 modes that almanac at 60i, but actualize the attending of 24p and 30p anatomy rates.

Overall, the HF S21 is an absorbing camcorder; it has aggregate the HF S11 has and more. The alone downside is that Canon didn't advance the video achievement enough. With arresting fresh flagship models actuality appear by Sony, JVC, and Samsung we'll accept to delay and see if the improvements Canon fabricated were abundant to accumulate it abreast the top of our ratings.

Sony HD Professional Camcorders

Sony HD Professional Camcorders The Sony FX7 is labeled as the company's customer camcorder. It has a ablaze VID CMOS sensors which accomplish a absurd consequence in ablaze light. Under low ablaze conditions, the achievement disappointingly avalanche to pieces. It can however, omit XLR inputs and alien audio akin controls.

Panasonic HDC-TM300

Like the HS300 we advised beforehand this year, the Panasonic HDC-TM300 (MSRP $1299.99) is an accomplished camcorder in about every detail. It has absorbing video performance, boasting able colors and low babble in ablaze ablaze and low ablaze alike. The TM300 additionally had hasty still photo capabilities—better than the all-inclusive majority of customer camcorders.

The TM300 annal accomplished video in all lighting conditions, captures decidedly acceptable still photos, and has aloof about every affection you could appetite in a customer camcorder. Combine that with some convenient automated controls and you accept a compound for one of the best camcorders of 2009.

The Panasonic HDC-TM300 (MSRP $1299.99) is the beam anamnesis agnate of the HDC-HS300, which we advised beforehand this year. Without the beefy adamantine drive, the TM300 has a slimmer contour that's added adequate to authority and easier on the eyes. However, it still has the absorbing video achievement that drew our approval back we advised its hard-drive-based sister model.

Most of the flagship camcorders from assorted manufacturers this year are not arch performers in low light. Their aerial resolution sensors are not conducisive to aerial sensitivity; the consistent footage is dimmer than accepted back you're not recording in ablaze light. The TM300 and its sister models from Panasonic absolutely assume to be an barring to this rule. They accepted to crave alone 9 lux to aiguille at 50 IRE on our waveform monitor—a decidedly added good account than was angry in by best customer camcorders this year. We ability brainstorm that this achievement is due to the three-sensor arrangement acclimated by Panasonic, but it would be alone speculation.

What's more, the TM300 is an complete joy to use for beginners and avant-garde videographers. It's adequate to hold, accessible to use, offers a cardinal of able automated angel acclimation tools, and has a deluge of chiral controls and appropriate features. Whether its the viewfinder and chiral ascendancy lens arena or the able AF/AE Tracking option, consumers of every ilk accept affluence of acute affidavit to shop for this absorbing camcorder. The Panasonic HDC-TM300 is calmly one of the best camcorders of 2009.

image source: www.reovlele.com

Sony Handycam HDR-XR520V

In what's apparently the best absorbing development in customer camcorders appropriately far in 2009, Sony serves up the Handycam HDR-XR500 series, a brace of hard-disk-based AVCHD camcorders that accommodate the bifold firsts of congenital GPS and a fresh Exmor-R back-illuminated CMOS sensor. Admitting the GPS aspect isn't absolutely accessible for prime time--because of a array of limitations, it's added of a fun-to-have change than a reliable feature--the fresh sensor and G-series lens aggregate delivers abundant video quality. Toss in some advancements to its SteadyShot angel stabilization arrangement and a solid consumer-oriented affection set and you accept a acceptable combination--albeit one abject bottomward by the awkward touch-screen interface and a aerial price.

On the appropriate side, on either end of the adamantine deejay beneath doors, sit a array of ports and connectors. To the advanced is a proprietary jack for blended and basic output, USB, and mini HDMI, and to the aback are 3.5-millimeter headphone and mic jacks.

Bigger and added than best customer camcorders, the XR500V/XR520V will fit in a apart anorak abridged but will apparently annoyance it bottomward a bit. Because of the size, though, it's as able to anchor as the camcorders of yesteryear, with a abasement aloft the adamantine drive to bore your aback fingers into, and it feels decidedly sturdy. All the aperture covers feel actual absolutely attached.

There are two models in this series, identical except for the hard-disk size: the HDR-XR500V includes a 120GB drive (14.5 hours best affection video), while the XR520V doubles that for 240GB (29.3 hours at best quality). We activated the HDR-XR500V for this review.

At the advanced of the camcorder you'll agenda the big-barreled lens with cyberbanking lens awning belted by a beam (there's no congenital video light) and chiral dial. Admitting you baddest the absence action for the punch in the menus, to about-face amid the adjustments the punch controls--focus, exposure, AE shift, and WB shift--you columnist the axial button in and authority it. Figuring that out appropriate a cruise to the abbreviate documentation. The punch operates abundantly responsively to ascendancy these features. One disappointment, though, is the abridgement of absolute ascendancy over bang speed, iris, or audio levels as analogously priced models offer.

The XR500V/XR520V incorporates a large, aciculate 3.2-inch affectation with Home, zoom, and almanac buttons on the bezel. In its alcove sit the covered Memory Stick Duo Pro slot, affectation toggle, Easy operation button, direct-to-DVD button for use in affiliation with Sony's DVDirect Express VRD-P1 DVD Writer, and speaker. There are additionally absolute playback and Power buttons; you use the closing to override the on/off operation back you abutting the LCD or cull out the EVF.

Two switches ascendancy the GPS and low-light cutting modes. GPS support, adumbrated by the "V" at the end of Sony's camcorder artefact names, comprises a congenital antenna and in-camera geotagging of videos and photos. Sony licenses NAVTEQ's Chic 4 map abstracts to accommodate anchored maps aural the camcorder and links to GPS satellites. (Geotagging and map abstracts isn't accessible for all locations, so analysis afore you shop for or travel.) The accomplishing is fun, but limited. You can use the geo abstracts for a map affectation of all your videos, which Sony serves up in-camcorder on a map. The Chic 4 abstracts doesn't accommodate artery names or alike a complete set of landmarks; for instance, actuality in NYC it shows the Flatiron architecture and Teddy Roosevelt's birthplace, but not the Empire State Building. It marks galleries and museums, but not parks. Once you download the video to a PC, your options for video are alike added limited. Unlike with photos, there's no metadata accepted for autumn the advice with the files. As a result, Sony has to abundance it in a sidecar book with abstracts that can alone be parsed by its always annoying Account Motion Browser software.

Unfortunately, the camcorder couldn't get a GPS lock actuality in Manhattan. While that's an accepted botheration amid the alpine buildings, some accessories do administer to get a accessible lock. It formed accomplished added upstate on the banks of the Hudson river, however.

