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  • Performance

  • Format

  • Auto / Manual Controls

  • Still Features

  • Handling and Use

  • Audio / Playback / Connectivity

  • Other Features

  • Comparisons / Conclusion

  • Specs and Ratings

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

Performance

The Panasonic HDC-SD1 is equipped with three 1/4" CCDs, each offering a gross pixel count of 560,000 and an effective pixel count of 520,000.

 

First, we want to look at the picture in bright light, 3000 lux. Under these conditions, the SD1 had a fairly clean image. Outlines and borders were stronger than the Canon HV20, and had similar levels of in-camera sharpening that the Sony HDR-HC7 showed. This was a good decision on Panasonic’s part. The AVCHD produces an image marred by compression artifacts more than HDV, even in bright light, reducing the apparent resolution. Sharpening makes the image look sharper, which seemed to level the playing field to our eye. Color strength and balance was excellent. Saturation levels were clearly boosted, but that’s the standard for consumer camcorders, catering to casual shooters who want their color to pop. The manual white balance was not entirely accurate (surprising for a Panasonic) and tended to shift the picture slightly green. Most of the color pallet ended up looking similar to the Canon HV20, which showed very good balance. The Sony HC7 was much more saturated.

Panasonic’s Broadcast division re-released a tweaked version of the SD1 under a different name, the AG-HSC1U. Aside from some minor cosmetic changes, the key difference is that they modified the gamma curve to closely match their Proline camcorders. They also threw in a very nice external DTE recording unit, and boosted the price considerably. So if you love everything about this camera but the colors, there is another option.

The picture quality of AVCHD (versus HDV, the other consumer HD format) has two deleterious elements: noise and motion artifacting. In bright light, the noise levels were high, higher than you should be willing to accept at this price point. What’s interesting is that the noise was very different from the Sony HDR-UX1, their 2006 AVCHD DVD camcorder. While the Sony had large chunks of blue noise, noticeable more in the darker end of the light scale, the Panasonic SR1’s noise was a little finer, and more visible in the middle of the light scale. The SR1 does not have a great dynamic range; the blacks petered out early. By comparison, no HDV camcorder had the same levels of noise.

Secondly, and more gravely, was the motion artifacting, which reduced our scoring considerably. The Panasonic HDR-SD1 had an atrocious level of trailing. Regardless of light, the footage looked like the early stages of an acid trip (not that we have any personal experience with that…). We noticed this trailing effect on the Sony HDR-UX1, but not to the same degree. HDV camcorders have a similar tendency, because like AVCHD, it uses interframe compression (see Compression below for more information), but neither the Canon HV20 nor the Sony HDR-HC7 had anywhere near the degree of trailing. This seems to be a byproduct of AVCHD compression at this stage of the codec’s development.

Overall, the Panasonic HDC-SD1 produced a sharp HD image, but left a lot to be desired.

Video Resolution* (18.0)*

The Panasonic HDC-SD1 was tested for video resolution by shooting a DSC Labs resolution chart, and assessing the footage on an HD monitor. The resolution was good, certainly on par with other HD camcorders. Both the vertical and horizontal resolution were approximately 600 line widths per picture height. Once the lines on the chart started to bleed together, we were pleased to see that the inevitable moiré patterns did not produce much false color, which can be really distracting (you’ll see this in home movies all the time when shooting someone with a tight pinstripe tie or jacket.

Low Light Performance* (5.0)*

Because AVCHD camcorders have so far produced more noise than HDV camcorders, the low light performance has tended to suffer. This held true for the Panasonic HDC-SD1. It did not have a great deal of sensitivity. At 60 lux, the aperture was already opened up as wide as it could (f/1.8) and the gain, which ranges up to 18dB, was already up to 15dB. The shutter speed cannot be lowered past 1/60 without enabling the MagicPix AE mode. That does not leave the shooter much room to improve image quality beyond the limits of auto mode. The 60 lux image had a lot of noise, no doubt due to the high gain setting. When we manually boosted the gain to 18dB, some of the image was blown out – again, this does not leave a lot of wiggle room for users to play with the settings.

*Above, the image at 60 lux shot in auto mode. The gain was already close to maxing out to about 12 - 15dB.

Below, the same image with the gain manually boosted to 18dB. *

At 15 lux, the image became very noisy. The colors were also far off the mark.

The HDC-SD1 was able to produce a peak of 50 IRE at 14 lux, about twice the light required by the 1080i video of the Canon HV20 and the Sony HDR-HC7. In 60 lux light, the point at which we test noise and color accuracy, the camcorder showed a noise percentage of 0.63% and a color error of 11.8. The noise levels are great, and Panasonic’s gain controls are better than most, but the color error and sensitivity leave something to be desired.

Stabilization* (9.03)*

The Panasonic HDC-SD1 is equipped with an optical image stabilization, or OIS system to reduce the effects of camcorder shake on recorded video. OIS stabilizes the image by physically isolating the lens element from the camcorder body, sometimes using gyroscopes or motors. As a remedy for hand shake, OIS systems generally work well, without reducing video resolution when enabled. The other more common (and cheaper) stabilization system is EIS (electronic image stabilization). EIS reduces vibration by generating a digital buffer around the margins of the frame, and unlike OIS, reduces the resolution of recorded video. OIS systems tend to be found on higher-end camcorders like the SD1, and are the better of the two stabilizations methods.

We tested the SD1'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 SD1 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 SD1’s OIS system reduced recorded image shake by approximately 91% at Speed 1, and 88% at Speed 2. 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 stabilization – most high-end camcorders with OIS systems do well at Speed 1, but relatively poorly at Speed 2. This camcorder maintained terrific stability even under extreme vibration. Kudos to Panasonic’s engineers on this OIS system – it leads the consumer camcorder industry in this area.

