Skip to main content
DEAL WATCH: Keurig K-Express | 22% off $69.99

Keurig has changed the face of coffee, and snagging one of these for less than $70 is a solid deal. Read Review

BUY NOW
  • Performance

  • Format

  • Auto / Manual Controls

  • Still Features

  • Handling and Use

  • Audio / Playback / Connectivity

  • Other Features

  • Comparisons / Conclusion

  • Photo Gallery

  • Performance
  • Format
  • Auto / Manual Controls
  • Still Features
  • Handling and Use
  • Audio / Playback / Connectivity
  • Other Features
  • Comparisons / Conclusion
  • Photo Gallery

Performance

The Panasonic HDC-HS9 and HDC-SD9 are identical camcorders in most regards, including video quality. Inside both, you’ll find three 1/6-inch CCDs, each with a gross pixel count of 560,000 and an effective pixel count in video mode of 520,000. In the first generation of AVCHD camcorders, Panasonic included larger 1/4-inch CCDs. In order to get those, you’ll now have to upgrade to the company’s professional line of AVCHD camcorders, specifically the AG-HSC1U and AG-HMC70.

In the lab testing at a bright and even 3000 lux, the image is good, but far from the most impressive AVCHD camcorders we’ve seen this year. The HDC-HS9’s image is more saturated than its competitors, and also more saturated than its predecessor, the HDC-SD1. We’d really love to see some sort of saturation adjustment tool on next year’s Panasonic camcorders. Canon offers this on all HD models, and Sony offers it on its tape-based HDR-HC9, but none of its other HD camcorders.

Of all the HD camcorders we’ve seen this year, the HDC-HS9 (and HDC-SD9) offer the least sharpness. Granted, by simple virtue of the fact that it’s high definition, the image looks better than any standard definition camcorder you’ve seen. But it simply can’t stand up to the competition. The Canon HF10, in particular, has a huge advantage in sharpness.

Out of the lab, we did some outdoor and indoor shooting with the Panasonic HDC-HS9. Outdoors in bright light, the performance is very good. Motion is crisp and smooth. As in the lab testing, strong colors tend to oversaturate.

Inside, under predominantly fluorescent lighting, the camcorder shows instances of trailing and ghosting, but not as much as Panasonic’s first-generation AVCHD camcorders.

In summary, the Panasonic HDC-HS9 is a decent performer, but with a $1,099 MSRP, it’s in no way a competitor with the Canon HF10 (priced identically). The Panasonic HDC-SD9 gives exactly the same performance as the HS9, but at a lower price of $799, which makes it easier to justify the reduced performance.

Video Resolution* (18.0)*

The video resolution of the Panasonic HDC-HS9 was tested by shooting a DSC Labs video resolution chart at an even, bright light, then examining the playback footage on an HD monitor. Ultimately, we found both the horizontal and vertical resolution to measure 600 line widths per picture height (lw/ph). This is an identical score to the Panasonic HDC-SD9. The score is below that of competing camcorder Canon HF10, but on par with the JVC GZ-HD6.

Low Light Performance* (2.8)*

The low light performance of the Panasonic HDC-HS9 was tested in three stages. First, we shot the DSC Labs Chroma DuMonde color chart at an even 60 lux and 15 lux, then compared them to the competition.

At 60 lux, the limitations of a 1/6-inch CCDs is clearly demonstrated. No matter how good the noise reduction is, small sensors simply do not capture enough light. To be clear, the noise reduction on the Panasonic HDC-HS9 and HDC-SD9 is very good (discussed in greater detail later in this section). But when compared to the Canon HF10 or Sony HDR-SR12, both of which have larger sensors, the Panasonic camcorder does not look nearly as good, despite the fact that the Sony and Panasonic had higher measured noise levels.

When shooting these lab tests at 60 lux, the automatic gain had already been boosted to +15dB. This allowed us the wiggle room to make an adjustment of just one more increment up, to +18dB. This had little effect on the image quality. The sensitivity increased slightly, along with noise.

At 15 lux, the Panasonic HDC-HS9 is pushed beyond its limits. We’re not going to penalize it too much because this is past the fail point for most camcorders – call it the "widow maker" test. The Canon HF10 and Sony HDR-SR12 do better here due to their larger sensors.

The second part of the low light test involves lowering the light slowly and gradually while watching a waveform monitor. When the waveform peaks at 50 IRE, we check the light level and presto, we have our sensitivity score. The Panasonic HDC-HS9 is able to produce 50 IRE at 23 lux, statistically identical to the HDC-HS9. This is the same score as the JVC GZ-HD6, which also uses a three-chip arrangement of smaller pixels. The Canon HF10 and Sony HDR-SR12 far, far surpass the HDC-HS9 in terms of sensitivity. Because the sensitivity score is such an important component of the overall Low Light performance score, the HDC-HS9 compares poorly in a straight comparison with other reviews.

The third stage of the low light test involves shooting an X-Rite Color Checker chart at an even 60 lux, then outputting frame grabs to Imatest imaging software for analysis on color accuracy, noise, and saturation. At best, the Panasonic HDC-HS9 produces a color error of 11.3, which is statistically identical to the Panasonic HDC-HS9. This score is about average for the other camcorders we’ve talked about here. The JVC GZ-HD6 is a little better. The Panasonic HDC-HS9 produces the lowest noise of any camcorder in this group, only 0.595 percent. However, the net effect of the whole camera system, including the lens, sensors, and chips showed the Panasonic could not compete against the Canon HF10 and Sony HDR-SR12, both of which use larger sensors. The HDC-HS9’s saturation at 60 lux measured 71.96, about average.