While the LCD is ample abundant to abutment the touch-screen operation, the card arrangement is ailing designed, as it's been for the aftermost several ancestors of Sony camcorders. Sony is acutely acquainted of this, as it overhauled the user interface back it formed out the HDR-TG5V this spring. It's breach into two sections, Home and Options menus. The aloft is for settings you can't change while shooting, such as allotment HD against SD, quality, 2-channel or 5.1-channel audio, or SteadyShot Active/Standard/Off. The closing is for those you ability appetite to change while recording, including atom meter/focus, acknowledgment adjustments, affairs arena modes, or toggling the flash. Quick--which card do you aces for enabling Face Detection or Smile Shutter? I'd anticipate Options, but it's Home. There's aloof too abundant arch abrading and card bouncing to acquisition any accustomed ambience back you charge it. (For a complete briefing of the XR500/XR520's appearance and card system, you can download the PDF manual.)

The lens achievement and video affection absolutely angle out on this model. Its G-series lens, based off the aforementioned eyes as Sony's dSLR lenses, seems to bear as acceptable (or alike better) after-effects than the accomplished Zeiss T*-coated lenses on antecedent prosumer models. Video looks sharp, and there's no arresting fringing or aberration. Plus, the lens focuses decidedly close. I ambition it could focus a little faster while panning, but that's not unusual. The AF and autoexposure systems accomplish appealing quickly, admitting as with best AF systems it frequently gets abashed amid beginning and accomplishments objects--that's breadth the touch-screen-based atom focus and atom beat appear in handy.

The SteadyShot stabilization arrangement works able-bodied as usual, and the fresh Active mode, which compensates for lower-frequency motion than handshake, like walking, makes a big aberration (though not bedrock steady). It's alternative because the beyond advantage breadth can aftereffect in some resolution abasement about the edges of the images, admitting I couldn't atom any on my analysis shots. Alike the LCD is added acceptable than usual; it's ample and retains afterimage in absolute sunlight, and in aggregate with the chiral focus punch is able for assuming chiral focus. While the EVF feels a bit baby and coarse, the blush and acknowledgment appears almost accurate.

The audio sounds acceptable as well, and the mic is sensitive, admitting it could absolutely use a wind filter. Still photos attending OK, admitting as you'd apprehend at the accustomed 12-megapixel resolution--interpolated up from the sensor's built-in 6 megapixels--photos attending overprocessed with occasionally animal bend artifacts. The 6-megapixel shots attending better. However, they should all book abundantly up to 8x10.

Aside from the acid interface, the Sony Handycam HDR-XR500V and XR520V are abounding by a aerial price. They're full-featured customer HD camcorders, but models targeted at home video creators are activity for at atomic $250 less, abnormally back those users are usually accommodating to abandon the EVF. In their bulk class, you apprehend added prosumer-oriented chiral controls. So admitting actuality about first-rate camcorders, you'll apparently be aloof as blessed with article a little cheaper.

Video quality, while imperfect, still ranks aerial for a customer model. Its colors are bright, saturated, and accurate, and there's a fair bit of activating range; as is archetypal of its class, it still shows a addiction to draft out highlights, but with a lot beneath abridgement of both the highs and lows than usual. The detail in acutely high-bandwidth scenes, such as a active baptize fountain, can get a little mushy--a college bit bulk than its 16Mbps best ability advice in cases like these--and there's some jitter on rapidly affective capacity like a banderole luffing in the wind.

Though the back-illuminated sensor isn't new, this is the aboriginal time we're seeing it in a product. The technology, which flips the layers so that the photosites are aloft the electronics breadth they can get added light, absolutely seems an able way to advance low-light performance, the continuing anemic aspect of customer camcorders. The camcorder absolutely fares able-bodied in low ablaze compared with all its competitors, advancement a decidedly sharp, saturated account with alone a bashful bulk of angel noise. Low Lux approach seems added able than best low-light modes, alone accepting up if necessary. It absolutely produces a brighter angel than accepted mode, with alone a bashful access in angel noise, no slow-shutter-speed artifacts (it won't bead beneath 1/30 sec), and actual little desaturation. Compared with the accepted chic leaders, all from Canon, the low-light video looks added pleasing; admitting there's a blow added noise, it produces added acceptable midtone and adumbration reproduction, for added acceptable perceived sharpness, and with added saturated colors. However, none of them do a abundant job of advancement white antithesis in low light

Panasonic AG-HVX200

With its addition of the AG-DVX100 camcorder three years ago, Panasonic fabricated itself the best of the little guy. Previous affordable three-chip models were able of abundant results, but their consumer-oriented controls and access fabricated them difficult to use professionally. The AG-DVX100 was the aboriginal prosumer camcorder to behave like a miniature pro camera rather than a souped-up home-movie machine. The Panasonic AG-HVX200 continues that trend, bringing the capabilities of the company's high-end Varicam HD camcorder abundant afterpiece to the admeasurement and amount of the DVX100.

What affectionate of appearance are we talking about? Multiple HD and SD recording formats, including 1080p DVCPro HD, a ample ambit of anatomy rates, and abutment for P2 solid-state media are aloof the beginning. But afore you get too aflame about P2, accumulate in apperception that the cards are currently actual big-ticket and almost small; thus, they'll apparently crave common auctioning to a adamantine drive in the field. For the time being, some users may adopt to avoid the P2 arrangement altogether and almanac over FireWire anon to a laptop computer or a soon-to-be-available hard disk recorder.

Although relatively small, the HVX200 offers a complete set of well-placed professional controls and connections. As should be the case with all professional gear, menu navigation is required only for setting up the camera's general operating parameters, not for the type of adjustments that must be made during run-and-gun shooting.

On the camera's back are the viewfinder eyepiece, the battery slot (for the same type of battery used in the DVX100), scene-file dial, audio-level controls, and a couple of significant new additions: a media switch, which selects whether the camera will record to DV tape or a P2 card, and a door under the viewfinder, which opens to reveal two slots for P2 cards.

The right side of the HVX200 is very similar to the DVX100, consisting primarily of a DV tape compartment under an adjustable wrist strap. A zoom rocker sits atop the tape compartment, with the power switch/record button at its back, where the user's thumb normally rests. All of the camera's ports/connections are also located on this side: a pair of mic/line-switchable XLR-balanced audio jacks; ports for composite video, S-Video, and HD/SD component video (via a D connector); and jacks for USB, FireWire, a wired remote, and headphones. Finally, Panasonic has incorporated an SD memory card slot for the storage and transfer of camera settings and shot metadata.

But no other camcorder in its class offers the cinematic possibilities of the HVX, and no camcorder in its class offers more potential in the hands of a skilled shooter.The Panasonic AG-HVX200 looks like a slightly bloated AG-DVX100B, and the similarities are more than cosmetic; the HVX200 is very clearly an evolution of its predecessor. Weighing more than six pounds, the solidly constructed HVX200 is about two pounds heavier than the DVX100, making it one of the heavier handicam-style (as opposed to shoulder-mounted) cameras. Despite the added heft, this reviewer still found the camera well balanced and easy to handle, though it may be a burden to operate on extended handheld shoots.