Wide Angle* (10.4)*

We measure the field of view of camcorders in 16:9 mode. The zoom is set to its widest angle, image stabilization is turned off, and we view the full video frame on an external monitor derive a field of view measurement. The SD1's maximum field of view was 52 degrees.

Format

Compression* (6.0)*

The Panasonic SD1 uses AVCHD compression, a consumer-oriented flavor of MPEG-4 H.264 compression that supports both 720p and 1080i. AVCHD was developed by Panasonic and Sony and announced in early 2006, and Sony was the first company to bring camcorders using the new format to market with its introduction of the HDR-SD1 and HDR-UX1. AVCHD is up to 50% more efficient than MPEG-2 HDV compression, allowing the format to be implemented in a range of recording media that many consumers favor over tape, including DVDs, flash memory cards, and HDDs.

AVCHD allows for HD video encoding at lower bit rates than HDV’s fixed rate of 25Mbps of between 9 and 24Mbps. The Panasonic HDC-SD1 supports three bit rates: 13Mbps HF (CBR, or constant bit rate), 9Mbps HN (VBR, or variable bit rate), and 6Mbps HE (VBR). The highest AVCHD bit rate implemented to date is 15Mbps in Sony’s HDR-SR1, available since the fall of 2006.

AVCHD is a format that has great potential, and in our video tests, we have found it to produce video that is noisier than HDV but nearly as sharp, at around ½ the bit rate. Unfortunately, AVCHD is not yet widely supported by NLEs, so working with SD1 footage or any AVCHD footage demands some time-consuming workarounds. Even when AVCHD post-production solutions are implemented, it will require a faster system than HDV editing due to the increased compression/decompression of the new codec. At present, AVCHD is in its infancy, and its advantages over HDV are confined to the benefits afforded by very low bit rates and random access 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. If you are willing to wait for AVCHD post-production solutions and have a strong preference for random-access media over tape, AVCHD camcorders are a cost-effective way to record HD video. If picture quality and editability are your foremost concerns, HDV outclasses AVCHD by a wide margin.

The wildcard in the consumer HD realm is JVC’s Everio HD7, slated for release in the states very soon. The HD7 records MPEG-2 video to HDD at up to 30Mbps. That is a higher bit rate than standard HDV MPEG-2, and could give HDV’s performance a run for its money, and we assume JVC’s MPEG-2 compression will outperform AVCHD. In addition to the convenience of HDD recording, the HD7 will include a strong manual image control suite. Stay tuned for our review of this highly anticipated camcorder.

 

Media* (6.0)*

The convenience of recording straight to SDHC cards on the HDC-SD1 needs to be seen in the context of AVCHD compression. Standard definition HDD and flash-based MPEG-2 camcorders allow you to easily transfer footage to a PC for archiving to DVD, and many even support one-touch DVD burning. The fact that any home DVD player can play back standard definition MPEG-2 footage makes this level of convenience possible. Unfortunately, there are no DVD players on the market that currently support AVCHD video, so the convenience of easy archiving is absent.

Thankfully, you can now create a DVD with SD1 footage, but the solutions are still extremely limited. The best bet at the moment is Ulead DVD MovieFactory 6 Plus, which does support AVCHD video – and even allows you to burn AVCHD material to a standard DVD. The availability of Ulead’s end-to-end AVCHD solution is a boon to AVCHD camcorder users with the caveat that it’s a consumer application, and editing options are limited. DVD MovieFactory6 Plus is also a Windows-only app, so if your platform is OS X, you’ll need to sit tight until AVCHD support arrives.

Editing* (4.0)*

There are no NLE’s that support AVCHD footage natively, but Ulead DVD MovieFactory 6 Plus does allow rudimentary editing using the Edit Room feature. This program includes Storyboard and Timeline Modes, trimming, transitions, titling and supports multiple audio tracks. Keep in mind that MovieFactory 6 Plus is a DVD authoring program with embedded video editing functionality, and not a standalone NLE (non-linear editor) like Adobe Premiere or Apple Final Cut Pro.

If you want the robust features of a standalone NLE, you can still work with AVCHD footage, but you will need to convert your footage to a format that your NLE supports. Again, this is a time-consuming and processor-intensive step, as well requiring you to work with second generation footage. MovieFactory 6 Plus probably offers the most seamless way to accomplish this, given that it can import AVCHD video and export it as MPEG-2, DV AVI, AVI, or QuickTime (MOV, QT) – formats that NLEs support – in addition to BDAV, HD DVD, WMV-HD, WMV-SD, and ASF.

Corel (Ulead’s parent company) deserves kudos for rolling out support for the format, however, DVD MovieFactory 6 Plus remains one of a handful of solutions for working with AVCHD footage that doesn’t require a degree in broadcast engineering. If you are serious about editing HD video, HDV remains the vastly superior format. Your video will originate cleaner, sharper and less noisy, and you’ll be able to work with your footage as soon as you import it into your favorite NLE.

Auto / Manual Controls

Picture & Manual Control
Automatic Control (6.5)

For the most part, the Panasonic HDC-SD1 performs well in auto mode, with the caveat that it struggled in challenging environments that give any camcorder a run for their money. The core auto image adjustments, exposure, focus, and white balance all operate well in bright, consistent lighting. In addition, a number of useful options remain available when the camcorder’s recording mode switch (in the LCD cavity) is set to auto. Pressing the joystick brings up a three page menu at the lower left corner of the screen, with Help mode at the right side of page one. When you enter Help mode, yellow banners appear across the top and bottom of the LCD screen, instructing you to point the cursor to any function for details. As long as you remain in Help mode, the yellow banners remain in view, and a text description of a function is scrolled across the lower banner.