Overall, the Panasonic HDC-HS9 is not a low light performer. It’s the same story we’ve seen again and again – three small sensors never seems to stack up against a single, larger sensor.

Stabilization* (6.9)*

The HDC-HS9 is equipped with Advanced Optical Image Stabilization (O.I.S.). Panasonic’s OIS is one of the best shake reduction systems out there. The HDC-HS9 followed in the HDC-SD9’s footsteps with an exceptional performance.

We tested the HDC-HS9’s resistance to shake at two speeds: Speed One and Speed Two. Speed One emulates typical stationary handheld shake while Speed Two simulates more of a bumpy car ride or light run down the street, camcorder in hand. At Speed One, the HDC-HS9 exhibited an 85.71-percent shake reduction and a 91.67-percent shake reduction at Speed Two. Though the HDC-HS9 is one of our top performers, it is just shy of the HDC-SD9’s 87.5-percent Speed One and 93.3-percent Speed Two shake reductions.

This could be attributed to the fact that the HDC-SD9’s tripod mount is located an inch closer to the lens, or it could be the simple fact that the camcorder has a different weight and proportions. Either way, the difference is incremental. Both camcorders are solid performers.

Wide Angle* (9.6)*

We tested the HDC-HS9’s maximum wide angle measurement using a vertical laser. The camcorder was tested with the zoom pulled back fully and OIS disabled. The video was then interpreted on an external monitor to attain a true frame. The HDC-HS9 displays a maximum wide angle measurement of 48 degrees, which is identical to the HDC-SD9.

 

 

 

 

Format

Compression* (7.0)*

The Panasonic HDC-HS9 is the third and latest generation of camcorders using the AVCHD compression format. From its outset, AVCHD was created to allow consumer-grade non-tape camcorders – HDD, DVD, and flash memory – to record in high definition. Like most formats, the first generation was expensive and, in many ways, deficient. We saw a lot of compression artifacting, including chunky blocks of pixels, trailing, and ghosting. The first and second generation recorded in 1440 x 1080, then stretched to 1920 x 1080 for playback. Bit rates were slower, and we just weren’t satisfied.

This third generation is finally starting to make good on the promise of replacing tape. It’s important to understand, though, that compression formats do not exist in a bubble. The video performance is as much dependent on the lens, the sensors, and the processing.

How did the Panasonic HDC-HS9 do? We’re happy to say that’s much better than earlier Panasonics. The bitrate has increased from 13 Mbps in the first generation to 17 Mbps. This seems to have reduced trailing. Unfortunately, the other AVCHD camcorders we’ve looked at this year have all produced sharper looking images than the Panasonics, particularly the Canon HF10 and Sony HDR-SR12. This may be as much an issue with the sensor as with the compression.

There are four quality settings on the Panasonic HDC-HS9, each of which corresponds to a bitrate: HA (17 Mbps), HG (13 Mbps), HX (9 Mbps), and HE (6 Mbps). The HA and HG settings record in full 1920 x 1080 and can capture in either 1080/60i or 1080/24P. The HX setting records in 1920 x 1080, but can’t capture 24P. The HE setting records in 1440 x 1080 1080/60i only.

Media* (7.0)*

The Panasonic HDC-HS9 offers two options for recording media, a 60GB internal hard disk drive (HDD) or removable SD/SDHC flash memory cards. No card comes included. The HDC-SD9, identical to the HS9 in performance, specs, and features, is $300 less expensive because it only records to memory card.

That’s an awful lot of money for a hard drive, but it does offer you some insurance. Memory cards are generally small and can’t hold that much video. Compare the capacities below:

Editing* (4.0)*

Editing AVCHD video is getting easier. There are many editing platforms that can import and work natively with the footage, including several consumer-friendly options. If you don’t want to spend any money on software from the outset, and you really like to edit, you may have a hard time. The Panasonic HDC-HS9 ships with HD Writer 2.5E for HDC. This allows you to do the basics – import video to your computer, make basic edits, and export movies. Also in the box is the trial version of Pinnacle Studio Plus HD Edition. The trial only lasts for 15 days after installation, so you may want to stockpile your footage, then do a barrage of editing. If you own a new Mac, iMovie ’08 works with AVCHD files, as well.

 

 

 

 

Auto / Manual Controls

Picture & Manual Control
Automatic Control (6.5)

The automatic controls on the Panasonic HDC-HS9 are good enough to handle most types of shooting. For the most carefree experience, simply flip the switch in the LCD cavity from Manual to Auto. Exposure adjustments are accurate and fast, taking about two seconds in most instances. Gradual transitions are not the camcorder’s strong points, at least not as much as Sony’s. Also, the dynamic range of the camcorder appears limited. It’s difficult to capture detail in both light and dark areas of the shot at the same time. The autofocus works well in bright light, but lags in very low light.

Panasonic offers a number of simple one-touch tools for making corrections that even beginners can understand. The camcorder itself prompts you when to activate these tools with little on-screen reminders if you turn on the Shooting Guide. Special settings include Low Light Mode (allowing the auto shutter down to 1/30), MagicPix (allowing the auto shutter down to about 1/4 of a second), Soft Skin Mode, Backlight Compensation, Tele Macro, and Intelligent Contract. That last feature, Intelligent Contrast, was introduced in the second-generation Panasonic AVCHD camcorders. It’s supposed to help prevent whites blowing out and shadows losing too much detail in shots where the two are mixed (precisely where we saw problems). When the feature was activated, we didn’t see too much of an improvement.

