Performance

The Panasonic HDC-DX1 features three 1/4" CCDs, each with 560,000 gross pixels, which reduces to an effective pixel count of approximately 520,000. This is the same chip set found in the SD card-based equivalent camcorder, the HDC-SD1. We found a lot of reasons to choose the SD1 over the DX1, if you pressed to choose between the two, but image quality is not one of them.

In this regard, the camcorders are virtually identical. Unlike the Sony DVD and HDD camcorders that shoot in AVCHD, there is no difference in bit rate between the models. Both the SD1 and DX1 capture at a maximum 13Mbps. Both camcorders also showed the familiar indications that one should be steered against purchasing an AVCHD camcorder this early stage of development. While AVCHD holds great potential for the future, the processors inside today's camcorders cannot encode with the efficiency and quality necessary to compete against HDV. Yes, we’re all eager to move beyond tape, but the time is not now.

At 3000 lux, the image had great looking color strength and saturation. Of course, because this is a consumer camcorder, the image is more saturated than in a pro model. We saw this more in the greens than anywhere else. It’s a shame that Panasonic did not choose to equip the DX1 or SD1 with an alternate gamma curve. The Canon HV20 does offer this, and the Sony HDR-HC7 gives you the option to reduce color saturation. Instead, Panasonic’s Broadcast division took the SD1, modified the gamma, and renamed it as the AG-HSC1U. There was no such conversion for the DX1, as no pro in their right mind would want a DVD camcorder, especially not this one.

As with most AVCHD camcorders, we could see the compression artifacts pretty clearly, even in strong light. The artifacting reduced apparent resolution, which is compensated for by boosting the in-camera sharpening. The result, to the eye, makes for a sharp looking picture.

As stated in the HDC-SD1 review, the two biggest complaints we had about video performance were noise and motion artifacting. AVCHD camcorders make a lot of noise – at least, that’s what we’ve seen so far. Fortunately, the noise is of a finer grain than in the Sony AVCHD camcorders. And unlike the Sony models, the noise was more in the mid-greys than in the blacks.

If the HDC-DX1 was a still camera, we could leave well enough alone and consider a recommendation. Of course, the DX1 is a camcorder, and meant to record motion. Motion is not rendered well at all. We saw significant afterimage trailing, even in bright light. This is not the jaggedness that you see in HDV, where the interlaced lines do not match up correctly (though that is a serious detriment). With the DX1, moving objects take on sweeping auras that trail behind them. The processor, we suspect, is simply not robust enough to render the interframe compression satisfactorily. It’s not surprising, then, that Panasonic Japan just recently announced that the DX1 will be improved upon with the HDC-DX3, which will feature an improved processor - but there are no plans to release the upgraded model in the US.

Video Resolution* (18.0)*

We test video resolution by shooting a DSC Labs video resolution chart, then reading the resolution off of an HD monitor. Like the HDC-SD1, the HDC-DX1 produced approximately a horizontal resolution of 600 line widths per picture height (lw/ph) and a vertical resolution of 600 lw/ph.

Low Light Performance* (5.0)*

Again, the Panasonic HDC-DX1 performed identical to the SD1 in this category. The chips were not particularly sensitive, and the AVCHD compression compounded any noise that a DV or HDV camcorder with the same chips would produce. Together, they produced a fuzzy image. At 60 lux, the DX1 had already opened up the aperture to its max, f/1.8, and boosted the gain up to approximately 12-15dB. As the manual gain only extends to 18dB, the fact that the DX1 was nearly pushed to its limit at 60 lux does not bode well for its overall value as a low light performer. When we manually raised the gain to 18dB, the image quality degraded significantly, with too much noise and some blown out areas.

 

 

At 15 lux, the HDC-DX1’s image became very noisy and a lot of the color information was lost.

 

Using our revised low light testing methods for 2007, we found the sensitivity of the HDC-DX1 (the ability to produce a peak 50 IRE) to be 14 lux, identical to the HDC-SD1. Remarkably, the noise and color error were also completely identical, nary a decimal off. Shot at 60 lux, the noise levels, according to Imatest imaging software, were 0.63%. The mean color error was 11.8. While the noise levels were acceptable, the sensitivity was not impressive. The DX1 required about twice the light of the Canon HV20 and the Sony HDR-HC7 (though the Canon turned in the best performance of all in 24p mode).

Stabilization* (8.88)*

Panasonic has drawn a line in the sand this year by building OIS into every consumer camcorder they offer, from the lowly PV-GS80 (under $300) to the $1300 HDC-DX1. Optical image stabilization, or OIS, is a feature that drastically reduces the effects of camcorder shake on video. OIS systems stabilize the image by literally steadying the lens element, sometimes using gyroscopes or motors to compensate for movements. OIS systems are the best available image stabilization system, because they do not impact video resolution. The more common (and cheaper) stabilization method is EIS (electronic image stabilization). EIS reduces vibration by treating the margins of the frame as a digital buffer, and that portion of the frame is lost, lowering the resolution of recorded video.

We tested the DX1's OIS system using our camcorder shake emulator, custom built for Camcorderinfo.com. The shake emulator can be adjusted to produce movements at differing intensities and frequencies. We tested the DX1 at Speed 1, equivalent to the shake produced while holding a camcorder and standing still; and Speed 2, equivalent to the more intense shake of a moving vehicle.

The Panasonic DX1’s OIS system reduced recorded image shake by approximately 89% at Speed 1, and 88% at Speed 2 – a performance virtually identical to the HDC-SD1. We derived these calculations by measuring the motion difference between footage shot with OIS off, and OIS on.

The Speed 2 score shows an amazing degree of that establishes Panasonic as the reigning champion of consumer camcorder OIS.

Wide Angle* (10.0)*

The wide-angle test is conducted by measuring the field of view of camcorders in 16:9 mode. Stabilization is turned off, the zoom is set to the widest angle, and the full video frame is viewed on an external monitor to obtain the field of view measurement. The DX1’s filed of view was 52 degrees.