Panasonic’s introduction of descriptive banners carries over to other functions, so that when Fade is selected, a banner text banner appears at the base of the screen for a few seconds that says "Fade On," or "Magic Pix On," etc. This may not sound like a groundbreaking addition, but it does make Panasonic’s efficient but somewhat opaque menu system easier to work with for novices.

While this is a good camcorder for point-and-shooters who like to let their camcorder do all the heavy lifting, Panasonic keeps a large number of options available for users who want a little more control. While this means there is no "Easy" or "Green" idiot-proof mode on the SD1, it means you’ll have more options available, should you choose to use them. Sonys in particular lock you out of nearly all functions other than zoom and video recording quality when you’ve pressed the Easy button, and even the menu options on the screen become larger. Panasonic’s auto mode retains options including digital zoom set, OIS on/off, Guidelines, Wind Cut and Zoom Mic on/off, manual audio level control, and zebras. The availability of an option like zebras in auto mode is a great inclusion, because it can be treated as a warning notice that auto exposure is blowing out part of the frame.

We found that exposure was the area this camcorder struggled the most in high-contrast environments. While no camcorder’s auto exposure deals with high contrast well, the HDC-SD1 tended to over- or under-expose the subject more often than we like to see. Other than turning BLC (back light compensation), adjusting your framing, or leaving auto mode entirely, the SD1 offers little in terms of recourse for the point-and-shooter. Than again, neither do Sony and Canon’s new HDV camcorders, the HV20 and HDR-HC7, respectively. A camcorder that got auto mode right were Sony’s first AVCHD camcorders, the HDR-UX1 (the discontinued DVD model), and the HDR-SR1 (HDD-based) which both allow you the option to use manual controls even in auto mode.

Yet with an easier to use menu and generally good performance, the HDC-SD1 has much to offer point-and-shooters. The guide frame and zebra options are helpful assists that are not usually available in auto mode (Sony’s new HC7 offers neither, and the HV20 only offers guide frames), though novices are less likely to make use of assists like these. In sum, the SD1 is uncharacteristically approachable and user-friendly for a Panasonic, and keeps a handful of useful functions available. Recording to flash media enhances the cam’s easy appeal…until, that is you try to do anything with the footage other than play it back using the camcorder.

Overall Manual Control (6.75)

The Panasonic HDC-SD1 and HDC-DX1 have a nearly identical set of manual control features, and both permit fully independent iris, shutter speed and gain adjustment. This matches the level of manual control found on other consumer cams from Panasonic, and is one of the qualities that sets the company’s camcorders apart. Yet, for all the manual adjustability offered by the SD1, it’s more a point-and-shooter with good manual controls than a professional tool. The lack of support and low quality of AVCHD versus HDV is one big reason for this, as are the limited nature of some of the manual controls.

For example, the SD1 includes a manual Focus Assist option that magnifies roughly the middle quadrant of the displayed image – certainly a useful option for focusing HD resolution video. However, while this helps, its doesn’t go as far as the focus assist on the Canon HV20, which fills the screen and adds peaking to make manual focus much easier. In addition, the manual image adjustment controller on the SD1 is a joystick rather than a true ring – our first choice, found on Sony’s HDR-SR1 HDD-based AVCHD camcorder – or a dial, found on the Canon HV20, and for multiple manual controls on many HD Sonys. The joystick in combination with Focus Assist makes manually focusing the SD1 possible, but far from easy.

The joystick-centric manual control suite of the HDC-SD1 carries over from Panasonic’s standard definition consumer line, and using a joystick to focus standard definition video is doable. Getting a good picture via manual control on an HD camcorder is a dicier endeavor, however, since the pixels displayed on the screen are effectively ¼ the size of standard definition pixels. In other words, the quadrant displayed with Panasonic’s Focus Assist enabled actually represents only 1/8 of the whole video frame. That means the pixels you see with Focus Assist enabled are shown at ½ the size of the pixels you would see on a standard definition camcorder with the same LCD screen! To us, this represents a downgrade to this camcorders manual control abilities from any standard definition camcorder from Panasonic.

The joystick on the HDC-SD1 is also a bit more difficult to operate than the ones on its standard definition predecessors. The joysticks on both the SD1 and DX1 have a larger surface area than the ones found on previous Panasonics, but they don’t protrude as much from the body. We found this modified design made navigation with the new joysticks slightly more difficult than with the old joystick design. The new controller feels like a higher-end implementation, but we found that we couldn’t navigate up, down, left, and right with the facility we’ve grown to appreciate on consumer Panasonics.

In other respects, the SD1 should make Panasonic fans feel right at home. When the camcorder is set to Manual recording mode, pressing the center of the joystick brings up a 4-page menu at the lower right corner of the screen, with options for iris/gain, white balance, and shutter speed on page 4. When manual focus is enabled, a fifth focus adjustment page is added to the menu. In comparison to most other consumer camcorders, this interface design makes accessing these important image controls a very fast process. For adjustments other than focus, the joystick works very well and the ability to control gain manually is a terrific quality control feature that HD camcorders from other manufacturers like Sony and Canon lack – though gain control will be offered on the JVC HD7 Everio.