You’ll also find the standard arrangement of Scene modes, though the list is quite short compared to Sony or Canon. Settings include Sports, Portrait, Spotlight, and Surf & Snow.

Overall Manual Control (6.75)

The manual control package on Panasonic camcorders used to be one of the most compelling reasons to buy a Panasonic. They offered the most control and most professional-like features. Those days are over, as Panasonic has shifted its focus to creating the most compact frames possible. In doing so, however, it has been surpassed by Canon, Sony, and JVC, all of which offer – if not exactly the same controls as Panasonic – a comparable and appealing package.

This latest generation of Panasonic AVCHD camcorder took a big step backwards when their joysticks were relocated from the rear to inside the LCD cavity, placing them out of the shooter’s line of sight and making one-handed operation impossible. All this was done in the name of size reduction. If that’s important enough for you, so be it. We believe the handling should not have been sacrificed in this regard.

Panasonic’s core strength is that it remains the only consumer camcorder manufacturer to offer independent aperture and shutter speed, along with gain. It also benefits from a simple, clean menu system. However, it lacks a simple exposure tool that beginners can understand – something every other manufacturer addresses.

*

Zoom (6.25)*

The zoom toggle is well-positioned on top of the camcorder. We loved the toggle on the HDC-SD9, but this is not identical. The size has been reduced slightly and the action doesn’t feel quite as good. It’s a very minor complaint, however.

When zooming, the camcorder provides both a scale to tell you where in the zoom range you are, along with an exact numeral. This is very helpful if you need to recreate a shot later. The slowest possible crawl on the HDC-HS9 is not as slow as the Canon HF10 or Sony HDR-SR12 (and presumably other Sony camcorders with an identical chipset and lens).

Zoom Power Ratio (10.0)

The optical zoom on the Panasonic HDC-HS9 extends to 10x, which is more or less the standard for HD camcorders. There has been a trend this year toward increasing to 12x, as sensors have shrunken, mostly with Canon and Sony. The digital zoon on the HDC-HS9 can be set to a maximum of 25x or 700x.

Focus (5.0)

Focus is crucial for high definition camcorders, because focal errors will be much more noticeable with the increased resolution. Unfortunately, Panasonic offers the weakest manual focus tools in the HD market. To activate manual focus, push down on the Auto/Manual/Focus switch in the LCD cavity. The Function menu pops up in the lower right corner of the screen with options for MF+ and MF-. Use the joystick to adjust the focus. Use the image you see on the screen to determine whether focus is correct. Pretty bad, huh?

That used to be all you got with standard definition camcorders. With HD, manufacturers have had to step it up a little. Here’s what Panasonic offers. If you activate a tool in the main menu called MF Assist, every time you make a focal adjustment a small box appears in the center of the screen. Within this screen is the same image you were looking at, but at a 2x zoom. The idea is that if you can get a closer look at your subject, you’ll make more effective focal decisions. This only works if the screen is large enough and of an appropriate resolution, which is not the case here. In fact, the 3.2-inch, 921,000-pixel LCD on the Sony HDR-SR12 is the first LCD we can honestly say we’re satisfied with.

The MF Assist is OK, but pales in comparison to offerings from Canon, Sony, and JVC. Canon’s assist mode zooms the entire screen in and adds "peaking," a grainy effect that draws out details in an object’s edge. Sony varies its assist functions depending on the model. The HDR-HC9 offers peaking. The HDR-SR12 does not, but does include the nice, big LCD. JVC has the best manual focus control. When the assist is activated, the picture is converted to black & white, then colored peaking is thrown on top of that, making it very easy to see the in-focus areas.

Exposure & Aperture (5.64)

As mentioned earlier, Panasonic does not offer a simple "up/down" exposure tool that novices can easily understand. Instead, you have independent aperture and shutter speed controls – great for the experienced shooter, and important for anyone to learn, but not the best entry-level feature.

The aperture is adjusted by pushing in on the joystick and calling up the Function menu. Aperture is referred to as "Iris." Settings include f/1.8, f/2.0, f/2.4, f/2.8, f/3.4, f/4.0, f/4.8, f/5.6, f/6.8, f/8.0, f/9.6, f/11, f/14, and f/16. In between each of these increments is an unwritten half-step.  

Shutter Speed (8.1)

The shutter speed controls are located next to the aperture controls on the last page of the Function menu. Settings include 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. If you’re shooting in 24P Digital Cinema mode, the 1/60 speed changes to 1/48.

If you turn on the Auto Slow Shutter feature in 1080/60i mode, 1/30 option is added to that list. If you’re in 24P Digital Cinema mode, a 1/24 setting appears.

Making changes to the shutter and aperture is easy, but we’d like to see more slow shutter speed options. When shooting in moderately low light, there’s a big difference between 1/15 and 1/30, but this camcorder will never give you that choice. The Canon HF10 gives you options for 1/8 and 1/15 in 1080/60i, and 1/6 and 1/12 in 1080/24P. JVC does not have aperture control on its HD Everios, but the manual shutter speed goes as low as 1/2 of a second. Sony never offers manual shutter control.

White Balance (5.5)

There are four white balance options on the Panasonic HDC-HS9: Auto, Indoor, Outdoor, and Manual. If this is your first time with a camcorder, you’ll need the manual for some consultation, because the onscreen menu doesn’t tell you what these options are in plain text. Instead they rely on icons, a remnant from the bad old days of its previous menu system. The number of preset options here is far from thrilling, but it’s not unusual.

Making a manual adjustment is quite easy. Scroll over to the proper icon (a rectangle suspended over two squares) and push up on the joystick. The screen goes black for a second, and when it comes back, your colors are adjusted. We really like it when there is an obvious adjustment lag time. It’s reassuring that you did the procedure correctly, and not every camcorder gives the same guarantee.