The HVX200's left side houses its flip-out LCD and most of the manual controls. These controls include an iris dial; switches for gain, white balance, ND filter, autofocus, and a fully auto mode; three user-definable buttons; and a button to toggle the display information. Flipping open the LCD reveals the less frequently adjusted manual controls, including buttons for shutter speed, color bars, zebra stripes, and the stabilizer; switches for audio-channel selection; and phantom power. The LCD itself seems to be the same 4:3-ratio 3.5-inch panel used in the DVX. This may seem odd given the camera's 16:9 native capabilities, but Panasonic uses the black letterbox bars for information display--smart.

A large 13X Leica Dicomar zoom lens, with a whopping 82mm filter diameter, dominates the front of the HVX200. The lens is protected by a removable lens shade and beefy lens cap, and it's encircled by nicely dampened zoom and focus rings.

A sturdy handle sits atop the camera, sporting a stereo mic at the front, independent record and zoom controls for low-angle shooting, and a shoe to hold accessories. Under the handle are a set of VTR control/menu navigation buttons; they're somewhat oddly oriented but much improved over the DVX's tiny joystick. Finally, a traditional consumer-oriented quarter-inch socket and locator-pin tripod connection adorn the HVX200's bottom. A camera this hefty would benefit from a more substantial tripod interface.Three interrelated features differentiate the Panasonic AG-HVX200 from every other camcorder in its price class: its trio of 16:9 one-megapixel CCDs for recording 1080p HD to SD and everything in between, variable frame-rate shooting from 12fps to 60fps in 720p mode, and its ability to record on P2 flash media as well as tape.

While this actually a relatively simple camera to use, the combination of format and frame-rate options (81!) can be overwhelming. Those familiar with the DVX100 will immediately grasp how the HVX200 handles 1080 and 480 line formats. Whether you record 60i, 30p, or 24p, it stores the video as 60i. So the camcorder stores a frame of 30p video split over two fields and translates a frame of 24p video to 60i via one of two pull-down patterns (called 24p or 24p advanced). It always stores 720p video as complete frames, which enables the 12fps-to-60fps variable frame-rate capability. You can play back in the various frame rates in real time as well.

There are two 720p recording modes: standard and native. The standard mode works like the Varicam, recording 60 progressive frames per second, regardless of the capture frame rate. This means that, depending on the capture frame rate, duplicate frames may be recorded; for instance, when shooting 30p, it records every frame twice. The extra frames are discarded in a compatible editing system, restoring the intended frame rate in postproduction. The 720p native format, on the other hand, records only the captured frames, with no duplication. So, when shooting 24p in 720 native format, only 24fps are stored. The latter, space-saving approach allows the HVX200 to record video directly to a hard disk or PC via FireWire's relatively limited bandwidth.

The P2 card system's random access and high-speed interface makes such versatility possible; tape is simply too linear and too slow. It also enables several novel shooting features, such as time-lapse Interval Recording, single-frame One Shot capture, 7-second Pre-Record, and Loop Record, which continuously records over the oldest video in memory. The HVX also supports a variety of tape formats in HD (DVCPro HD) and SD (DVCPro 50 and DV) flavors. Furthermore, the camcorder can also record DV downconverted from HD video recorded previously on P2 card, plus simultaneously shoot HD while downconverting and sending SD over its video outputs.

As in the DVX100, well-placed manual controls are available for all essential camera systems: iris, shutter (now controlled with separate up and down buttons), ND filters, white balance, and audio levels. Three user buttons may be set according to operator preference. As pioneered in the DVX100B, the dual set of wired remote jacks allows remote control of focus and iris, as well as the customary record and zoom. The extensive image controls--syncro scan, detail, coring, chroma level, phase, color temperature, master pedestal, gamma (including a new news gamma), knee, matrix, and skin detail--may all be set and stored in six independent scene files, allowing for six different easily switched in-camera looks. New to the HVX200, these scene files can now be stored and transferred from one camcorder to another via an SD card.

Other record-time tools include Peaking, which artificially sharpens the viewfinder image, and Focus Assist, which magnifies the center of the frame; they're essential aids for focusing the HD image. Two Zebra Stripes settings (each adjustable between 50 and 105 IRE) and a spot-metering marker help set exposure. The HVX200 viewfinder displays the full image in proper proportion and without underscan. Guidelines are available for 4:3 framing and safety zone, though I'd love to see adjustable guidelines, as in Canon's XL-H1.

The HVX200 has full time-code support, including drop, nondrop, record, and free run. As with the DVX100B, the HVX200 can sync its time code to any FireWire source, facilitating multicamera shoots.

Unfortunately--as is the case with just about every current HD camera--the viewfinder and flip-out LCD are simply too coarse to do justice to the HD image. Panasonic's well-implemented focus assist helps soften the impact of this weakness, but a camera with 1-megapixel imaging capability deserves a viewfinder with more than 0.2-megapixel resolution.

The Panasonic AG-HVX200 is extremely responsive to inputs from the manual controls. Those used to videotape will be blown away by the speed of the P2 system. There is literally no discernable delay between pressing record and capturing video.

In informal testing, the HVX200's audio quality appears to be superb. As mentioned above, although the DVCPro HD format includes four high-quality uncompressed 16-bit audio tracks, there is no way to connect four outside sources to the camcorder; two of the four tracks will always be camera mic. And like all such mics, the HVX200's built-in camera mic is not adequate for critical sound applications.

Finally, the HVX200's battery life appears to be similar to the DVX100's. While not a strong point of these models, the high-capacity battery that Panasonic now includes keeps them running for two to three hours.In color accuracy and subtlety, latitude (ability to handle contrast), and low-light performance, the Panasonic AG-HVX200 is the leader among the current crop of prosumer HD cameras, in part due to the aggressive compression required by its HDV competition. As is the case with all prosumer HD cameras, the HVX200 can get noisy in low light, particularly if gain is used--an unfortunate by-product of dividing a small CCD into the tiny pixels necessary to achieve HD resolution. Those familiar with the DVX will find fairly similar low-light performance here. In real-world situations, the HVX200's image always appeared extremely sharp and detailed, with no visible compression artifacts.

The HVX200 offers the usual assortment of automation, including autoexposure, auto white balance, autofocus, and a new fully auto mode, activated by a single switch. These features all work reasonably well but will no doubt be avoided by any serious user. As with the DVX100, there is no automatic audio-level control, just an optional limiter.