With assists like zebras, color bars, a mic input and manual audio level controls, this camcorder has the makings of a strong contender. Sadly, a less-than-stellar Focus Assist feature makes it difficult to trust manual focus, there’s no headphone jack to make manual audio adjustment worthwhile, and zebras default to a single mystery setting. It seems to be around 100 IRE, but the user’s manual sheds no light on this. Meanwhile, Sony and Canon’s HD camcorders offer zebra options at 70 IRE and 100 IRE. Add the fact that this is an AVCHD camcorder with video quality that can’t compete with HDV, and the HDC-SD1 ends up in an uncomfortable niche of its own, boasting some very good features, and some very big liabilities.

Zoom (6.0)

The zoom controller on the HDC-SD1 is excellent, allowing for accurate control over speed, and it has a responsive, comfortable feel. The position of the zoom on top of the lens barrel, just forward of the photo button should also feel right for most users, though we found it suited operation with the middle finger best. The problem with this camcorder’s zoom that it lacks settings that allow you to fine-tune the action of the controller, and it is the only zoom available. Most comparably-priced HD camcorders offer a secondary zoom controller on the LCD frame, while Canon’s HV20 takes it a step further by allowing you to set the primary zoom toggle to one of three constant speeds, or the default variable speed. The SD1 zoom is good but its basic, and on a camcorder priced at more than $1000 we would have expected some additional options.

Zoom Power Ratio (12.0)

The Panasonic HDC-SD1 includes a 12x optical zoom, offering a slight gain over most consumer HD camcorders that max out at 10x optical. Standard definition camcorders typically feature much stronger optical zooms that range as high as 40x on some entry-level Sonys, but the video they produce is much lower in resolution. The gap between standard definition and HD camcorder optical zooms stems from the fact that HD camcorders usually employ much larger imagers, or in the case of the SD1, a 3-CCD imager system. A sensor’s physical size and the length of the lens barrel determine the power of an optical zoom, so a smaller sensor is able to produce greater magnification in the limited space of a consumer camcorder body. In other words, the SD1’s optical zoom pay seem puny, but the video it captures will put standard definition video to shame.

The SD1 also includes a digital zoom option that can be capped at 30x, or allowed to run all the way to an absurd 700x. The users’ manual we received with our test model misprinted the max digital zoom on the SD1 as 120x – and Panasonic should have kept the digital max at a "mere" 10 times the optical zoom max. The reason is that digital zooms magnify the pixels available at a lenses’ optical max, which causes the quality of the image to plummet as you proceed further into digital zoom territory. To be fair, we found the SD1’s image held up remarkably well up to about 30x. At that magnification, the resolution remained comparable to what many standard definition camcorders produce – an impressive feat. Above 30x, the image quickly degenerates to the point that at 700x, you’re left with giant blocks of dancing pixels and zero legibility. If you must use the HDC-SD1’s digital zoom, we recommend capping it at 30x so you’re not tempted to push your zooms to stratospheric nausea-inducing heights.

Focus (5.0)

Focus is the bane of HD video. While standard definition video is quite forgiving, thanks to a much lower resolution, high definition video is sharp enough to magnify the slightest mistake. This is especially true of focus, and it’s simply not possible to focus accurately using the 2.7" – 3.5" displays found on today’s consumer HD camcorders. The resolution of HD video is too high (1080 x 1920) and the screens too small to make this possible. There have been a few successful remedies to this problem. Sony’s debut AVCHD camcorders, the HDR-UX1 (sadly discontinued) and HDR-SR1 feature huge 3.5" screens and excellent ring controls; the Canon HV20 has an excellent Focus Assist feature that magnifies the image to fill the 2.7" screen, and adds peaking.

Panasonic too has a Focus Assist option on the SD1 and DX1, but it’s only a partial success. Instead of filling the screen with a magnified image as on the HV20, the SD1 fills only the center quadrant of the LCD with a magnified image. As a result, you’re only given 1/8 of the entire frame to focus on – without peaking to make the job easier. Although the HDR-SR1 from Sony doesn’t offer any assist functions, the size of the screen and the ring control makes focusing manually a relative breeze. In addition, Panasonic HDC-SD1 manual focus control is a joystick that doesn’t offer the finesse of a rotary controller like a ring or dial.

After roaming the streets of Boston with the SD1 in tow, we can definitively declare that focusing manually is possible – but it ain’t easy. Most shots focused manually were crisp, but the HV20 and HDR-SR1 made it easier and faster to get it right.

Exposure & Aperture (5.62)

The joystick on the HDC-SD1 may not be a great focus controller, but its fast and adept for working your way through the manual iris adjustment options. We find the Panasonic joystick interface to be extremely efficient in the hands (or thumbs) of power users who become adept at the system’s quirks. However, the manual control menu that pops up on the lower left corner of the LCD screen upon pressing the center of the joystick has been confusing at best for inexperienced shooters. With the SD1 and DX1, Panasonic has improved the lot of newbies considerably by improving their Help mode and including longer descriptions of selected functions. Manual aperture still takes some getting used to, but Panasonic’s new camcorders make one of the best manual adjustments on the consumer market more approachable.

Here’s how it works: With the Auto/Manual/Focus selector switch set to Manual (Auto does not allow manual exposure adjustment) pressing the center of the joystick brings up the joystick navigation menu on the LCD’s lower right corner. After the menu appears, tapping down towards the "Next" option will cycle through the pages; The exposure adjustment is on the left side of page 4, labeled Iris. Tapping the joystick towards Iris enables manual exposure control, while tapping down towards "Back" returns to page 4. When Iris control is enabled, you cycle through f-stop settings by tapping left (to close down) or right (to open up) the iris. The iris settings are displayed in full f-stops as follows: 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.