Gain (6.0)

Panasonic is the only consumer camcorder manufacturer to offer gain, and they offer it in every camcorder in the lineup, which is reassuring for those with a smaller budget. Gain can only be modified after the aperture options have been exhausted, meaning the Iris value must read "Open" (f/1.8). Once this is done, you can play with the gain. Settings include 0dB, 3dB, 6dB, 9dB, 12dB, 15dB, and 18dB. Like the aperture control, there is a half-step setting between each of these that is not reported in the on-screen data display.

Gain is useful for low light shooting, but the small sensors on the Panasonic HDC-HS9 are small enough that they often peak out too early. In 60 lux, we found the auto gain had already been pushed to +15dB, which didn’t give us much more room for adjustments.

The gain function in action

Other Manual Controls (6.0)

*24P Digital Cinema Color *- There are two separate modes on the Panasonic HDC-HS9. Each cannot be used independently, though we sure wish they could. Digital Cinema Color is Panasonic’s term for xvYCC, the new color standard emerging for HD displays. Sony, JVC, and Panasonic are all now offering an xvYCC shooting mode in at least some of their camcorders.

At first, it might seem like a great idea to shoot your movies in the future color standard – you’re future proofing, right? Not quite. Each camcorder we’ve tested produces different results when played back on an non-xvYCC display. Sony seems to simply disregard the extra information. If you record a clip in xvYCC, then shoot the same thing again in the standard color gamut and play them both back on your old TV, you won’t see much of a difference. With the Panasonic HDC-SD9 and HDC-HS9, the image is completely oversaturated. If you want to shoot in Digital Cinema Color, you must have an xvYCC-compliant HDTV.

To further complicate things, you can shoot Digital Cinema Color in a 24P frame rate, but you can’t shoot 24P in the standard color space. And if you don’t own an xvYCC-compliant TV, that means you’re probably never going to use the 24P mode. Too bad for you. Too bad for us all.

Tele Macro - This feature is for shooting small objects in great detail from a distance. When activated, via the Function menu, the zoom is automatically extended all the way.

Guide Lines - This creates lines on the screen to help you arrange shots. There are three settings. Horizontal draws three lines across the screen. Grid 1 makes two vertical and two horizontal lines. Grid 2 creates a lot of lines, breaking the screen up into a tiny grid.

Zebra - Zebra is a tool to help keep your exposure levels in check. There are two settings here, 70 and 100. These correspond to IRE levels. If an area of your shot exceeds either 70 IRE or 100 IRE, depending on the setting, that area will be filled with black & white moving stripes.

Color Bar - This option allows the camcorder to output seven full field color bars to help you adjust your monitor.

Shooting Guide - The Shooting Guide is a cool new feature for select 2008 Panasonic camcorders. When activated, it creates pop-up messages on the LCD screen that tell you if it detects a potential problem, and offers a tip on how to correct it. There are a limited number of errors it can detect. The implementation is rudimentary, but it seems the start of a great idea.

The Shooting Guide doesn’t make the corrections for you. Instead, it’s teaching you how to spot problems for yourself – training you to be a better shooter. In a few years, Panasonic could find a way to draw this out into a full-on interactive camcorder experience.

 

 

 

 

Still Features

Still Features* (7.5)*

Like the HDC-SD9, there is no special "Photo mode" on the Panasonic HDC-HS9. You simply push the shutter button and the HS9 records a still image. 1929 x 1080 is the only size option. Images can be captured in Fine or Normal quality to either the 60GB HDD or Memory card. Any cheap digital camera offers features that are miles beyond the capabilities of the HDC-HS9, so if you plan on using this camcorder as a viable alternate to a digital camera, think again. The HDC-HS9 lacks the great elements like the histogram tool found on Canons and is a long shot from the Sony HDR-SR12’s 10-megapixel maximum still image size. The best use we can see for the HDC-HS9 is using the still photo function for in-camera storyboarding or for simple reference shots.

The HDC-HS9 has a Rapid-Fire Burst mode that captures multiple pictures when the Photo Capture button is pressed and held down. There is a Red-Eye Reduction feature and a Shutter Sound option that emulates the snap of a 35mm camera. All Manual Controls are available when capturing stills. Focus, Exposure, Shutter Speed, White Balance, and Gain can be applied just as in Video mode.

Face Detection is a new feature for Panasonic. The HDC-HS9 can detect up to five faces, brightening the Exposure and enhancing the color of the highlighted subject(s). The Face Detection technology is not as good as Sony’s, which can detect up to eight faces at once and does a much better job recognizing faces. The HDC-HS9 is hit or miss when it comes to detecting a face—the technology is just not reliable.

Because of the flash’s off-center placement, you may experience uneven lighting at certain angles with the HDC-HS9. Most Sonys of the past embeded the flash directly above the lens to solve this problem. The HDR-SR1 is equipped with a flash embedded directly above the lens—past Sony MiniDV models included a flash that would pop up just like a still camera. Ah, the good old days… The HDC-HS9’s Flash is capable of Auto or On settings and the Flash level can be configured to -, +/- 0, or + brightness levels.

In the third page of the Joystick menu, the HDC-HS9 has a Self-Timer that can be set to 2 or 10 seconds.

The HDC-HS9's Picture menu can be accessed from the Administrative menu. The Picture menu consists of the following options: Picture Quality, Hi-Speed Burst, Flash, Flash Level, Red Eye, and Shutter Sound.