Externally, the audio section of this camera is almost indistinguishable from the DVX100's. Panasonic subtly improved the audio meters by adding marks for -20dB. As with the DVX100B, you can switch the HVX's headphone-monitoring circuit to either live (no delay) or tape (echoing sound when shooting progressive). When shooting DVCPro 50 or HD, four channels of uncompressed 16-bit digital audio are recorded. Unfortunately, there are only two external inputs, so two of these four channels are always devoted to the camera mic--and it's not obvious how the audio levels for channels three and four are set.The Leica Dicomar 13X zoom lens is superb: sharp, contrasty, and capable of going slightly wider than the DVX100's notably wide zoom, while adding some new telephoto reach--useful for event work and nature photography. Other manufacturers offer longer zooms but always at the expense of the generally more useful wide end. The lens's only noticeable weakness is some barrel distortion at the wide end. The optical image stabilizer is noticeably improved over the DVX's, and its focus and zoom controls are the best of any nonmechanical lens: repeatable, precisely quantified via the onscreen focus and zoom information, and remote controllable via the dual wired remote ports. You can precisely manipulate the zoom either through the smoothly damped zoom ring or the servo control, which offers smooth starts and stops and a full spectrum of speeds, down to a barely perceptible crawl. The focus ring, while technically a servo control, behaves more like a mechanical control in its accuracy and feel, which enables precise focus racking.

Panasonic HD 3D Camcorder

Panasonic Advertisement begins an assembly of fresh articles in beforehand of the accessible NAB (National Association of Broadcasters) show. In the branch of camcorders, however, the big advertisement is that Panasonic is acceptance barter to assets orders on its fresh Full HD 3D camcorder by agreement a non-refundable $1,000 deposit.

Panasonic is acutely establishing the actuality that NAB will be acclimated to advertise its $21,000 3D-capable camcorder, appear beforehand this year at the Consumer Electronics Appearance (CES). This unit—expected to be accessible this fall—features abstracted recording for larboard and appropriate channels and is accordant with SD/SDHC anamnesis cards. It will be actual agnate to Panasonic's approved handheld prosumer models, with one key difference: a aggregation ascendancy to accord the lenses for 3D recording. The aggregation ascendancy will be on the lens, abreast the iris, focus, and zoom controls. There are not yet official affairs for an auto aggregation advantage or a 3D viewfinder.

In accession to accouterment added advice about the 3D camcorder, Panasonic additionally appear a carriageable P2 media accumulator assemblage (model AG-MSU10) and a P2 anamnesis agenda drive that connects to a computer via USB cables (model AJ-PCD2). The agenda drive appearance a distinct P2 aperture and requires no abstracted ability accumulation for a book alteration via USB. The AG-MSU10 media accumulator assemblage is a added circuitous account that allows the user to archetype abstracts from a P2 agenda to a affiliated solid accompaniment drive (via USB or eSATA connectors).

The AG-MSU10 media accumulator accessory will be accessible in October with an MSRP of $2500, while the AJ-PCD2 P2 agenda drive should be accessible in April for $350.

Panasonic additionally apparent a pan-tilt-zoom camcorder, the AW-HE50, that can almanac either HD or SD video. The archetypal is advised for video conferencing or advertisement assembly and it boasts a 18x optical zoom lens. The AW-HE50 will be accessible this summer, but Panasonic has yet to advertise a amount for the fresh product.

Sony DCR-IP5

Sony has absitively that acknowledging two agenda customer formats (MiniDV and Digital8), one added than any added camcorder manufacturer, isn't enough. Sony's best recent entries into the camcorder bazaar are the IP alternation is the MicroMV format. Sony's $1,299 DCR-IP5 Network Handycam is a matchbox, accumbent camcorder, recording MPEG-2 assimilate the fresh MicroMV cassettes.

The IP5 has a 680K pixel CCD, recording 500 curve of resolution. About the CCD absolutely annal alone 380K pixels. The camcorder includes a 10x optical, 120x agenda zoom. The camcorder does not accommodate a headphone jack, or a mic ascribe jack. The minimum lux is rated at 7. The camcorder weighs 12 oz, and is 1 7/8 in. wide, 4 in. tall, and 3 1/8 in. long.

The IP5 is a tiny camcorder, advised for users who are attractive for an ultra-compact. The camcorder is thin, with the LCD awning on the larboard and the array backpack on the right. The 2.5 in. LCD swivels so you can blur yourself, about clashing best camcorders, the LCD awning folds up and out (from the top of the camcorder), instead of out and up (from the ancillary of the camcorder). Next to the battery, abutting to the advanced of the camcorder, are in / out ports, including: USB, MicroMV's appropriate FireWire (more on this later), Composite (using Sony's mini-connector), and the DC Ability connector.

The LCD screen can swivel out, turn around and fold back against the side of the camcorder to face out. The LCD screen is also touch sensitive, and it is used to navigate menus and options in the camcorder.

Above the LCD is a very small zoom controller and a record button. In the back of the camcorder is a color viewfinder, which has to be pulled back in order to be used. The power switch, which switches the camcorder from video recording, to VCR mode, to Network / Memory Stick mode, to off. Located in the back is also a tape eject button. The Microphone is located on the top of the camcorder towards the back. This is really problematic because chances are you will touch the microphone with your hands while you are recording, creating unnecessary background noise.

The camcorder comes with Movieshaker, Sony's consumer video editing software. Although the camcorder uses Firewire, it's not compatible with existing Firewire. The camcorder can connect to computers using existing Firewire ports, but only Sony's Movieshaker software can recognize the software. Existing video capture programs are not able to record the special MicroMV Firewire. The MicroMV Firewire also can not transfer video to and from existing Firewire camcorders and decks.

The MicroMV format records MPEG-2 video, and can hold one hour of video. Digital8 and MiniDV camcorders afford 25 MegaBits per second for video, whereas MicroMV only uses 12 MegaBits per second. The MicroMV tapes include 64KB of Memory for storing index information about the contents of the tape.

The DCR-IP5 is small, small enough to fit in your pocket. The camcorder is designed more for the casual user who is not interested in shooting quality video. The camcorder is so small its hard to shoot stable video with it, and it feels awkward on a tripod. No microphone in or headphone jacks coupled with the top mounted mic means audio is pretty much out of your control. The video quality is certainly lower quality than existing digital camcorders. The camcorder seems more than a gadget than a true "memory recording device". I wouldn't recommend this camcorder with such a high price tag of $1,299 unless you need an ultra small camcorder for some specific reason, like spying. Chances are if you need a camcorder this small, you're going to be using it for some super shady activity that you shouldn't be doing in the first. There are other small camcorders available that shoot on MiniDV at higher quality with more features and at a less price. In the end, the DCR-IP5 is a gadget that I wouldn't recommend.