The beauty of this system is that once you pass the Open aperture setting, manual control over gain – fully independent of aperture – kicks in. The HDC-SD1 and HDC-DX1 are the only currently available consumer HD camcorders that allow you to de-link iris and gain, though the JVC Everio HD7 will also offer this feature.

The HDC-SD1 has no exposure compensation, making it stand out amongst nearly all camcorders. The lack of a simple-to-understand tool that says to the user "hey, here’s where to make the picture darker or brighter" is a big misstep. We love aperture control, but this will be lost of inexperienced shooters.

Shutter Speed (8.1)

When the HDC-SD1 is recording in manual mode, the shutter speed settings can be easily reached by pressing the joystick in and navigating to page 4 of the manual control menu. Shutter speed appears on the same page as the iris/gain and white balance, and tapping the joystick left towards the SHTR label enables shutter speed adjustment. Page 4 is replaced by the manual shutter speed interface, indicating joystick-left will lower the shutter speed and joystick-right will increase the shutter speed.

The settings available on the HDC-SD1 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 – a wide range of shutter speed options. However, the SD1 does not allow you to select shutter speeds below 1/60 manually. To make use of slower shutter speeds, the camcorder must be set to MagicPix mode, Panasonic’s low light recording mode. With MagicPix enabled, the camcorder will automatically drop the shutter speed below 1/60 in low light. It’s certainly a useful recording mode, but it gives you no direct control over shutter speed. HD camcorders from Sonya and Canon both offer manual shutter speed settings below 1/60, and the ability to select either 1/30 (1080i) or 1/24 (24p on the HV20 only) is an especially valuable asset available on those cams.

White Balance (5.5)

The Panasonic HDC-SD1 includes a handful of standard-issue WB presets including AWB (auto), indoor (incandescent or halogen), and outdoor (clear, not cloudy skies). This is a limited number of presets, so the circumstances under which you’ll be able to use them are also limited. Canon leads the pack in the white balance preset department with several indoor and outdoor modes. Still, you’ll always get the best results by setting white balance on the SD1 manually.

The best thing about manual white balance on this camcorder is its accessibility and speed. To reach the manual white balance setting option, press the center of the joystick in Manual recording mode, and navigate to page 4 of the menu. The white balance select screen appears, and pressing left or right cycles through the four options, with manual white balance identified by a standard white balance icon. Tapping up once on the joystick sets white balance, and it locked in a setting after only a few seconds. In terms of color accuracy, the HDC-SD1 was not quite as precise as the Canon HV20, a comparably priced HDV camcorder, trending slightly towards the green end of the spectrum.

Gain (0.0)

Independent manual gain control is a rarity on consumer camcorders, at least outside the Panasonic brand. Most consumer camcorders even at the high end, roll gain into exposure, and when auto gain reaches higher levels, it manifests as grain in the image. An image that undergoes no gain enhancement has the least grain, and the best quality and clarity. For this reason, manual control over gain can be a valuable quality control tool, allowing you to raise the gain only to the level you deem acceptable.

The HDC-SD1 includes gain settings 0dB, 3dB, 6dB, 9dB, 12dB, 15 dB, and 18dB. In between each whole-number step is an incremental gain step giving the SD1 a total of 12 manual gain settings.

Other Manual Controls (3.5)
*Zebras - *

The HDC-SD1 includes a zebra stripe option – a feature that’s standard on prosumer camcorders, but rarely found on consumer models. When this option is enabled in the Advanced submenu of the Admin Menu, those parts of the image that surpass a certain brightness have diagonal stripes superimposed on them. On most camcorders, zebras can be set to specific brightness levels, and common settings are 70 IRE and 100 IRE. Sony and Canon HD camcorders allow you to select either 70 or 100 IRE, but this Panasonic only allows you to turn zebras on or off, with no level specified. It appears to be about 100 IRE, but some until Panasonic sheds some light on this camcorder’s mystery zebra setting, you’d be advised to test it out before using it.

*Guide Lines - *The HDC-SD1 includes three guide settings that assist with framing your shot, located in the Basic submenu of the Admin Menu. The options 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-SD1 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)*

The fact that the still photo recording section of the Operating Instructions for the HDC-SD1 run to a mere 4 pages is a good indication of the fact that this camcorder is no video-still standout. In fact, for a model priced well over $1000, the SD1 may have the slimmest range of still options and functionality of anything on the market. You might expect us to skewer Panasonic for outfitting the SD1 with only the most basic of still photo capabilities, but the truth is we don’t see it as a great loss since even a camcorder with class-leading still performance (like Sony’s HD cams) can’t compete with even a $200 digital still camera. Yet for the asking price ($1299 MSRP) it’s only fair to expect more.

 The SD1 does not offer a dedicated still photo mode, but photos can be captured in video mode when video recording is paused, or during active recording. The manual indicates that stills captured during video recording are lower in quality due to the fact that "priority is given to motion picture recording." The only resolution available is 1920 x 1080 (identical to the camcorder’s HD video resolution). If the Photo Button, just above the back end of the body, is pressed down halfway, the camcorder focuses automatically. In manual focus mode, the joystick can be used to adjust still image focus. 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-SD1’s stills were tested by shooting a Gretag McBeth Color Checker chart and running those stills through Imatest imaging software. The 1920 x 1080 stills were best, we found, by playing around with the shutter speed and aperture rather than leaving it in auto. Strangely, the camcorder has no exposure compensation; you are required to shift the shutter and aperture directly. The best setting for our tests, at 3000 lux, was a shutter of 1/100 and an aperture of f/3.4. The color error ran at about 6.25, the noise at 0.63%, and the saturation at 99.99%. The saturation score was unusual, as most consumer camcorders tend to bump up their color levels to make them look better. The color error was also low, making for an accurate image.