Format

Compression* (6.0)*

The Panasonic HDC-DX1 compresses video using the AVCHD codec, a consumer-oriented flavor of MPEG-4 H.264 that supports both 720p and 1080i. AVCHD was jointly developed by Panasonic and Sony, and announced in early 2006, but Sony was the first company to bring AVCHD camcorders to market last fall, with its HDR-SR1 (HDD) and HDR-UX1 (DVD).

AVCHD is up to 50% more efficient than MPEG-2 HDV compression, meaning HD video can be recorded at much lower bit rates to non-tape media favored by consumers such as DVDs, SD/SDHD cards, and HDDs. HDV has a fixed bit rate of 25Mbps, while AVCHD can be encoded at variable or fixed rates up to 24Mbps. The Panasonic HDC-DX1 and HDC-SD1 support three bit rates, with higher rates corresponding to better quality video: HF at 13Mbps (CBR, or constant bit rate), HN at 9Mbps (VBR, or variable bit rate), and HE at 6Mbps (VBR). The highest AVCHD bit rate implemented to date is 15Mbps in Sony’s HDR-SR1.

The efficiency of AVCHD makes it a codec with great potential. In our video performance tests, we find it produces a picture that is noisier than HDV but nearly as sharp at around 1/2 the bit rate. In other words, HDV is better but AVCHD does amazingly well for such a low bit rate data stream. Unfortunately, AVCHD is not yet widely supported by non-linear editors like Adobe Premiere and Apple Final Cut Pro so working with any AVCHD footage demands some time-consuming workarounds. When complete AVCHD post-production solutions arrive, it will demand a faster system than HDV due to increased compression / decompression overhead. At present, AVCHD is in its infancy, and its advantages over HDV are confined to the benefits afforded by its very low bit rates and compatibility with non-tape media. HDV is more stable, superior in terms of performance, and much more widely supported than AVCHD, but can only be recorded to cassette, P2 (in the case of professional camcorders from Panasonic like the HVX200) or DTE devices.

The wildcard in the consumer HD realm at the moment is JVC’s Everio HD7, slated for release in the states very soon. The HD7 records MPEG-2 video to HDD using a new codec at up to 30Mbps. That is a higher bit rate than standard HDV MPEG-2, and could give HDV performance a run for its money. We assume JVC’s MPEG-2 compression will outperform AVCHD due to both its higher supported bit rate, and its use of a type of MPEG-2, the same codec used by HDV. In addition to the convenience of a 60GB HDD, the HD7 will include excellent manual image controls that may make it the camcorder to beat in 2007.

Media* (4.5)*

The DX1 records video to DVD-R DL, DRD-R, DVD-RAM, and DVD-RW discs at the cost of ample amounts of frustration thanks to pitifully slow media access. Simply opening the tape hatch to swap out discs takes up to 20 seconds while the camcorder slowly…disengages…the…mechanism. In addition, the disc reader has a tendency to trip over itself, and resulting in an unusual number of error messages while attempting to read or finalize a disc. Every little holdup proves costly because of the aforementioned sluggish…media…access…speed. Finalizing a disc was also an incredibly slow process that led us to take lunch while the camcorder did its AVCHD-writing magic. The convenience of DVD media that you may love in your standard definition camcorder just doesn’t apply to the DX1 – especially when you pop a disc into your home DVD player and find that it won’t play, or eject.

There are currently only a handful of DVD players that support AVCHD video. Unless you happen to be one of the lucky few to own one, the HDC-SD1’s speedy flash media are a much more attractive choice.

Editing* (4.0)*

If you want the kind of native support for DV or HDV editing that has been around for years, you’ll be sadly disappointed by the state of AVCHD. It is a new codec, just taking its first steps into the world of consumer video, and at present no NLE (non linear editing) programs have taken AVCHD under their wing. A few applications do give AVCHD the time of day, including Ulead DVD MovieFactory 6 Plus, which includes rudimentary eidting capabilities. However, MovieFactory is essentially a DVD authoring program, and its edit feature is merely an added bonus.  As a result, MovieFactory 6 Plus will only provide you with core NLE elements like Storyboard and Timeline Modes, trimming, transitions, titling and support of multiple audio tracks.

The Elecard Compression Suite offers another solution that allows conversion of AVCHD to HDV and a number of other file types. We found Elecard to be fast and trouble free for AVCHD conversion – though "fast" conversion to HDV still means an hour of footage will take many hours to convert. To avoid the AVCHD workflow headaches, you’d be advised to bite the bullet and go with HDV or DV, still the reigning champions in NLE Land.

Auto / Manual Controls

Picture & Manual Control
Automatic Control (6.5)

Both the Panasonic HDC-DX1 and HDC-SD1 perform very well in Auto mode, and a few new features make them better point-and-shooters than past Panasonics. The main automatic controls over exposure, focus, and white balance operate on par with similarly priced camcorders in bright light. Unlike Sony’s Easy mode, which severely limits access to camcorder functions, the DX1 keeps a number of useful options accessible in Auto mode.

To enter Auto mode, the recording mode switch in the LCD cavity needs to be set in the topmost auto position. Pressing the center of the joystick brings up a three "page" menu containing important recording options at the lower left corner of the LCD. By pressing the joystick right side on page one, you can engage Help mode for information about any joystick option. In Help mode, yellow banners appear across the top and bottom of the LCD screen, instructing you to point the cursor (using the joystick) to any menu option for information. A text description of any option you select scrolls across the lower banner while you are in Help mode. In addition, when a given option like Fade is selected, a text banner appears at the base of the screen for a few seconds that says "Fade On" to notify you that you’ve enabled Fade. Prior iterations of this menu did not display a text notification, making Panasonic’s efficient icon-driven menu system difficult with for novices to navigate. The text banners are a big help in this regard.

 A number of useful options remain available in Auto mode making it less idiot-proof than Sony’s Easy mode, but offering greater flexibility. In Easy mode, Sony camcorders lock you out of nearly all functions other than zoom and video quality, and even menu options on the screen become larger. Panasonic allows you to set digital zoom, turn OIS on or off, and access features including Guidelines, Wind Cut, Zoom Mic on/off, manual audio level control, and zebras. Zebras and guidelines are great inclusions, because they are as useful to novice point-and-shooters as streetwise enthusiasts.