Panasonic HDC-SD60

Most of Panasonic's updates with the HDC-SD60 took abode beneath the hood. We're actual aflame to analysis the camcorder with its fresh 1/4.1-inch CMOS sensor and we should see some stronger after-effects over aftermost year's models. The HDC-SD20 (the antecedent archetypal to the SD60) alone had a 1/6-inch CMOS sensor.

Other centralized improvements accommodate the 25x optical zoom lens on the SD60 as able-bodied as an upgraded angel stabilization system. Panasonic continues to use optical angel stabilization (OIS) in all of its camcorders, but now these fresh models affection both Active OIS and Power OIS. We're absolutely agog to get the HDC-SD60 into our labs to analysis this fresh Power OIS feature.

Panasonic didn't absolutely change annihilation with the compression arrangement on its 2010 camcorders. These fresh HD models still use AVCHD compression, which is congenital on the MPEG-4 AVC/H.264 codec. Panasonic additionally didn't admission the best bitrate for recording video with these fresh HD camcorders. They all still top out with a bitrate of 17Mbps—which is decidedly lower than the 24Mbps beam offered by AVCHD. Both Canon and JVC accept 24Mbps settings on their customer camcorders.

Panasonic doesn't accommodate a cast freshcomputer application amalgamation with the HDC-SD60. Instead, the camcorder ships with an adapted adaptation of HD Writer AE (this year its adaptation 2.0). The 1.5 adaptation of thecomputer application was appropriate abundant for importing your footage, but we won't apperceive what affectionate of updates accept been fabricated to the affairs until we get a archetype of the fresh adaptation to try out.

Since the HDC-SD60 annal AVCHD video, the camcorder charge appear with the admonition that you'll charge a actual able computer to assignment with the footage. AVCHD files can booty consistently to acceptation if you accept a apathetic computer—and they can booty a continued time on appropriate computers as well. If you plan on accomplishing all-encompassing alteration with AVCHD footage, accomplish abiding you accept a computer (and abundant adamantine drive space) that is up to the challenge.

We're a bit afflicted that Panasonic didn't action added improvements to its chiral controls or touchscreen interface. The arrangement is aloof as accessible to use as it was aftermost year, but the touchscreen arrangement isn't accessory for ambience absolute chiral controls. Still, you can consistently move to higher-end models if you appetite admission to lens rings or ascendancy dials. The HDC-SD60 additionally didn't appearance us too abounding fresh interface appearance added than an added account acclimatize advantage (color temperature) and the fresh smile bang setting. We are somewhat absorbed by the fresh Wind Noise canceller setting, however, and we'll try to amount out a acceptable way to analysis the affection of that affection in our labs.

Overall, we're appealing aflame about the HDC-SD60. The camcorder is basically the HDC-SD20, but with an bigger lens and sensor, so we are assured acceptable things from our achievement testing.

image source: http://samsungdatacables.net

ContourHD 1080p

I've been using this ContourHD as a helmetcam when riding a motocross bike. The purpose of using this helmet cam was to make a footage for a documentary TV program called Ring of Fire. The image that it produce is superb, compared to the other helmet cam that has no HD quality. But I gotta say, I have a little bit of disappointment in using it.

First thing is, there are a few times when I think I had my footage, meaning that I thought I turned the gadget on, but then to find out that I missed it. It didn't record at all. We don't have any monitor to look into.

With the GoPro HD and ContourHD 1080p coming out around he same time for the same price point I did a lot of research on both. I was already biased against the GoPro having owned the original Hero Cam Wide.

The quick sliding of the GoPro is pretty simple, but the parts that you have to screw and unscrew are difficult. The screws were hard to tighten and it's too easy to lose the screw and/or nut. I also managed to break one of the mounts by dropping it - a bit too easy to break in my opinion. Getting the correct angle by stringing the screw mounts together was a challenge as well.

I like the ContourHD mount a lot more. It just slides on and off and locks into place. While skiing, I was able to slide it off and hand it to my friend so he could take video of me. Using the included goggle mount, the video was pretty steady as long as my ski goggles were on snug. Never worried about it sliding off.

If I were to have gone with the GoPro, I would have to get a ski helmet. It would not be as easy to switch and I feel it looks and feels obtrusive if sticking out to the side, top, or front. The ContourHD, when goggle mounted, sits slimly along my head - not far out so that it feels like an antler. And since the goggle mount sits flush, I always know that what I am looking at (or at least slightly to the left or right) will be what is filmed. This would not be true of a camera that is chest-strap mounted or sticking farther out to the side.
Pointing the camera up/down was difficult at first but became easy to work with.

I found the GoPro to be too wide. I love having a wide angle lens for point of view sports video, but the GoPro Hero Cam Wide just seemed so wide that it would be distorted (to reiterate, I have not tried the GoPro HD). The ContourHD was wide enough to have a large field of vision, but not so wide that things looked distorted. I've also tried the Kodak Zi8 camera which I feel has a great viewing angle for youtube type videos but not great for POV sports videos.

I was really impressed with the quality. Everything was really smooth with no artifacts. Any higher video quality and I don't think they could have kept this price point. It does have a rolling shutter, so I would occasionally get the jello effect if constantly over uneven snow. But I believe this is true of most cameras in this segment. The only cameras that won't do this, as far as I know, are some point and shoot cameras or camcorders which usually don't offer the same helmet cam functionality.

The colors and lighting seemed okay. Hard to tell as I was skiing and everything is white, but nothing seemed "off". I went night skiing in Keystone Colorado and the video didn't turn out that great there. I doubt any camera would be different though given the poor lighting conditions.

Not great. All I heard on my skiing videos was wind noise. I don't see any other way around this though and I don't think the competition does either. I'm just going to add music. When I'm still and talking though, the audio comes out clear.

The thing I like the most is how simple it is to use. Hold down the power button to turn it on/off and slide the switch forward to record. The display on my GoPro wasn't useful and I was never really sure it was recording. When helmet-mounted, you can still feel the switch on the ContourHD is moved forward. Also, when it's on, the slider reveals a big red sticker that says "REC" in big letters. With the GoPro, you have to look at the tiny display - which can be really difficult to do when the camera is strapped to your head and you have all your gear on. And while the slider switch on the ContourHD can be difficult to turn on with heavy winter gloves on, it is near impossible to press the GoPro's tiny buttons.
I also really liked the beeping system. 1 beep lets you know when the camera is turned on or recording. 2 beeps lets you know when the camera is off or stopped recording. This is really useful when helmet mounted since you can't see the camera and it's usually close to your ear. This beep system helped as well when my battery died or the camera automatically shut off due to inactivity. I forgot to turn it off once and I heard 2 beeps while on the chair lift. Even though I skipped this in the manual, I knew that it turned off by itself.
The camera allows you to switch between 2 modes. I chose 1080p @ 30fps and 720p @ 60fps. It would be nice to switch between all modes without having to preset them in the computer, but realistically, I usually won't need more than 1 mode in a given day.
The on off button is small, and since I'm constantly worried about running out of battery, I always turn off the camera when not recording. Maybe they could just make this one button (anytime it's on, it's recording and anytime it's off, it's not recording)? It also takes some time holding it down to turn on/off. 1 or 2 seconds less would be adequate.
There is no display on the camera or a viewfinder. Again, displays aren't really as useful as tactile buttons when mounted to your head. Other POV cameras don't have a display either for simplicity. Camcorders, flip cameras, and the Kodak Zi8 have displays but they aren't meant for the same type of things the ContourHD is. The lasers to orient viewing angle are a great compromise. And I like that you can rotate the lens. I can see this being useful if you need to mount the camera sideways or upside down.