Still Resolution* (6.2)*

The Panasonic SD1’s stills were tested for resolution by shooting an Applied Image ISO 12233 resolution chart and running those stills through Imatest imaging software. At best, the camcorder produced a horizontal resolution of 590.7 line widths per picture height (lw/ph) (with a clipping percentage of 3.22% and oversharpening of 15.7%) and a vertical resolution of 557.7 lw/ph. No matter the camcorder settings of illumination, we could not get the images to stop clipping in the horizontal resolution, indicating that the in-camera sharpening may be running too high.

 

Handling and Use

Ease of Use* (7.75)*

The SD1 is a consumer’s dream. Just take a gander at its sleek, minimalist design. The right side is relatively bare, a big fat mode dial engulfs the back, and the LCD cavity contains an auto/manual/focus switch. Scrolling through the menu using the rear-mounted joystick takes only a few seconds to master, and playing back videos and pictures is cake, thanks to the condensed, tabbed playback menu screen. The only gripe we have is with the SD1’s manual control menu. Half the icons are unrecognizable until you activate them in order to bring up their title. The same applies to the scene mode feature in the administrative menu. The good thing about the SD1 is that it is not chock full of dials, switches, and ancillary options, but rather compact, condensed, and multi-faceted control architecture. This way, memorizing icons and controls will be a lot easier than delving into the convoluted button farm found on a camcorder like the Hitachi DZ-HS300A (review forthcoming).

 

Handling* (5.75)*

Handling is an area of strength for the Panasonic HDC-SD1, though it works best as a point-and-shoot camcorder. The camcorder has a great in-hand feel thanks to the gun-barrel shape of the body, though users with large hands will probably find that their fingers overreach the zoom lever and photo button. Nonetheless, like most other consumer Panasonics, this camcorder can be operated with only one hand – a feat that camcorders from other manufacturers can only approach. This is made possible by the location of all the important controls on the top (zoom lever, photo button) or back (Mode dial, joystick, Menu Button, delete button) of the body.

Panasonic’s joystick-based menu and manual control interface are also key to making this a camcorder that offers access to virtually every feature during one-handed operation. The company has refined the manual control display as well, adding helpful marquees with descriptive text that serve as signposts for each setting. In the hands of an experienced user, the 5-way joystick makes short shrift of such tasks as manual iris/gain setting, white balance setting, and Scene Mode selection. Unfortunately, the efficacy of the joystick can take any camcorder only so far. Compared to the focus dial on Sony’s higher-end HD camcorders, like the HDR-UX7, or Canon’s HV20, the joystick is a poor control for focusing manually. The MF Assist feature doesn’t go far enough to make manual focus easy, and that’s a big liability in any HD camcorder.

The lack of solid manual focus on the SD1 is a big issue, and leads us to recommend this camcorder as best used as a point-and-shooter. The auto adjustments all operate well, and in bright light, we found auto focus was more trustworthy than manual. If you want to do anything more with your footage than play it back on your camcorder, however, you’ll find that AVCHD remains a sparsely supported format. The only recourse you have at the moment for post work are a handful of consumer authoring and editing applications from third parties like Corel MovieFactory 6 Plus.

The OIS system on this camcorder is its brightest spot, and it did a better job at damping our shake emulator device at Speed 2 than any model we’ve tested. We’d be hard pressed to recommend any $1300 camcorder on the basis of good point-and-shoot performance and a stellar OIS alone. If you are a prospective buyer, make sure you are well aware of the state of AVCHD support, which is slowly improving, and the limitations of the format’s performance.

Menu* (6.5)*

The menu on the HDC-SD1 cuts right to the chase, and Panasonic diehards should feel right at home in either the Administrative menu or the joystick controller menu. The Admin menu is about as straightforward as they come, and we think this is a good thing. In any operating mode, pressing the Menu button on the back of the SD1 brings up a display of top level Admin menu options for that mode. In recording mode, for example, the options include submenus labeled Basic (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).

Navigating through the menu is done with the joystick, and for this purpose it’s a great control interface. Panasonic’s menu design also keeps all the options on a given page visible, which means you won’t spend time searching page 1, 2 and 3 of a given submenu for a desired option. On the other hand, this arrangement makes the naming of submenus seem arbitrary. Why all the audio options end up in the video category while Scene Modes makes no sense to us, but at least the one-page arrangement makes it easy to find what you’re looking for.

The joystick menu on the SD1 is similar to those found in Panasonic’s consumer line for years, but it’s easier to use on this 2007 model thanks to the inclusion of banners and text. When an option is selected, such as the fade effect on page 1, a text description appears momentarily along the base of the LCD. Though we generally love the efficiency of the joystick menus Panasonic has included on its camcorders, the icons can lead to confusion especially for novices. The new text banner is a welcome improvement that even long-time Panasonic fans should appreciate. In addition, the Help function, also on page 1, offers more detailed explanations of each joystick option, all but eliminating our concerns over the approachability of the joystick menu.

Portability* (8.0)*

Not only is the SD1 easy to tote around, it’ll make you look at least five times cooler while doing so. Weighing in at 430 grams, the SD1’s 74x69x142mm frame will fit in a small bag, but not a pocket. It’s light enough to accommodate long treks through the Adirondacks, but you’ll most likely want to purchase a carrying case to protect the SD1’s external beauty. The fact that SD1’s battery chamber has fixed dimensions means it is not possible to upgrade to a bigger battery. And with the supplied battery lasting less than 30 minutes under typical recording circumstances, a second, or even third battery would be a good investment. Also, with 40 minutes to blow on a 4GB SDHC card, you’d probably need a couple more of those as well, and unfortunately, they’re not cheap. Between a backup battery and a few extra 4GB SDHC cards, we’re looking at a couple hundred dollars. Because of this conundrum, we’d say that the SD1 is easy to transport—as long as you have money, or don’t plan on leaving the neighborhood.