We found that exposure was the area this camcorder and the SD1 struggled with in high-contrast environments. High contrast environments are a challenge for any camcorder’s auto exposure setting, but the HDC-DX1 tended to over- or under-expose subjects to a more extreme degree than most. In Auto mode, it is possible to turn BLC (back light compensation) on to brighten your subject’s exposure, but the best remedy may be to leave Auto mode entirely. Sony’s first AVCHD camcorders, the HDR-UX1 (the discontinued DVD model), and the HDR-SR1 (HDD-based) both allow you the option of using manual controls in Auto mode. That’s an unusual level of control, especially from Sony, but it is an option we think point-and-shooters should be able to fall back on.

Overall, the HDC-DX1 and HDC-SD1 are surprisingly approachable and user-friendly for Panasonics, which are known to appeal to manual control freaks rather than soccer moms and dads. The problems arise on the post-production end, where AVCHD footage still has much less support than HDV, DV, or even vanilla MPEG-2. Despite its strengths as a point-and-shoot camcorder, this makes it difficult to recommend the DX1 whole-heartedly for casual shooters.

Overall Manual Control (6.75)

Recording media and size aside, the Panasonic HDC-DX1 and HDC-SD1 are nearly identical camcorders with the same joystick-accessed manual control suite offering fully independent iris, shutter speed and gain adjustment. We have long been fans of Panasonic’s manual control-friendly approach to making consumer camcorders, and are glad to see it in evidence on the DX1. Interestingly, we think the company’s AVCHD camcorders – the most expensive in their lineup - are best viewed as point-and-shooters with good manual controls rather than. AVCHD is a big part of this, since it’s a consumer format without the third party support professionals demand. Another reason is what we see as the incomplete nature of some of the manual controls that Panasonic has included on the DX1.

The DX1 has a Focus Assist option that displays a magnified view of your subject in the middle quadrant of the LCD, and some kind of focus assist is practically required for focusing HD video. The Canon HV20’s focus assist feature fills the entire LCD screen with a magnified image, and adds peaking to the enlarged image. The combination of magnification and peaking make manual focus on the Canon a faster and easier process than on the DX1. Another factor that makes manual focus tough is joystick control, rather than ring or dial control. Sony’s HDR-SR1, the company’s HDD-based AVCHD camcorder features an excellent ring while Canon’s HV20 features a dial. A true ring is our first choice for focal adjustment, but the dial combined with the HV20’s focus assist works very well. The joystick on the HDC-DX1 lacks the finesse of a rotary control, while Focus Assist could have been much better.

We found Panasonic’s joystick was easier to trust for focusing standard definition video because getting a sharp HD picture is so much more difficult due to its much higher resolution. Another thing to keep in mind is that Panasonic’s Focus Assist option actually magnifies only about 1/8 of the whole video frame (1/8 of the frame is displayed at 2x magnification). That means the HD pixels you see using Focus Assist are shown at ½ the resolution of standard definition pixels on a screen of the same size! In other words, even Focus Assist displays an image on the DX1’s screen with less fidelity than a standard definition camcorder from Panasonic.

The joysticks on the HDC-DX1 and SD1 are also less user-friendly than those found on previous Panasonics. These have a larger surface area, but they protrude less from the body and provide less leverage. Our critique of the joystick is minor, however, and the controller maintains the attributes we like about Panasonic’s control interface.

In Manual mode, pressing the center of the 5-way joystick displays a 4-page control menu at the lower right corner of the screen. Key manual image controls are found on page 4 - iris/gain, white balance, and shutter speed – and tapping down on the joystick cycles through the menu pages. When manual focus is enabled by pressing down on the mode switch in the LCD cavity, a fifth page is added to the control menu for manual focus. This joystick makes accessing manual image controls a relatively fast and painless process. For adjustments other than focus, the joystick is quite capable. Another boon is the ability to control gain manually, a feature that HD camcorders from other manufacturers like Sony and Canon lack.

The addition of zebras, color bars, a mic input, and manual audio level control should have made the DX1 and SD1 strong camcorders in Manual mode. Unfortunately, it’s impossible to trust manual focus even using Focus Assist, there’s no headphone to make audio monitoring possible, and zebras default to a single unspecified setting. It looks to be around 100 IRE, but the user’s manual sheds no light on this. Sony’s HDR-HC7 and Canon’s HV20 offer zebra options at 70 IRE and 100 IRE, both commonly used settings. If Panasonic had included features like a headphone jack, decent Focus Assist, and specific zebra settings, the HDC-DX1 would have been a very different camcorder. From a $1300 HD cam, we think it’s reasonable to expect more, and apparently manufacturers aside from Panasonic think so too.

Zoom (6.00)

The DX1 and SD1 both have 12x optical zooms, but the ergonomics of the zoom toggles are drastically different. While the DX1’s is all about compact, symmetrical style, the DX1’s toggle is mounted at the crest of the tape hatch and fails to meet the tip of the index finger. It hits the first knuckle and this is a shame, considering how ridiculously big this camcorder is. In addition, there are no other zoom options available such as a Sony-like LCD zoom control or Canon’s three speed settings. For a camcorder that breaks the 1K price barrier, we would have liked to see more from Panasonic. Once you angle your hand into a position that won’t lead to chronic carpal tunnel, the toggle itself is responsive and comfortable, which is a major upgrade from the Canon HV20’s unfinished plastic tab, and similar to the nice zoom controls on Sonys.

Zoom Power Ratio (12.0)

With a 12x optical zoom, the DX1 edges out many consumer HD cams max out at10x. This is modest compared to cheaper consumer camcorders with optical zooms that range up to 40x because smaller imagers (that produce low-quality video) allow for bigger optical zooms. Despite the DX1’s lower optical zoom max, you’re bound to get oodles of better video quality from its three ¼" CCDs than you’d find on a 40x camcorder with a puny 1/6" sensor.