The ContourHD feels very sturdy (anodized aluminum). It's water-resistant(not waterproof) and still worked even when I fell in the snow. The GoPro does have the added benefit of the waterproof case - not only in terms of water damage but impact damage as well. I'd hate to drop my ContourHD on concrete or scratch the lens with a flying rock. If this is an issue for you, consider the new, somewhat pricey, waterproof case. For my uses though, this is not a deal breaker.
The mounting mechanism seems sturdy as well and the plastic mounts feel high quality. Again, I was able to break a GoPro mount.
The ContourHD isn't shaped like a traditional camera like the GoPro is and I feel this is more condusive to helmet mounting and POV sports videos.
The record switch provides good resistance, but I accidentally opened the back cover of the camera when I switched it on. The camera was still safe though.
The Hi/Lo switch, On/Off switch, battery door cover, and microSD slot are all behind the back cover. The back cover is easy to open and is tethered. The tab holding the battery in seems flimsy, but really isn't.
The camera is light enough that it wasn't too noticeable when goggle-strap mounted.

The included battery lasts a fair amount of time, but depending on what you do, consider picking up a second battery. I didn't time the battery usage, but I left the house with a fully charged battery and was able to finish an almost full day of skiing without it loosing charge. Keep in mind that I would turn off the camera when not in use. Also consider the cold temperature in which I was using it (25 - 35 degrees).
Personaly, I prefer proprietary batteries to AA's and such because they seem to last longer and are easily rechargeable in the camera. I had problems with the GoPro Hero Cam Wide's batteries. The camera seemed to turn off after a while if it didn't have the right battery. The GoPro HD has a proprietary battery now.
The camera does a good job of turning itself off when it is not in use. I forgot to turn it off and after several minutes of not recording, it turned itself off and gave me 2 beeps to let me know it did so. The camera also gave me several beeps when it turned off due to the battery being drained. I was able to switch to my back up battery with little interuption to what I was doing.

I bought a 16GB microSD card so that I can take many hours of high quality video. I would have prefered regular SD since I already have several of those cards, but I'm sure this contributes to the ContourHD's small size.

I didn't use this too much. I like to transfer my video's on my own. On trips, I just back up the video's on my netbook which doesn't really have the processing power to edit such high quality videos. The interface seems nice though and I was able to switch settings easily with my netbook. I would have preferred to switch some of the settings on the camera without a computer, but I think this would overcomplicate it.

I'm really happy with my purchase. It made skiing with my buddies a bit more fun. I would ski with the goggle mount and we would stick together. If I saw a jump or terrain park coming up, I would watch my friends and get the action on video - just by looking at them! I've taken video of them before with my point-and-shoot camera but that's harder to do when not mounted.
First person view without anyone else around is good for my own memories, but not really exciting enough to share. Small jumps don't really look like jumps. I don't do the terrain park but I'd imagine grinding rails or big jumps would look amazing in first person.
The quality is great. All my friends were impressed. I really didn't worry about operating it or having enough memory or battery. I was worried about shaky video at first or dropping it in the snow, but after my 1st (of 4) days skiing with it, I stopped worrying. I had a fall on my second day and not only did the camera survive, but it made for a pretty funny POV video.
I'm really looking forward to using this for motorsports. It should be easy to switch angles on my car (front view, wheel view, rear view, etc.) given the simplicity of the mounts. And I won't ever have to worry if it recorded like I did with my GoPro or other cameras I used with a traditional on/off button.

Sony NEXVG10 Full HD Interchangeable Lens Camcorder (Black)

Finally!!! After waiting like a century or so, there's a movement from video department! Those video camera users are already irritated with those SLRs that can shoot video. Please stay with your weapon guys, use it to take still pictures.

I will say that the attempt footage looks great, if there's able light. But if you shoot article with a busy, afresh texture, moire patterns appearance up - actual annoying. Added Sony camcorders in this amount ambit appearance a actual advantageous adjudicator arrangement in areas of blown-out whites, Sony absitively to omit that in this camera - weird.

Another aberrant blank is in the still pictures - yes it takes abundant stills BUT doesn't save them in RAW format, aloof JPEGs. The basal cameras in the NEX band save in RAW. Why would Sony do this? It makes no sense. If this affair attempt in RAW, Sony would accept the hottest camera on the planet.

Controls -you can ascendancy best of the functions manually, but you accept to go through an arrangement of odd agenda functions to do it. I accept that an accessible firmware amend will accomplish this abundant easier, but for now it's aloof a pain. Addition affliction - you accept to leave the adviser aperture accessible all the time to admission the controls - you can about-face the adviser off and aloof attending through the viewfinder (thankfully).

Glass - the included 18-200mm lens is actual nice - acceptable affection bottle with aloof abundant annoyance on the zoom to accumulate it smooth-I don't absence a motor zoom at all. I bought the wide-angle 16mm lens-which I additionally like - and it's a bit added acceptable than in low ablaze than the included lens. I apparently won't get the 18-55mm lens (it seems affectionate of redundant). Sony has promised added lenses in the E-mount line. Lens alteration is fast and easy.

Mac Users

Sony and Apple - what a sad news that is. You can acceptation footage into Final Cut Pro with Log (Lag?) and Transfer, but you won't like how it looks or performs. There are about-face and "wrapper" utilities out there that work, sorta. You're added acceptable off application Adobe Premiere Pro CS5 with files from this camera. I adopt FCP, but files from this camera attending and assignment added acceptable in Premiere Pro. If you alone use FCP, this camera is not for you - until Apple and Sony can achieve their differences and FCP is updated. Windows users accept added options with Sony's own Vegas program, Avid and others.