The Picture Menu

Still Performance* (9.06)*

The still performance of the Panasonic HDC-HS9 was tested by shooting an X-Rite Color Checker chart at an even, bright light. We then ran the images through Imatest imaging software to determine color accuracy, noise, and saturation. At best, the HDC-HS9 produces a color error of 6.62. For some strange reason, this is significantly better than the Panasonic HDC-SD9, which is equipped with exactly the same imaging set. On the same test, the HDC-SD9 received a worse score of 8.23. Just to be sure, we re-ran the tests on both camcorders, and the same results came back to us. So there you have it. We can’t explain the difference. It could be a manufacturing variance on these particular models. It could be a conscious effort of Panasonic.

The noise scores of the HDC-HS9 and HDC-SD9 were virtually identical, scoring a 0.88 percent and 0.8725 percent, respectively. Like the noise scores in the Low Light video performance tests, Panasonic did a better job at noise reduction than Canon, Sony, and JVC.

We manually lowered the exposure to get this best score. The best score is produced with an aperture setting of f/3.4 and a shutter speed of 1/60.

Still Resolution* (5.45)*

The still resolution of the Panasonic HDC-HS9 was tested by shooting an Applied Image ISO 12233 resolution chart at an even, bright light, then exporting those images to Imatest imaging software. At best, the camcorder is able to produce a horizontal resolution of 553.4 line widths per picture height (lw/ph), with a clipping of 1.78 percent and an oversharpening of 16.2 percent. The vertical resolution measured 465.4 lw/ph, with an undersharpening of 24.9 percent. Unsurprisingly, this is virtually identical to the HDC-SD9.

In order to get this best score, we manually raised the exposure of the HDC-HS9 by one increment from Auto mode. These scores were produced by setting the aperture to f/3.4 and a shutter speed of 1/50.

 

 

 

 

Handling and Use

Ease of Use* (6.75)*

The HDC-HS9 is equipped with classic Panasonic manual controls—Focus, Aperture, Shutter Speed, White Balance, and Gain. That’s a lot for a beginner to take in. When the HDC-HS9 is set to Auto mode, most of the manual controls are disabled, but it’s not as restrictive as Sony’s Easy mode. You still have features like Digital Effects and Backlight Compensation available. The shooter looking for a free ride will find the HDC-HS9’s Automatic adjustments to be hit or miss, and will most likely be forced to come to terms with Manual Controls at some point. In this vein, Panasonics are great camcorders to learn on. The quick Joystick menu is convenient and easy to follow, though the Joystick’s placement within the LCD cavity is highly undesirable.

Luckily, the HDC-HS9’s menu structure is clean and quick—one of the best systems out there. Options are easy to locate and can be accessed almost instantly. Panasonic also threw an OIS button in the LCD cavity for instant stabilization adjustment. Of course, we would have liked more external controls, like a Cam Control dial, Focus ring, or Playback controls mounted to the LCD panel. The HDC-HS9 leaves you high and dry when it comes to external options, unlike the Sony HDR-SR12, which offers a Cam Control dial, viewfinder, and LCD controls.

To its benefit, the HDC-HS9 utilizes two of the friendliest forms of media out there—a 60GB HDD and Memory cards. Forget the annoyance of DVDs and real-time capture of tape. The only issue you’ll run into coincides with editing. AVCHD is still a demanding format, and a powerhouse computer is required to handle the complex files.

Handling* (5.5)*

Any way you slice it, the HDC-HS9 is subject to some tough competition. The Sony HDR-SR12 just floored us with some of the best architecture we’ve seen on a camcorder in a long while (and that goes for the Sony HDR-SR11, as well, which is physically identical). The Canon HF10 is equipped with Mic and Headphone jacks and a hot accessory shoe, despite its diminutive size. Both the HDR-SR12 and HF10 are solid camcorders that handle like champs. Even JVC’s GZ-HD6 feels solid in the hand and features a slew of essential ports. Unfortunately, the HDC-HS9 received the short end of the stick here. There are no Mic or Headphone jacks, no accessory shoe of any kind, and limited external controls. Without these essential ports, the HDC-HS9 is at the bottom of the totem pole for serious shooters. The HDC-HS9 is limited in its capabilities and simply cannot pose any sort of threat to the formidable HDR-SR12 and HF10.

Handling on the HDC-HS9 falls within the middle of the scale in terms of comfort. This camcorder is not constructed as solidly as a Sony or a Canon. As outlined earlier in the review, Panasonic left six screws uncovered, leading to an unfinished, cheap look. Size took precedence over quality handling—the HDC-HS9 is certainly portable, but it’s geared primarily toward consumers who could care less about manual adjustments. Power shooters will be very disappointed with the joystick’s inopportune LCD cavity placement. The location is awkward and the operating finger blocks the LCD screen. Remember the rear-mounted joystick of yore, a Panasonic standard? Furthermore, the HDC-HS9 lacks a viewfinder, essential ports, and any form of advanced external controls.

That’s not to say the HDC-HS9 handles like a brick with a strap attached to it. There is a raised crest along the right side of the camcorder to conform to the natural curvature of the palm of the hand. The HDD enclosure provides enough of a ledge to grasp without overshooting the top of the camcorder or interfering with the microphone. The placement of the Record Start/Stop button is optimal, falling directly beneath the thumb. Though the HDC-HS9’s Zoom toggle is not as voluminous as the HDC-SD9’s, it still follows the chunky, knurled sliding design we prefer over small rocker-type levers. The HDC-HS9’s hand strap is not as cushy as Sony’s, but it gets the job done and does not strain the back of the hand. You might experience a slight amount of pinching when ratcheting the strap tightly across your hand, so beware.