The DX1 is also equipped with digital zoom that can be disabled, capped at 30x, or set to the max of 700x. This is a bit excessive, don’t you think? The DX1’s digital zoom starts to enter the drunk and disorderly zone at just over 30x, and at 700x the image is a pixilated mess of nausea-inducing mayhem. Absolutely useless unless you’re a video artiste... Digital zooms function by magnifying pixels to create the illusion of a real zoom, so that a 48x digital zoom on the DX1 is actually a 4x blow up of what you’d see at 12x. To the DX1’s credit, 12x to 30x digital zoom territory was surprisingly usable even with the expected decrease in resolution produced by the digital zoom. Cap it of at 30x and you’ll be able rest assured that your image will never be too pixilated – or better yet, turn digital zoom off and forget it exists. You can always move closer to get your shot.

Focus (5.0)

There’s no getting around the fact that it is much more difficult to focus an HD image manually than a standard definition image. High definition video is much sharper, and today’s big screen TVs magnify the slightest mistake, especially a slightly soft image. For this reason we believe that any HD camcorder should have a way to make accurate manual focus adjustment possible using a small LCD display. Without some kind of assist function, focusing an HD image on a 3" screen is practically impossible because the resolution of HD video is too high (1080 x 1920) and the screens too small to allow you to see slight errors in focus. There are a few ways to address this problem. Sony’s debut AVCHD cams, the HDR-UX1 (discontinued) and HDR-SR1 feature huge 3.5" screens and excellent multifunction rings; Canon’s HV20 has an excellent Focus Assist feature that magnifies the image to fill the 2.7" screen, and adds peaking (peaking heightens contrast along the edges of objects in the frame).

The Panasonic HDC-DX1 and HDC-DX1 do have Focus Assist, but it doesn’t go as far as it should. Unlike the HV20, the DX1 displays a magnified view in only the center quadrant of the LCD rather than the entire screen. In a practical sense, that means you are only given a magnified view of 1/8 of the entire picture – without the added benefits of peaking. The sub-par Focus Assist is further hampered by the fact that manual focus is done using the joystick – a great interface for menu navigation or iris adjustment, but not for.

In the field, we found the DX1 and SD1 to be more difficult to focus manually than competitors like the HDR-SR1 with its huge screen and ring control, or the HV20 with its dial control and excellent focus assist.

Exposure & Aperture (5.62)

The joystick is well suited for many other manual image adjustments, including exposure, and it can be extremely efficient. When the camcorder is set to Manual mode (exposure cannot be adjusted during Auto operation) pressing in on the joystick brings up a small circular menu at the lower right corner of the screen. Tapping the joystick down towards "Next" cycles through the menu pages, and the manual exposure option (labeled Iris) appears on the left side of page 4. Tapping the joystick towards any option engages manual control over that parameter and replaces the menu with a specific control interface. Tapping down, towards "Back" returns to the menu. When Iris control is enabled, tapping the joystick left closes down the iris and tapping right opens up the iris. The Iris settings available are: f/16, f/14, f/11, f/9.6, f/8, f/6.8, f/5.6, f/4.8, f/4, f/3.4, f/2.8, and Open. An incremental (1/2 step?) setting lies between each full stop, for a total of 23 steps.

After you’ve reached the Open aperture setting, you can keep on brightening the image if you continue to tap the joystick right. Beyond Open iris, gain kicks in, appearing as a continuation of the same scale from 0dB to 18dB. The HDC-DX1 and HDC-SD1 are unique among the current crop of HD camcorders in that they offer full control over iris and gain. While this is a good thing for experienced shooters who have an understanding of how gain affects the image, the HDC-DX1 lacks an exposure compensation option for the benefit of those who just want an easy way to adjust the brightness of the image. The lack of a simple exposure tool is a big misstep on a camcorder that otherwise gets accessibility right. We love aperture and gain control, but their nuances will be lost on inexperienced shooters.

Shutter Speed (8.1)

Manual shutter speed control is available on page 4 of the control menu on the HDC-DX1 while working in Manual recording mode, and they are operated in the same way as Iris. Upon selecting the SHTR (shutter speed) option, control menu is replaced by the shutter speed adjustment interface, a horizontal bar with "–" on the left and "+" on the right. Pressing the joystick left lowers the shutter speed, while pressing right raises the shutter speed. The current setting, i.e. 1/250, is displayed on the left side of the LCD along with other manual image settings.

The shutter speeds available on the HDC-DX1 are: 1/60, 1/100, 1/120, 1/180, 1/250, 1/350, 1/500, 1/750, 1/1000, 1/1500, 1/2000, 1/3000, 1/4000, and 1/8000. As on the SD1, this makes for a wide range of shutter speeds but neither camcorder includes options slower than 1/60. MagicPix mode is Panasonic’s low light recording mode and when it is engaged (control menu page 2), the DX1 automatically drops the shutter speed below 1/60 when needed. MagicPix is useful, but provides no direct control over slow shutter speeds. Sony and Canon both offer manual shutter speed options below 1/60 on their high-end camcorders making them more versatile in low light situations.

White Balance (5.5)

The HDC-DX1 white balance presets for AWB (auto), indoor (incandescent or halogen), and outdoor (clear, not cloudy skies) lighting – a limited selection for a camcorder in this price range. Canon’s HV20 leads the preset pack with several options each for indoor and outdoor lighting. But enough about white balance presets...

Like other Panasonics, manual white balance is set using the joystick and like iris and shutter speed, it resides on page 4 of the control menu. Upon selecting the white balance option (at the top of the menu, marked WB) the white balance select screen appears. Pressing left or right on the joystick cycles through the four options available. Manual white balance is identified by a standard white balance icon, and when this icon is visible, tapping up on the joystick locks in your setting. As soon as the white balance icon stops flashing, white balance is set. We found the HDC-DX1 and HDC-SD1 to be a little less precise than the Canon HV20. Manual white balance on these camcorders leaned towards the green end of the spectrum according to our color testing software, but the error was negligible.