Sound-The onboard mic is appealing good, and there is a mini jack for an alien microphone (no XLR input) but Sony absitively to omit chiral akin ascendancy - alone automated levels for sound. Once afresh Sony bare article that its added price-class camcorders have. If you accept to use the onboard audio, aggregate sounds OK-until you hit a quiet atom - again the auto accretion pumps up and whatever allowance babble there is hits you at multi-decibels - which agency you'll absorb a lot of time in column bath allowance noise. If you're austere about sound, you'll accept to use an alien complete recorder. (Zoom makes some acceptable ones)

Camera Band Holders - The designers at Sony did not anticipate this through. Absolutely absolutely bad placement. If you accept a $2,000 camera in your hands, you accept to put a close band on it. Sony put the band holds in a abode area your band will awning the almanac button AND baffle with the accessible adviser door. It wouldn't be as big a accord if you didn't accept to accumulate the adviser aperture accessible to admission the controls. I've approved putting both band clips on aloof the advanced holder-which is a little better, but still a pain. Why didn't Sony put the holders on the basal of the camera, area they would not baffle with the controls? A mystery.

No anamnesis agenda is included with this camera. If you adjustment it, you'll charge to shop for cards so you can absolutely use the camera. Shop for the fastest better cards you can afford. Anamnesis is appealing bargain these days, and it's odd that Sony didn't accommodate at atomic a 1 gig card. Not a big deal, but odd.

This assemblage has the abeyant to be a abundant camera for it's price. The annoying menus, the abridgement of RAW book storage, the auto-only audio levels, the moire patterns, no adjudicator arrangement and the band holders accumulate it average. Sony could fix abounding of these problems with firmware updates - and conceivably they will. I'll add to this analysis afterwards the advancement comes out.

If you shop for this camera for planned shoots (like indy films or web videos) and accept an alien audio recorder-you'll like this camera a lot. You can get admirable assignment done on it. The bottle and the big sensor can accord you some of the best-looking footage accessible in a camera in this amount range.

If you're a alive accident ballista - this apparently isn't your camera, yet.

Event shooters would adulation to accept a abundant amalgam video/still camera. No RAW files and the agenda admission to controls aloof won't accomplish it for those who dream of the absolute camera.

One of these days, Sony or Cannon or Nikon or Panasonic or somebody will put it all calm the appropriate way - and shooters will absolutely action with tooth and attach to get their paws on that camera. The blow of the industry will again blitz agnate articles to the market.

C'mon manufacturers! Which of you is accommodating advertise us what we absolutely want?

FIRMWARE UPDATE

All it does is accommodate auto-focus for Sony Alpha-mount lenses. Nothing added than that. I don't own any of those. Sony did accommodate a MAC adaptation of the update, which is nice.

FURTHER THOUGHTS (after a ages with the camera)

Another problem: the covers over the assorted ports (power, USB, etc...) are captivated on with artificial hinges, rather than the elastic "plugs" acclimated on some added Sony camcorders. Not good. I'm absolutely accurate with my cameras, but still managed to rip off the one that covers the ability accumulation port. On my earlier Sony cameras (some are added than 10 years old with abundant usage) this never happened.

Another awe-inspiring "feature"- back you breeze a still, the camera makes a affected SLR bang babble - and it's LOUD. Back you use HDR or one of the added fast multi-shot modes, you get three or added of these loud outbursts out of the camera. There's no way to about-face this complete off or bottomward (I asked one of Sony's online "experts"). You can about-face off the autofocus "beep" (which is almost aural anyway) but not the apparatus gun cacophony of absolutely demography a photo. Sony needs to fix this, the babble serves no purpose. Sometimes the photo/video guy doesn't appetite to be the loudest being in the room.

I absolutely appetite to adulation this camera, I've attempt abounding hours on it now, additional taken 100s of stills. For the best part, it all looks great. I've gotten acclimated to the bad-humored airheaded (sorta) - but I still don't like them. I use an alien complete recorder, but I ambition I didn't accept to sometimes. If it attempt RAW still files and had chiral ascendancy over the audio, I'd shop for addition one. If Sony's basal NEX cameras accustomed best cutting times, I'd shop for one of those today. (The NEX 3 and 5 additionally ache the loud "shutter" problem.)

There are lots of association out there autograph Sony and allurement (pleading, begging) them not to attenuate their cameras. So far it hasn't been too effective. I'm academic that some business ability absitively that barter would be captivated to pay added for an carefully bedridden camera.

TO SONY'S MARKETING DEPARTMENT:

Take a attending at the NEX VG 10 user groups on Vimeo and added sites, additional booty a attending at the comments your own site. I apperceive you've awash a lot of these cameras, but I agreement that you won't be able accumulate them abounding if you aloof fix a few of the firmware issues that your barter are allurement for. You could accept the hottest camera in the world! Isn't that what you want? (Maybe you could absolution a few added e-mount lenses while you're at it?)

Panasonic Professional AG-HMC40 AVCHD Camcorder

Ah, finally. Been using HDC-TM700 this year to make a professional documentary TV program. Some clients and investors just looked at me using a handycam and asked, "Will you really shoot the TV program using THAT camera?". And I said, yeah, why not? The look on their faces just showed that they don't believe what I say.

So, perhaps they wanted to see me using a bigger camera, but I don't want to use too big camera because sometimes it'll "intimidate" people in my country. By using the word intimidate, I mean that people here tend to look big camera as a television camera, and by pointed at big camera, they ought to think that they'll be in a television. Having that thought will make them run everytime I point my big camera at them.

So I chose the handycam, with a lot of cons I have to bear.

But the wait is finally over. This is the Panasonic Professional AG-HMC40 AVCHD Camcorder.

- Size, the camera is very compact, for a camera that provides broadcast quality image the size is amazingly small.
- Construction, this camera has most of its body made out with metal panels, that makes it very solid and also makes it reliable, also the set up of the buttons are easy to access.
- Tapeless technology, we bought another AVCHD camera a little less than a year ago, we use it mostly for action shots and underwater recording, the transition was effortless, the advantages and capturing time are reduced to minimal and the quality is amazing, with this model we found that its quality is even better than older models and editing is a lot quicker, also recording cost are cut to almost nothing with new SDHC cards that can be used over and over without loosing quality... Just this fact makes it a must buy!!!
- Price, there are other models in the market that could deliver a similar quality or probably a little better but the cost is at least $1k more, if you think like I do "creativity is the main ingredient for a good production", spending the extra cash doesn't really make a difference as long as you are aware of the camera's capabilities and limitations, but there is always ways to improve performance in some conditions that could affect the correct functionality of your equipment.

After using it for this little time I have managed to work around its many controls and get exactly what I want from it, the response to low light is not the best but it's decent, you can always add a good light for little money and resolve that problem, also the sound quality is excellent, I didn't get the optional xlr adapter piece for it but I am using a 8mm wireless mic system that combined with this little fellow deliver great results!!

Here's the pros and cons.