LCD and Viewfinder* (5.0)*

The ample 3" LCD screen has a resolution of 250K pixels and is the only monitor on the SD1. Without a viewfinder, the dependency on the big LCD screen is taxing on the battery, but point-and-shooters with money will not be able to tell the difference. The LCD screen produces saturated, balanced color and a sharp picture. With a 250K resolution, it better hit a grand slam. The hinge on the LCD is not the heftiest, so tread lightly in the handling department. The LCD screen has a series of three raised bumps on the back ridge to provide grip for opening, but we found it was easier to simply grab both horizontal sides in order to fling it open. The Panasonic SD1 includes a VW-BG130 battery pack that slides into a closed slot on the underside of the body. The closed battery slot does not allow for the use of an optional longer life battery, which limits expansion options to additional VW-BG130 units.

Battery Life*****(9.7)*

We tested the life of the included VW-BG130 battery pack for continuous recording, in Manual mode with the LCD set to normal brightness and OIS set to off. The battery on our SD1 lasted 97 minutes and 2 seconds (1 hour, 27 minutes, and 2 seconds). This is in the average range for consumer camcorders, and interestingly surpasses the continuous recording time reported by Panasonic by around 20 minutes.

Audio / Playback / Connectivity

Audio* (7.0)*

The SD1 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. Panasonic gave the SD1 a 5.1 channel built-in microphone with a zoom function. There are three microphone level settings that apply to all five channels at once, but not independently: Auto, Set+AGC, and Set. Auto activates the AGC (Auto Gain Control) and the recording level is adjusted automatically. Set+AGC allows you to set a desired recording level, but keeps AGC on to reduce noise distortion. Finally, Set deactivates the AGC so that natural recording can be performed. When Set+AGC or Set is chosen, a screen displaying each individual microphone channel appears and allows you to test their levels while tinkering with the gain. Also, a microphone input level meter is displayed on the recording screen, monitoring peaks and insufficient volumes.

As if it couldn’t get any better, Panasonic slapped an external microphone jack in the LCD cavity, reaching out to those who need more than a 5.1 channel built-in microphone. The only problem is its awkward placement in the LCD cavity. The right port panel would have been an ideal spot for a mic jack, but with a camcorder this small, options were probably limited.

Because the AVCHD format is way ahead of its time, there was no way to adequately test recorded video files in their native playback. Unfortunately, many of the software programs that convert the files into NLE-friendly formats end up losing the audio track in the process. Sony and Panasonic, developers of the AVCHD format, claim that there will be universal software within the next couple of months to allow for editing and easy transfers, but for now, you are stuck with the camcorder’s playback or hooking it up to a TV. Playback on the camcorder unveils a lot of background noise, but the zoom function eliminates unnecessary buzz. Since there are no moving parts in the SD1 like a tape or DVD disc, the sound remains unaltered. Even the zoom motor is silent.

Panasonic has really poured a lot of thought into their audio, making the SD1 a fierce contender within its class.

Playback* (4.0)
*Playback on the SD1 is simple. Shifting the mode dial into playback mode cues a tabbed menu screen for videos and pictures represented by thumbnails. Up to 8 thumbnails can fill on the screen at one time, and scrolling and selecting videos or pictures is done by using the joystick. During video playback, a 32 step audio slider appears when the zoom toggle is activated, but raising and lowering the volume is like watching molasses drip in wintertime. It took over 15 seconds to go from silent to full volume, so start mastering the art of patience. In the bottom right corner, a joystick-operated submenu controls the rewind, fast forward, play/pause and stop functions. Pressing the menu button beneath the mode dial brings up a miniature menu consisting of play setup, setup, and language for both videos and pictures. Deleting footage or pictures is accomplished through the trash button, and Panasonic boosts security by providing a lot of hoops to jump through in order to officially erase a piece of media.

 

Connectivity* (7.0)*

The SD1 has a total of two port covers and a bevy of terminals. On the right side, a rectangular, hard plastic port cover houses the USB and HDMI terminals. The cover is easy to open, thanks to a generous finger groove, but closing it is another story. The hand strap blocks the bottom of the panel, requiring you to pull the strap back every time in order the close it. In addition, the thin plastic strip that attaches the cover to the body is pretty feeble, so don’t tug on it too hard. The port cover doesn’t stretch far enough from the body, either, making it difficult to plug in the HDMI cable.

In the LCD cavity, a plastic, L-shaped port cover opens via a small tab underneath to reveal the A/V jack, component terminal, microphone jack, and DC jack. Panasonic opts for a round DC connection, which is not as secure as most rectangular or geometrically eccentric connections which hold tighter. The placement of the microphone jack is cumbersome in conjunction with the LCD screen, and we would have preferred it to be swapped with the USB terminal on the other side. Above the port panel is the SD card slot which opens by a sliding door. If the door is left open, the camcorder will beep at you and refuse to record, pounding the message home with a "Card Door is Open" screen. This is a great security feature to ensure that the SD or SDHC card remains free of dust or debris that could potentially hinder its performance.

 

Other Features

What’s in the Box?