Gain (6.0)

Manual gain control is one of Panasonic’s hallmarks, and even the company’s lowliest entry level camcorder allows independent gain control. Even other HD camcorders don’t offer manual gain control, despite the fact that getting a handle on gain is one of the most direct means to controlling image quality. When gain is used to brighten an image, graininess increases noticeably beyond around 9dB, and the ability to keep gain at an acceptable level can be valuable.

Gain on the HDC-DX1 can be set to 0dB, 3dB, 6dB, 9dB, 12dB, 15 dB, and 18dB. In between each gain step is an incremental setting, giving the DX1 a total of 12 manual gain steps.

Other Manual Controls (3.5)
*Zebras - *

The HDC-DX1 includes a zebra stripe option – a standard feature on prosumer camcorders, but a rarity on consumer cams. Zebras can be enabled in the Advanced submenu of the Admin Menu. When in use, zebras superimpose horizontal stripes (hence the name) over those parts of the image that surpass a certain brightness. Most camcorders that include a zebra option allow you to set zebras to 70 IRE and 100 IRE. Prosumer camcorders often offer a much larger number of zebra settings, ranging from 50-105 IRE. The DX1 only allows you to turn zebras on or off, and does not specify the IRE level, though it appears to be about 100 IRE. With no information in the manual about this mystery zebra setting, you should give it a test run before relying on it during a shoot.

*Guide Lines - *The HDC-DX1 includes three onscreen guide settings, located in the Basic submenu of the Admin Menu. The options available are Horizontal, which superimposes three horizontal lines over the image displayed in the LCD; Grid1, which superimposes a nine-box grid, and Grid2, which superimposes finer grid lines over the image. The most versatile of these guide lines is Grid2, which is well-suited for both horizon alignment and "rule of thirds" framing.

*Audio Level Control - *Audio levels can be adjusted manually by selecting either SET + AGC or SET from the Mic Level option in the Video submenu of the Admin Menu. The SET option allows basic manual audio level adjustment, while SET + AGC allows manual level adjustment with the addition of Auto Gain Control. According to Panasonic, Auto Gain Control automatically kicks in when SET + AGC is selected in case the manual settings allow sound distortion.

*Color Bars - *The HDC-DX1 has a color bar option that allows you to record color bars to card, or display them on an external monitor for calibrating color. The feature can be enabled by selecting the Color Bars option from the Advanced submenu.

*MF Assist - *MF Assist, or Manual Focus Assist magnifies the center of the screen while manually focusing the camcorder. When MF Assist is enabled, the center quadrant of the LCD screen is filled with a 2x magnification of a portion of the frame, allowing for more accurate assessment. If MF Assist is used when zebras are also enabled, zebras do not appear on the magnified portion of the shot.

Still Features

Still Features* (7.0)*

Unlike any other HD camcorder, the DX1 offers only a single still photo resolution: 1920 x 1080. We don’t necessarily see this as a great loss since even the best video/still hybrids on the market like the Sony HDR-HC7 can’t compete with an entry-level still camera in terms of performance. However, we find it surprising that Panasonic has not included more than the most basic still photo options on this $1300 camcorder. At that price point, buyers should at least be given some additional options.

Panasonic’s AVCHD camcorders do not offer a dedicated still photo mode, but does allow for still capture both when the camcorder is paused, and during active video recording. The manual states that still photos captured during video recording are lower in quality than when the camcorder is paused because "priority is given to motion picture recording." As on many digital still cameras, pressing the photo button on the DX1 halfway down causes the camcorder to focus and lock exposure in preparation for the shot. In Manual mode, the joystick can be used to adjust focus as when recording video. The options available in the Picture submenu include high and low picture quality, flash level, and shutter sound on/off.

Still Performance* (9.6)*

The Panasonic HDC-DX1 is not loaded with options for still photo shooting. The 1920 x 1080 stills, however, tested rather well. To test color accuracy, we shoot a Gretag McBeth Color Checker chart and run those stills through Imatest imaging software. In order to produce the best image, we found it was better to tinker with the settings rather than leaving it in Auto mode. Unlike most camcorders, the HDC-DX1 does not have exposure compensation. Rather, you get fully independent shutter speed and aperture control. The best image for this test, lit in a bright, even light, proved to be an aperture of f/3.4 and a shutter speed of 1/100 (this held true for the HDC-SD1, as well). The color error, according to Imatest, was 6.25, and the noise percentage was 0.63%. Saturation levels were at 99.97%, meaning that it was incrementally under-saturated. All of these numbers mean that you can get a good looking, color-accurate still, though the 1920 x 1080 resolution leaves a lot to be desired compared to even low-end point-and-shoots.

Still Resolution* (6.13)*

The still resolution for the Panasonic HDC-DX1 was tested by shooting an Applied Image ISO 12233 chart and running those stills through Imatest imaging software. At best, the camcorder produced a horizontal resolution of 587.1 line widths per picture height (lw/ph), with a clipping of 2.3% and a 17.3% oversharpening, and a vertical resolution of 558.8 lw/ph, with a 0% clipping and a 4.11% undersharpening. This is a typical split for the sharpening between horizontal and vertical. Overall, the resolution is par for a 1920 x 1080 still. This score is statistically identical to the HDC-SD1.

 

Handling and Use

Ease of Use* (7.75)*

Like most Panasonics, the DX1 is pretty straightforward. The rear-mounted joystick, 3" wide LCD screen, and handy manual control submenu propel this camcorder beyond manufacturers who are fond of side-mounted controls and touch screen interfaces. Scrolling through the menus and adjusting the manual controls is simple to master because the DX1 is not overloaded with ancillary menu features and external buttons. The essentials are present, and organized well.

As far as the body goes, that’s a different animal. As mentioned before, the chunky viewfinder and diving board of a battery do not play nice together. This is not an ergonomically sound design, and you’ll most likely want to use the LCD screen, which places added strain on the battery. Also, the location of the mic jack is a bit awkward, as the microphone cord will taint the viewing pane of the LCD. And with a disc hatch that takes over 10 seconds to open, the DX1 resembles a giant, lumbering, clumsy bear that means well, but is a little slow on the uptake.