For a consumer, the HDC-HS9 may seem cool. Unfortunately, more advanced shooters will dream of something more. What more, you ask? How about this: an HDC-HS9 that is approximately 20 percent larger with a Focus ring, lens hood, rubberized viewfinder, Mic and Headphone jacks, accessory shoe, and external Aperture, Shutter Speed, and White Balance dials. Unfortunately, they don’t make ‘em like they did in MiniDV’s heyday. The Panasonic PV-GS400 is a prime example of how a camcorder could be designed.

Menu* (6.5)*

Panasonic’s menus are well organized and easy to navigate. All options are grouped in logical categories and menu selection is rapid. The new joystick location is a pain in the behind—we long for the rear-mounted design of yesteryear. The Sony HDR-SR12’s 3.2-inch touch screen is a better system—we never thought we’d prefer a touch screen over a joystick, but until Panasonic gets its act together, we’re sticking with Sony’s menu.

Panasonic’s Joystick menu allows for instant image adjustment, as it contains all Manual Controls. Press the center of the Joystick to access the Joystick menu. When the HDC-HS9 is set to Manual/Manual Focus mode, the Joystick menu contains the following options:

The Joystick menu in action

The Administrative menu is accessed by pressing the Menu button located in the HDC-HS9’s LCD cavity. When accessed, the Administrative menu contains the following items:

Portability* (7.75)*

The HDC-HS9 is closest in size to Panasonic’s standard definition SDR-H200, last year’s three-CCD HDD leader of the pack. The HDC-HS9 measures 75 x 74 x 126 (2.96 x 2.9 x 4.96 inches) and weighs in at 452 grams (0.997 pounds). Certain pockets that are cavernous enough will accommodate the HDC-HS9, but this camcorder is not as freakishly petit as the HDC-SD9. This is the smallest AVCHD HDD on the market, but many users will long for more features and weight. A small camcorder bag will do the trick, and since the HDC-HS9 has both a 60GB HDD and Memory card slot, you’ll be able to save space for cables and backup batteries.

The 2.7-inch LCD screen

LCD and Viewfinder* (5.0)*

The HDC-HS9 has a 2.7-inch LCD screen that extends 90 degrees from the body of the camcorder and rotates up to 270 degrees. The HDC-HS9’s sharp, colorful display is composed of 300,000 pixels, which is a major bonus over most LCD screens that only offer 123,000- or 211,000-pixel resolutions. LCD Set allows you to adjust the color or brightness of the screen, but that just alters your perception of the actual Exposure or White Balance of the image. We recommend evading the LCD Set for the sake of your video quality.

A Power LCD Plus feature brightens the screen +1 or +2 steps, but this is another meaningless addition. When the HDC-HS9 is connected to its external power source, the Power LCD Plus feature automatically kicks in. You’ll have to manually disengage it if you want the LCD screen to display an image with accurate brightness. With all of the time spent pouring into LCD adjustments, Panasonic could have concentrated on improving the design and port configuration on the HDC-HS9. An overload of LCD tools is yet another red herring that Panasonic is leaping every hurdle in sight to reach the consumer audience.

There is no viewfinder on the HDC-HS9.

Battery Life(11.7)

We tested the life of the HDC-HS9’s VW-VBG130 Battery Pack by shooting continuously with the LCD flipped open and OIS disabled in Manual mode until the battery ran out of juice. Video was recorded in the highest quality mode (HA1920). The HDC-HS9 lasted 117 minutes and 4 seconds (1 hour, 57 minutes, and 4 seconds), which is just shy of the HDC-SD9’s 119-minute performance. The HDC-HS9’s long battery life is one of the positive things the camcorder has going for it.

 

 

 

 

Audio / Playback / Connectivity

Audio* (5.5)*

While the external audio options on the HDC-HS9 leave much to be desired, the onboard audio options are some of the best within its class. Like the HDC-SD9, the HDC-HS9 has a 5.1 channel surround sound microphone that can record in three settings: Surround, Zoom, and Focus. With Surround recording, four discreet microphones are used—two front-facing and two rear-facing, while a composite fifth channel is digitally created. The Zoom setting allows the HDC-HS9 to follow the audio of a subject in tandem with Wide Angle or Telephoto travel. When a subject is far away, their audio gains decibels as the HDC-HS9 Zooms in. The Focus setting hones in on the front of the camcorder, which is ideal for talking head interviews.

The HDC-HS9 also allows you to set audio levels—Auto Gain Control (AGC), Set+AGC, and Set modes. In AGC mode the camcorder automatically adjusts the sound levels, which is the audio equivalent to Auto mode. AGC mode is most useful for most situations containing unpredictable sound levels. Set+AGC is used for sounds that are on the harsh side, allowing the shooter to lower or raise the decibel level to keep the levels out of the red zone. In Set+AGC mode, AGC is still present to reduce the amount of sound distortion. If you want to record sound in its most natural form, opt for the Set mode. All level control is done manually, without the safety net of AGC.

The HDC-HS9’s audio level meter is a nice tool to have, but it’s inadequate for most advanced shooters. There are simply not enough segments in the meter to allow for a fluid motion. Readings will be jittery, so we recommend sticking with AGC unless you’re a sound pro. When Set+AGC or Set is selected, a screen appears containing individual level meters for each of the five surround sound microphones—Center, Front Left, Back Left, Front Right, and Back Right. You can use the joystick to shift the dB input level up or down from -30 to +6 using the joystick, monitored by an onscreen decibel meter. A Wind Cut function rounds out the HDC-HS9’s audio offerings, but after all of the aforementioned audio control, Wind Cut is rendered essentially useless.