PROS:
1) MPEG-4. Shoots very good quality in a tiny light weight package. Just love it. Even has time-lapse capability which sure beats roto-ing in post for a time lapse effect.
2) You can squeeze two HMC40s in the same size carryon pelican case as the 150.
3) Start editing your shots on Mac in only 2-3 minutes without waiting for rendering. No transcoding required, no $600 P2 cards either. But you should use something faster than just class 6 SDHC media if you want to bump up the quality a little, otherwise you might get some artifacts (image problems) with fast motion and striped clothing. Same problem as any media recording slower than the camera.
4) I'm cool with renting HMC150 and redrock/letus for higher end projects if necessary. This camera is fine for making DVD projects or streaming HD.
5) Great looking shots with 4:2:0 sampling.
6) We produce our own stuff, make a profit and clients keep coming back. With a $1995 retail price tag I can finally afford to own two very nice HD cameras.

CONS:
A) Manual button lovers will need to learn the softkey menus. I love the softkeys with all the same features. No different than using an iphone.
B) Two choices for sound: Seperate sound (best) or get the panasonic/beachtek adapter for on camera. I like using seperate sound on a tascam or fostex digital recorder with four seperate channels (mic 1, mic 2, wild background). This gives you plenty of room to remix in post or replace sounds. Great sound is still 50% of the production.
C) It's not the same glass lens set as 150/170 so you may need different accessories.
D) No timecode jam sync between two cameras. This camera does have its own timecoding (HH:MM:SS:FF). Oh well, I've been living without timecode sync since I started. It just adds a little to the time in post for manually lining up shots and sound tracks. It's no problem to keep using a clapper board anyway. Clappers do give a kinda nostalgic flair for the crew and spectators.

In short words: "the new Panasonic AG-HCM40 is not the best camera money can buy but ,to my opinion, it's the best camera money can buy for this price!!"

VIO POV.HD Advanced Point-of-View 1080p

Yell it out guys! Aaaghh! Finally it's here!! The most sophisticated on-board camera ever! Is there any kind of on-board camera that has a monitor other than POV? Enough said. POV.HD Advanced Point-of-View 1080p HD. The POV.HD from V.I.O. is the most flexible, rugged, and easy to use point-of-view HD video system available.

It features Advanced HD 1080p 30fps (Full HD) 142 Degrees Widest FOV 720p 60fps (Slow Mo) 95 Degrees.

What's in the box you ask? POV.HD Recorder with LCD Wide Angle Camera Head-LVDS Cable Wireless, Remote Control, Carrying Case, Mounting Solutions, 4GB SDHC Card, USB Cable Analog, A/V Cable, Quick Start Guide, 4 AA Batteries, and preloaded tutorials.

The price at Amazon.com is $599.95 right now, and you still have to pre-order first because it's not released yet. But do not worry, I'll give you full review once I have this thing on my hand. Just you wait!

Waterproof Digital Camera: Panasonic Lumix DMC-TS2

If you're doing an adventure documentary program, or documenting a trip, or perhaps just an outdoor occasion, this is the best thing to buy as a back-up camera. This Panasonic Lumix DMC-TS2 is very compact and portable. It's waterproof, so when it's needed, I can use it as a replacement of my main camera, e.g.: shooting under the waterfall, rain, dust, etc.

As easy as point and shoot, you can have a very decent picture out of it. It's very recommended. Also, once it slipped out of my hand and hit a huge solid rock, but it's still working perfectly. Very durable, versatile, and easy to use. A must have camera as a back-up.

For the specification:
* Optical Zoom 4.6x / Digital Zoom 1 4x
* Focal Length f=4.9-22.8mm (28-128mm in 35mm equiv.) LEICA DC VARIO-ELMAR
* Optical Image Stabilizer 2 Power O.I.S. (Off / Auto / Mode1 / Mode2)
* Photo & Movie modes
* Focus Normal / Macro, Zoom Macro, Quick AF On/Off (On in Intelligent Auto), Continuous AF On/Off, AF Tracking / AF Assist Lamp

Digital Camera: Panasonic Lumix DMC-FZ40 with 14.1 MP

For those point-to-shoot AND filters lovers, here's a digital camera from Panasonic that you just can't resist.

I welcome you the Panasonic Lumix DMC-FZ40! It has a lens that can use a filter of 52 mm size. Careful, Panasonic claims that it has a 46 mm diameter lens, but it in front of my eyes, my 46 mm polarizer doesn't fit. It was too small for the lens. That's the only downside that I managed to see, 2 hours after I bought it.

This camera is easy to use, quick focusing, and has all the manual adjustments and flexibility you will ever need. It also has a long battery life, but finding replacement batteries is a problem that Panasonic needs to clear up fast! It's well-designed and built for the active photographer.

Talking about image quality, it is by far better if you compare to its competitors. But the best part is its image stabilizer. The image stabilization is outstanding, even at full 24X zoom I don't need a monopod or tripod. The zoom is also quiet and smooth. ISO looks good up through 800. I'm still experimenting with macro shots - I'm not real happy yet, but it's probably me. I can't tell a lot of difference between normal and fine JPEG's, except for the file size. The EVF is very good - I can't live without a good view finder.

What's in the Box:

* DMW-BMB9 Lithium-Ion Battery
* Battery Charger DE-A83BA
* USB Cable
* A/V Cable
* Lens Hood
* lens Cap w/ String
* Shoulder Strap
* Software CD-ROM
* 1-Year Panasonic Warranty

Flip UltraHD Video Camera 3rd Generation

Well if this little camera right can shoot HD and has that dependable stabilizer, then I'll be damned. With this, anybody can shoot like a pro.

It can shoot up to 2 hours of HD video (720p/60 fps), and it has a slimmer body than its predecessors. It's also easy to use: just push the big red button to start taking a professional-like HD video. The simple user interface that it has will also help you a lot.

UltraHD also has a new feature that I've mentioned above, and that is the image stabilizer. So light, but so steady. You don't have to buy that expensive steadycam or glidecam to do a steady shot now.

PC-user? Mac-user? Please, worry not. It has a built-in USB arm to your PC or mac, so you can launch a pre-loaded FlipShare software, or you can just copy and paste the video you've captured and edit it the way you want it.

It has widest angle for shooting, compared to its predecessors, and it feels the best in the hand. It also has the best microphone in its class and currently I believe has the best video quality.

The only reason to purchase a dedicated video camera, in an era when everyone and their brother's cellphone already has video recording capability, is if you're at minimum a dedicated hobbyist. And if you're such a dedicated hobbyist, I would suspect that you'd want more bells and whistles (like focus and exposure controls, or better bundled editing software) than this thing has. What it does, it does great, I'm just having a hard time figuring out who the expected market is for this -- it records in higher resolution and better FPS than anyone who wants a casual camera for posting web videos really needs, and it lacks the advanced features that would make it appealing to dedicated hobbyists. The two-hour recording time and easy portability might make it very useful for people who want to record interviews or meetings, but archiving those recordings would be prohibitively difficult without, again, 3rd-party editing tools, due to the massive file size of the recordings this thing generates.