Handling* (5.75)*

Other than its very light weight, we liked the way the DX1’s flash-based sibling, the HDC-SD1, handled. That camcorder felt very light on its feet, with a very comfortable feel thanks to the gun barrel shape of the body. The DX1 is a relative bear, with a good deal more weight and height, and has none of the sleek elegance of the SD1. We did find that the added weight helped with hand-held stability, while making this a much less portable camcorder than its SD/SDHC counterpart.

The DX1 does allow for one-handed operation, and benefits from Panasonic’s lightning fast joystick interface that allows an experienced user to zip through manual image controls (other than focus), and make menu selections with ease. Yet the lack of a strong manual focus option on the DX1 is a serious liability given that this is an HD camcorder. For this reason, we pegged the SD1 as a good point-and-shooter but not a good camcorder for anyone serious about manual controls. We can’t make the same recommendation for this camcorder, however. Yes, like the SD1, auto adjustments work well, and auto focus is trustworthy in bright light, but a point-and-shooter should be all around easy to use and on that count this model has serious issues.

We found the DVD drive mechanism on the HDC-DX1 to be painfully slow. Simple tasks such as opening the DVD compartment took many seconds longer than we’re accustomed to. Accessing clips in playback mode was also much slower than on other DVD-based camcorders. Lest you think that our criticism of a camcorder that records AVCHD versus standard definition MPEG-2 footage is unfair, the Sony HDR-UX1 offers much faster drive performance. In other words, the DX1’s drive was so frustratingly slow that we wouldn’t wish it on any novice point-and-shooter looking for convenience above all. For that kind of user, the HDC-SD1 is a good choice because it accessed clips on the included 4GB SDHC memory card quickly and efficiently.

Finally, the DX1’s OIS system deserves mention so we can leave the Handling Section on a high note. Panasonic’s two AVCHD camcorders were amazingly effective at countering the violent vibrations of our shake emulator at Speed 2, and they feature the best stabilization we’ve seen this year by a wide margin. To be sure, the DX1 does a stellar job at stabilizing an image, but that’s only a small part of the bigger handling picture. The speed of the DVD drive is also a small part of handling – but it has an inordinate effect on the overall experience of working with this camcorder. Every time you need to swap a disc you’ll wait. Every time you playback footage, you’ll wait. And every time a random error surfaces, you’ll wait again. Consumer camcorders should emphasize convenience, and a big part of convenience is working on your schedule – not your camcorder’s.

Menu* (6.50)*

 Panasonic menus are not pretty, but they are short and sweet. The HDC-DX1 menu is classic Panasonic, with an Administrative menu accessed by pressing the Menu button, and a separate joystick control menu, accessed by pressing in on the joystick. The Admin menu has a straightforward layout, with a different set of options in each operating mode. Upon pressing the Menu button on the back of the DX1, the main Admin screen appears listing submenus for a given mode. In recording mode, these submenus include Basic (which contains Scene Modes, Digital Zoom, OIS, Guide Lines and Clock Set), Video (Rec Mode, Fade Color, Wind Cut, Zoom Mic and Mic Level), Picture (Pict. Quality, Flash Level, and Shtr Effect – all for still photos only), Advanced (Rec Lamp, Zebra, Color Bar, and MF Assist), Setup (Format Card, Display, Date/Time, Date Format, and Power Save), and Language (English, French, and Spanish).

The joystick is used to navigate through menu options, and it’s a great tool for this purpose allowing for four directions (up, down, left, and right) and in (to make a selection). All the options on a given menu page are visible at all times, which means you won’t need to search multiple pages for a desired option. However, this design decision on the part of Panasonic means that the placement of many options seem arbitrarily placed just to adhere to the one-page rule.

The joystick menu on the DX1 is more accessible than on previous Panasonics thanks to the inclusion of additional explanatory banners and text. When a preset option is selected from the menu, such as MagicPix, a text description of the option appears momentarily along the bottom of the screen. Because these options are represented only by icons, using them without explanatory text easily leads to confusion, especially for new users who haven’t memorized the meaning of the various symbols. The text descriptions, as well as the Help mode on page 1 are welcome additions on these new AVCHD camcorders from Panasonic.

Portability* (4.0)*

Although the SD1 revels within the loins of portability, its bastard cousin is not equipped with the same genes. The DX1 looks like a Picasso gone wrong with oblong, asymmetrical shapes and lines. It’s also a tank, weighing in at 800 grams with battery, disc and SD card on board. DX1’s measurements are (92x91x174mm) excluding projecting parts like the viewfinder, which adds another 10mm when extended. Don’t even think about attempting to fit this sucker in a pocket unless you’re wearing a clown suit. A carrying case is a must have. Here’s another quandary: the gargantuan battery only has a lifespan of 40 minutes during typical recording. If you’re planning on spending a little extra time at Epcot, a couple backup batteries would be needed. But at around $150 a pop, these space eaters will not treat your wallet well. To add to the madness, the typical DVD-R recording time is 14 minutes, which means an arsenal of backup discs is required, taunting the piggybank even more. The DX1 does not fare well on the road.

LCD and Viewfinder* (7.5)*

The DX1 boasts a 3" LCD screen with a resolution of 251K pixels. Very nice. The image quality is sharp, and the colors are balanced. The LCD flips out swiftly via a thin tab, but be careful during transport, as it has a tendency to swing open with the slightest shake. A power LCD button is located in the LCD cavity. This boosts the brightness of the LCD screen, but dupes the shooter when it comes to a true image.

As mentioned before, the viewfinder on the DX1 is in direct competition with the fat-bottomed battery, barely clearing its absurd mass. The viewfinder is wide and thick, but does not include a rubberized eye cup, adding more bulk to the hard plastic party in the back of the DX1. Once pulled out, the viewfinder’s fan-shaped dioptric adjuster is located on the top of the shaft.