Playback* (4.25)*

The HDC-HS9 is set to Playback mode by shifting the Mode dial to the far right. When in Playback mode, a screen of icons appears. There are two tabs at the top to represent data stored on SD/SDHC card and HDD. The Joystick is used to scroll through each icon. You can browse by date and select either the Photo or Video tab to access pictures or clips. There is an Intelligent Scene Detection function that will automatically weed out the bad clips (underexposed, shaky, out of focus) and only display clips with proper exposure, color, and composition.

Press the center of the joystick while an icon is selected and the video clip or still will fill the entirety of the LCD screen. The joystick governs the Playback controls, and clip volume is adjusted using the Zoom toggle. For images, the joystick activates Slide Show and selects previous and next pictures.

The Video Playback menu is accessed by pressing the Menu button. The Video Playback menu contains the following options:

 While in Photo Playback, the Administrative menu consists of the following items:

 

The Photo playback mode

Connectivity* (4.0)*

One of the HDC-HS9’s weakest areas is its selection of ports. Panasonic also chose to carry over a bogus design flaw—placing crucial ports within the battery chamber. Nestled behind the battery are the DC and HDMI jacks, which are only available when the battery is, of course, removed. Say goodbye to continuity if you need to connect the external power supply in the middle of a shot. You also have to plug in the power cable to be able to connect the HDC-HS9 to an external monitor via HDMI. While we’re at it, Panasonic really needs to revamp its external power supply design. Two cables and an AC adapter are just too much. What happens when you need to review footage and charge the battery at the same time? The LCD cavity contains most of the HDC-HS9’s connectivity, housed by a rectangular plastic shield. The A/V out, Component, and USB jacks are all located here. There are no Mic or headphone jacks - the HDC-HS9 lacks an accessory shoe. The Canon HF10 and Sony HDR-SR12 have all three. That open expanse on the right side of the HDC-HS9 just beckons for more connectivity. At least it would obscure some of the hideous exposed screws.

Beneath the battery is the SD/SDHC card slot, which pops open by sliding a small tab.

 

 

 

 

 

Other Features

What’s in the Box?

The Panasonic HDC-HS9 ships with the following items:

-VW-VBG130 Battery Pack

  • AC Adapter

  • AC Cable

  • DC Cable

  • Remote Control

  • Button-type battery

  • AV Cable

  • Component Cable

  • USB Cable

  • CD-ROM: Pinnacle Studio 11 Trial and HD Writer

A few backup batteries will be necessary for longer shoots. The HDC-HS9 is pretty much ready to roll out of the box, thanks to its 60GB HDD. You won’t need many accessories because the HDC-HS9 is devoid of Mic and Headphone jacks and an accessory shoe.

Other Features* (5.0)*

*Fades- *Black and White Fades allow you to tack on that classic post-production transition action without any actual post production.

*Auto Ground Directional Standby (AGS)- *Auto Ground Directional Standby prevents hours of unwanted footage of the ground. While the HDC-HS9 is left recording and the camcorder senses that it has dipped below its standard horizontal recording position, it will automatically shut off, saving you the battery life and HDD space needed for Space Mountain.

*Pre-Record- *The Spotted Owl just went AWOL, but before it did, you caught its getaway using the Pre-Record function. When you press the Pre-Record button, the HDC-HS9 records three seconds of video to an internal cache in a cycle. As soon as the Record button is hit, the most recent three seconds of video is added to the beginning of the clip. This way, you can catch the first three seconds of action you would have potentially missed—just make sure to hit the Pre-Record button.

*Intelligent Scene Detection - *Intelligent Scene Detection automatically whittles down your vast ocean of video clips to the ones it deems are the cream of the crop. Clips with proper exposure, focus, and composition are only displayed, according to the HDC-HS9’s internal brain.

 

 

 

 

Comparisons / Conclusion

Comparison
Panasonic HDC-SD9

Size, media, and price are the only borders between the Panasonic HDC-HS9 and the HDC-SD9 ($799 MSRP). The HDC-HS9 has the added benefit of a 60GB HDD in addition to SDHC card recording. Aside from that, video quality, Manual Controls, and still features are identical. The HDC-HS9 is easier to handle, thanks to its bulkier frame, but both camcorders really failed to make the grade this year. The three 1/6-inch CCDs contribute to a decent bright light performance, but low light is mediocre. The 24P Digital Cinema feature is cool, but you can’t use 24P without the Digital Cinema effect (xvYCC color), which is totally bogus. There are almost no ports – no mic jack, no headphone jack, and no accessory shoe – and the ports you do get are poorly placed. The HDD on the Panasonic HDC-HS9 provide you with an alternative to memory card recording, but it’s just not worth it. Neither of these camcorders are justifiable purchases when pinned against the Canon HF10 or Sony HDR-SR11.

Sony HDR-SR11

If you don’t want the gargantuan 120GB storage capacity of the Sony HDR-SR12 ($1,399 MSRP), there’s the 60GB Sony HDR-SR11 ($1,199 MSRP). Other than HDD size, these Sonys are identical. This means the HDR-SR11 offers stellar video in bright and low light, intuitively designed ports, and smooth, buttery handling. Sony’s new BIONZ processing really worked wonders in conjunction with the HDR-SR12’s 1/3.13-inch CMOS chip. You can’t go wrong with a massive 3.2-inch LCD, pivoting viewfinder, and classic Sony Auto response. The HDR-SR11’s Manual Controls are no slouch either, utilizing a Cam Control dial for up to four instant adjustments. The HDR-SR11 also has some of the best still features in its class. All the HDC-HS9 can answer with is a slew of onboard audio options and a more compact size. So far, 2008 is not Panasonic’s year, and the HDC-HS9 cowers in the titanic HDR-SR11’s shadow.