Battery Life* (9.4)*

The Panasonic HDC-DX1 includes a VW-VB260 battery pack that extends from the back of the body under the viewfinder. This is a very large battery, significantly bigger than the one that ships with the HDC-SD1. We tested the life of the included VW-VB260 battery pack for continuous recording, in Manual mode with the LCD set to normal brightness and OIS set to off. The battery on our HDC-DX1 lasted 94 minutes and 14 seconds (1 hour, 34 minutes, and 14 seconds).

 

Audio / Playback / Connectivity

Audio* (7.0)*

The DX1 records Dolby digital, or AC-3 surround sound audio, which allows for up to six discrete channels of sound and supports mono and stereo usages. The DX1 has a 5.1 channel built-in zoom microphone. There are three microphone level settings that apply to all five channels at once, but not independently: Auto, Set+AGC, and Set. With Auto Gain Control, the recording level is adjusted automatically. Set+AGC allows you to play with the levels, but keeps AGC on to reduce noise distortion. Set lets you record sound in full Manual mode. When Set+AGC or Set is chosen, a screen displaying each individual microphone channel appears and allows you to test their levels and adjust the gain. In addition, a microphone input level meter is displayed on the recording screen, to ensure that sound will not exceed the red zone.

In addition to an enhanced built-in microphone, the DX1 is equipped with an external mic jack. Not bad at all. The only problem is the awkward placement underneath the LCD cavity. No one wants a rogue cord obscuring the LCD screen. With the DC jack in the battery chamber, it’s no surprise that randomness was one of the focal points in the development room.

The playback on the DX1 is like any other camcorder in that it produces a hefty dosage of white noise, but the zoom microphone sheds a good chunk of unwanted waves. Between the cooling fans and revolving disc chamber, the DX1 produces a significant amount of background noise compared to the phantomlike SD1.

Playback* (4.0)*

Just like the SD1, playback on the DX1 is a relative breeze. Sliding the mode dial into playback mode cues a menu screen with two tabs: one for video and one for still images. Up to eight thumbnail images are visible and you can scroll though and select video clips and stills using the rear-mounted joystick. One thing you’ll notice is that the disc reader takes its sweet time spitting and sputtering to launch a desired selection. Get used to it. This camcorder is like a sedated brachiosaurus trudging through a swamp of oblivion. It functions when it wants, no matter how long it takes.

 

The playback menu includes play mode, repeat play, resume play, scene protect, and guidelines, which are pretty standard. You can also playback videos by date to avoid jumbled confusion between clips.

Connectivity* (9.0)*

The DX1 contains identical ports to the SD1 with the addition of a cold accessory shoe which is located on top of the camcorder by the viewfinder. The accessory shoe is housed by a rugged plastic cover that is connected to the body by a reasonably tough thin strip. Beneath the LCD screen is a horizontal panel of ports consisting of the AV jack, USB terminal, component terminal, and mic jack. These ports are evenly spread out and easy to access. The port cover is attached by taffy-like plastic strips, so be gentle. Also, placing the mic jack on the LCD side could lead to wires obstructing the viewing pane, so you’d better be an expert cable wrapper. Inside the LCD cavity is the HMDI terminal with is covered by a slim plastic rectangle that is difficult to close. Ave the HDMI is the SD card slot which functions via a small swinging internal flap that trumps the SD1’s manually sliding card door.

Other Features

What’s in the Box?

The DX1 ships with a standard list of accessories:

-VW-VBG260 Battery Pack

-AC Adapter

-DC Cable

-AV Cable

-Component Cable

-AC Cable

-Remote Control

-Button-type Battery

-USB Cable

Unfortunately, the DX1 does not include a DVD-R disc, but you’ll probably want to buy a pack of 20 to have enough recording time.

Other Features* (4.5)**
Scene Modes - *Scene Modes are special recording modes that automatically optimize the camcorder for specific lighting situations. The HDC-SD1 includes the following Scene Modes: Sports – also useful for capturing any fast action in bright light; Portrait, for shooting static, nearby subjects; Low Light; Spotlight, for shooting subjects under stage lighting; and Surf & Snow, for recording in very bright locales. Scene Modes, also known as Recording Program Modes or AE Modes, are useful shorthand ways of improving picture quality in lighting that proves too challenging for auto mode. These options are in the Basic submenu of the Admin Menu.

*Fades - *Fades are available on the first page of the joystick menu, and fade color can be selected in the Video submenu. The only options available are white and black.

*Back Light Compensation - *Back Light Compensation (BLC for short) is found on page 1 of the joystick menu, and is represented by a sun icon. BLC automatically brightens the overall exposure of the image to compensate for backlit subjects.

*Soft Skin Mode - *Soft Skin Mode is a feature that automatically lowers contrast in "skin-toned" regions of the frame, smoothing out wrinkles and blemishes. It’s a subtle effect, and will only function if your subjects possess lighter skin tones. We’re waiting for consumer camcorder makers to make this option more inclusive, and offer options for adjusting this feature to account for a diverse range of skin tones.

*MagicPix - *MagicPix automatically allows the shutter speed to drop below 1/60 in accordance with available light. Images recorded in MagicPix mode at slow shutter speeds will have a stuttered, slow shutter appearance – but it will increase the light gathering ability of the camcorder.

*Tele Macro - *This option simply moves the optical zoom to 12x telephoto mode and auto focuses on objects in the foreground. The same effect can be accomplished by zooming to 12x manually – but on consumer camcorders, Tele Macro remains a popular "feature."

*Dolby 5.1 Surround Sound - *The Panasonic onboard mic supports Dolby 5.1 Surround Sound, so audio can be recorded to five channel. The levels for each channel can be set in by selecting the Mic Level option from the Video submenu. Bear in mind that the quality of audio recorded with the onboard mic will still be onboard mic audio, which is to say, not very good, but it will fill out your 5.1 channel speaker system.

*Zoom Microphone - *The Zoom Microphone option, also in the Video submenu, links audio levels to zoom magnification automatically. When zoom magnification is high, the sound is recorded at higher levels, and when its low, audio is recorded at lower levels.

*Wind Cut - *Wind Cut, an option in the Video submenu reduces the effects of wind noise on the built-in microphone by filtering out low frequency sounds. This feature should only be used in windy environments, because the overall quality of the audio signal is reduced when it is enabled.

Comparisons / Conclusion

Comparison
Panasonic HDC-SD1

The DX1 looks like a monstrously mutated HDC-SD1 ($1299 MSRP). Both camcorders crank out the same 1680K gross pixels, thanks to their three 1/4" CCDs. The DX1 and SD1 also share the same 5.1 channel Dolby Digital built-in microphone, nearly identical menu interfaces, and handy rear-mounted joystick. Aside from the fact that both of these AVCHD camcorders record to different media—the DX1 uses DVDs while the SD1 uses primarily SD cards—there is one major differential trait shared between the both of them: size. The DX1’s preposterously large battery, encroaching tape hatch, and boulder-like weight make it difficult to haul around. Also, this camcorder just looks plain ugly. The structural divergence between the DX1 and SD1 is the definitive characteristic that will separate the minivans from the SUVs. *

Sony HDR-UX7*
The Sony HDR-UX7 ($1299 MSRP) holds its own with a 1/2.9" ClearVid CMOS sensor that spews out 3.2MP. Not bad for a lone chip up against the three menacing 1/4" CCDs found on the DX1. Since the HDR-HC7 shares the same sensor with the UX7, it is no question that high quality video is the main entrée on this menu. A couple appetizers include a headphone jack, HDMI terminal, and manual function dial located underneath the lens. For dessert, the UX7 is more compact and comes with a battery that juts out, but not to the hilarious extent as the one found on the DX1. The UX7 looks a lot more stylish than the DX1, but then again so would an 18 year-old Hi8 camcorder. The best part is the bill. Both camcorders are the same price, but you get to take home a lot more doggie bags with the UX7. Check, please! *

Panasonic VDR-D300*

Here’s another 3 CCD DVD camcorder from Panasonic. The VDR-D300 ($999 MSRP) produces 800K gross pixels while the DX1 is capable of 1680K. We’d have to give the edge to the DX1 here in terms of video quality, but let’s see if the rest of the D300 can step up to the plate. Both have rear-mounted joysticks, mic jacks, and an extensive number of manual controls. The DX1 has a bigger LCD screen with a higher 250K resolution. The D300 is notably more compact and easier to carry around (what isn’t compared to the DX1). Both camcorders compress at significantly lower bit rates than DV and HDV models, so quality is bound to go downhill at some point. Hmm. Two no-frills DVD models from Panasonic. Don’t spend a dime until you read the next comparison. *

Canon HV20*

The titan of titans. The chosen one. The big cheese. Yes, the Canon HV20 will delight you with stunning video quality, 24p mode, and a high 25mbps compression rate. Although the HV20’s handling is not ideal, it will blast the tape hatch off the DX1 any day. The HV20’s HDV and DV formats are compatible with a robust slew of different editing programs and will not vex you to the nines like AVCHD’s tormenting post options will. The HV20 has a headphone jack, one-touch volume and exposure adjustment, and a deep battery chamber. The best part is that the HV20 is $300 cheaper than the DX1. There should be no contest here, and anyone who opts for a DX1 most likely attends Rotary club meetings and talks to their cats.

Who It’s For
Point-and-Shooters

Point-and-shooters will dig the DVD aspect of the DX1, but might be bogged down by its thunderous weight and wonky handling. Then again, the average cul-de-sac dweller will not know the difference.

Budget Consumers

This is hardly a budget. No editing, no headphone jack, ghastly handling, low compression rate, high price. The DX1 is a multi-layered sandwich of ill-fated ideas. Panasonic should have called it quits after the SD1.

Still Photo / Video Camera Hybrid

The maximum still resolution on the DX1 is 1920x1080, which is not bad, but not monumental. The HV20’s stills are the same size, and the HC7’s are an even bigger 6.1 MP. Both of those camcorders store to an SD card, just like the DX1. They’re also cheaper. Not worth it, hybrid fans.

Gadget Freaks

Gadget freaks will scoff at the DX1’s colossal size, maximum still resolution, and tape hatch that opens at a speed that rivals molasses in wintertime. Gadget freaks are done with DVD camcorders. It’s over.

Manual Control Freaks

The DX1 does provide a nice array of manual controls operated by the handy rear-mounted joystick. Panasonic is usually very keen on providing more than the essentials in this department including white balance, iris, and shutter speed at the tip of your thumb.

Pros / Serious Hobbyists

No way. No how. Just a glance at the DX1’s sad, sad profile is enough to send any pro into a raging fit of hysterical laughter.

Conclusion

Before assessing any AVCHD camcorder, we are forced to consider the state of the format. The new codec was announced jointly by its developers, Panasonic and Sony, about a year ago, and on paper it looked like a winner. Utilizing H.264 MPEG-4 compression, AVCHD would offer consumers their first real high definition alternative to HDV. AVCHD’s lower bit rates would make it compatible with the random access media home videographers were flocking to, like HDDs, DVDs, and SD/SDHC flash memory cards – but it would still produce stunningly sharp video. We were impressed with the first AVCHD camcorders – Sony’s HDR-UX1, a DVD camcorder that has been replaced by the UX5 and UX7, and the still available HDR-SR1 HDD camcorder. We also like much about the HDC-SD1, a camcorder that shares the DX1’s core specs but makes use of fast and compact SD/SDHC flash media rather than DVDs.

Ahh, those pesky DVDs… Casual videographers love them because standard definition video recorded to disc can be readily played on just about any home DVD player, and they are random access to boot. AVCHD DVDs cannot be played on the vast majority of home players, however, so the prime attraction of disc media doesn’t apply to the DX1. In other words, the only way to play back DX1 footage, short of investing in third party authoring and conversion software, is using the camcorder itself. Add in the fact that the DX1’s tape access speeds are mind-numbingly slow, and you’ve got a very problematic camcorder. If you simply want to shoot HD video, a comparably priced HDV camcorder will give you better performance and editability than any AVCHD camcorder for the same price. If you absolutely can’t stand the idea of linear media but still want to shoot HD, any AVCHD camcorder on the market is a better bet than the DX1.

Specs and Ratings

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