JVC-GZHD5

In a similar situation to Sony, JVC released two HD models that are essentially identical aside from storage capacity. The JVC GZ-HD5 ($1,199 MSRP) contains a 60GB HDD, while its bigger sibling, the GZ-HD6, harbors a hulking 120GB HDD (it also comes with lens hood and headphone jack that the HD5 does not have). The GZ-HD5 is silver, rather than the stealthy black scheme that’s exploding all over the HD market this year. Video from the GZ-HD6 is fair in bright light, but low light just can't handle, due to its three 1/5-inch CCDs. You can expect the same from the GZ-HD5. Ports and connectivity are plentiful on the GZ-HD5, and the Focus Assist function is excellent. The GZ-HD5 also plays back 60P video, but only through the HDMI cable, and only on a TV that supports 60P playback. This is a tough call, but we’re going to have to side with JVC on this one. The HDC-HS9 just isn’t cutting it.

Canon HF10

Few camcorders can match the overall greatness of the Canon HF10 ($1099 MSRP), though the Sony HDR-SR11/SR12 is also very good. With beautiful video in bright and low light, mic and headphone jacks, a hot accessory shoe (diminished by its new proprietary fit), and 60i/24P/30P frame rates, the HDC-HS9 doesn’t even have a chance. Canon’s extensive manual controls, Priority modes, and convenient LCD Joystick are just a few reasons to opt for the HF10. All for the same price as the HDC-HS9? Panasonic has a lot of revamping to do.

Who It’s For
Point-and-Shooters

Without Mic or Headphone jacks, an accessory shoe, or any form of advanced external Manual control, the HDC-HS9 definitely does not appeal to serious shooters. However, the full palette of manual controls may intimidate beginners. Also, AVCHD editing is not for the faint of heart, as it often requires finding creative ways to import into editing programs. The HDC-HS9 is between a rock and a hard place, but it’s more consumer-driven than anything.

Budget Consumers

The HDC-HS9 is the cheapest AVCHD HDD/SDHC hybrid out there, but at $1,099, the HDC-SD9 seems more enticing with its $799 price tag. The Canon HF10 is also $1,099. At least you won’t have to buy SDHC cards.

Still Photo / Video Camera Hybrid

The HDC-HS9’s still features are lacking in many dimensions. Canon and Sony offer mountains more in this corner.

Gadget Freaks

There’s really nothing enticing aside from Face Detection and 24P/Digital Cinema Mode—which does not function as well as we’d like it to. Sorry nerds, the HDC-HS9 is a dud in this category.

Manual Control Freaks

All of Panasonic’s classic manual control action is here, but Canon’s HF10 has surpassed the HDC-HS9 with Aperture Priority and Focus Assist. Panasonic really needs to revamp many things—manual controls being one of them.

Pros / Serious Hobbyists

Sorry, but not this camcorder.

**Conclusion
**In the camcorder world, less is not always more. Ah, we grow misty-eyed reflecting on the glorious days when MiniDV giants roamed the Earth – focus rings, every port you could ask for, external Aperture and Shutter Speed buttons, killer handling, and more. Today, the market is flooded with ultra compact HD models that certainly look flashy, but lack the efficacy of a fully-stocked camcorder. The Panasonic HDC-HS9 ($1,099 MSRP) is among the most compact AVCHD camcorders in its class, but that’s about the best it can claim. The chief competitors, the Sony HDR-SR12 and Canon HF10, offer better image quality, more features, and better handling.

There are no mic and headphone jacks on the Panasonic HDC-HS9. It also lacks an accessory shoe – all of which are found on the Canon HF10 and Sony HDR-SR11. True, the HDC-HS9 is equipped with the most comprehensive onboard audio options, including AGC, level control, and a Zoom capability. However, any intermediate shooter or beyond knows that built-in consumer camcorder microphones—5.1 Surround Sound or not—are inadequate for anything beyond a family barbeque. Panasonic also relocated the Joystick to the LCD cavity in this year’s models, which is about as useful and comfortable as wearing your pants backward.

Most importantly, the third-generation AVCHD camcorder from Panasonic produced a video performance that left a lot to be desired. Low light faltered, in large part due to the HDC-HS9’s three small 1/6-inch CCDs. Motion trailing and ghosting, while significantly reduced since the first-generation HDC-SD1, were still present in most indoor shooting. The Canon HF10 and Sony HDR-SR12 blows the HDC-HS9 out of the water with killer video quality in bright and low light. We found the video to be sharper, richer, and less prone to artifacting.

The bottom line is there’s just nothing exciting about this camcorder. Unless Panasonic gets its act together soon, the future of its camcorder dynasty could be up a creek without a paddle. Now is the time to dust off those old MiniDV blueprints from the past for inspiration, Panasonic. The competition is just too fierce. Focusing on compact size instead of a quality user experience is a losing battle.

 

 

Meet the tester

Michael Perlman

Michael Perlman

Editor

Michael Perlman is a valued contributor to the Reviewed.com family of sites.

See all of Michael Perlman's reviews

Checking our work.

Our team is here for one purpose: to help you buy the best stuff and love what you own. Our writers, editors, and lab technicians obsess over the products we cover to make sure you're confident and satisfied. Have a different opinion about something we recommend? Email us and we'll compare notes.

Shoot us an email

Up next