The SD1 gives you what you need in order to start shooting right out of the box:

-4GB SDHC Memory Card

-VW-VBG130 Battery Pack

-AC Adapter

-AC Cable

-DC Cable

-Remote Control

-Button-type Battery

-AV Cable

-Component Cable

-USB Cable

-HD Writer CD-ROM

As mentioned earlier, a backup battery and SDHC card would be needed for long trips.

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."

Comparisons / Conclusion

Comparison
Panasonic HDC-DX1
The Panasonic HDC-DX1 ($1299 MSRP) is an SD1 that was pumped up with steroids and beaten with the ugly stick. Its titanic battery, colossal size, and boulder-like weight place the DX1 miles behind the SD1 in the portability arena. The DX1 is significantly unsexier than the sleek, compact SD1, and most of it has to do with the fact that the DX1 is a bulky DVD camcorder with an oversized tape hatch. In terms of quality, both camcorders feature 3 CCDs that crank out 1680K gross pixels. The difference this makes in low light seems nil, according to our testing thus far. Both camcorders have identical 5.1 channel Dolby Digital built-in microphones, the same 3" wide LCD screens, and matching price tags. You just need to decide whether you’d like a big honking DVD camcorder or a lustrous little AVCHD camcorder.

Sony HDR-SR1
The Sony HDR-SR1 is very similar to the SD1 in terms of video quality. It has a 1/3" ClearVID CMOS sensor netting 2.1 gross MP, but only 1.4MP are effective in 16:9 recording. Both are AVCHD camcorders, only the SR1 records to a 30GB hard drive. This is limiting when you pin it against the 4GB SDHC card included with the SD1. An avid videographer has the choice to purchase a surplus of AVCHD cards for longer shoots, but the SR1 can only accumulate so much footage before requiring it all to be dumped onto a computer. Unless you carry a laptop with you everywhere, the SR1 will bog you down in terms of recording time.

The SR1 does have the upper hand when it comes to additional features and practicality, boasting a multi-purpose ring control, headphone jack, Active Interface Shoe, and expandable battery chamber. It also captures bigger still images. For an extra $200, the SR1 packs a harder punch than the SD1. In this case, it would be wise to do a self exploration in order to discern whether you are a hard drive or SD camcorder worshipper. It could save you $200.

JVC GZ-HD7
This is a bit of a price jump here, but the JVC GZ-HD7 ($1799.95 MSRP) is the talk of the town in HD Land. This camcorder has the ability to record video at a data rate of up to 30Mbps, which blows the AVCHD format’s 15Mbps average out of the water. This is done using JVC’s brand new MPEG-2 Transport Stream technology, an entirely unique system that you won’t find on any other camcorder. On top of that, the HD7 can record up to 5 hours of video in SP mode on its 60GB built-in hard drive, allowing for easy transfer to a computer while the AVCHD format will leave you running in circles. Like the SD1, the HD7 is equipped with 3 CCDs, totaling a hefty 1710K gross pixels, which is slightly more than the SD1’s 1680K. However, the doubled transfer rate should most likely give you twice the video quality, perhaps a notable edge over HDV and DV video as well. The HD7 also has a manual focus ring and S-video connection. Although this desirable piece of machinery is bereft of a proper release date, it is worth waiting for if you have the cash to drop. $500 will separate the men from the boys.

Panasonic SDR-S150
The Panasonic SDR-S150 ($999 MSRP) is a pocket-sized MPEG-2 based power plant with three 1/6" CCDs, a 10x optical zoom, and an impressive gamut of manual controls. The SD1 is pretty much the same deal, only with a 12x optical zoom, mic jack, MDMI terminal, 5.1 channel Dolby Digital built-in microphone, and all the smooth, buttery style that could possibly be churned back at the camcorder ranch. Yes, you get more with the SD-1, but for an additional $300. If you can spare the cash, the SD-1 is probably the better buy. If not, the S150 will hold its ground in the video quality department, and prove to be highly conducive to hidden camera shorts.

Who It’s For
Point-and-Shooters

This is the Cadillac of point-and-shooter camcorders. Mom will love it because it’s so easy to use, especially on the sidelines of little Jack’s championship soccer match. Dad will want to show it off to all of his golfing buddies and insert the words "high definition" in every other sentence while downing a Miller High Life. The SD1 is for point-and-shooters with money who live in development houses in New Jersey.

Budget Consumers

The SD1 will give you great video quality, a primo built-in microphone, and a big LCD screen. However, at $1300, we’d hardly consider that economically feasible within the budget consumer’s thrifty lifestyle. Our advice: Save your cash and go for an HDV camcorder like the Canon HV20 or Sony HDR-HC5, which are both compatible with editing programs and compress at a much higher quality 25Mbps.

Still Photo / Video Camera Hybrid

The SD1 takes stills with a maximum resolution of 1920x1080, which isn’t terrible until you compare it to the Sony HDR-SR1’s 2304 x 1736. The Canon DC50 records great stills and provides a levels chart with each image in playback. Based on the technology stuffed into the mighty little SD1, Panasonic could have improved here. The image quality is great, but the resolution does not cut it.

Gadget Freaks

. Gadget freaks will skip down the aisles of Best Buy with the only camcorder that looks like a component found in a nuclear reactor. Aside from its killer looks, the SD1 is an AVCHD camcorder with a 5.1 channel Dolby Digital built-in microphone, 3" LCD screen, and automatic lens cover. But the coolest thing to boast about to other gadget maniacs is that the SD1 records video and pictures to a 4GB stamp-sized chip.

Manual Control Freaks

No focus ring or wheel will deter hardcore manual control enthusiasts, but the joystick-navigated aperture, white balance, and shutter speed are hefty offerings for such a compact, point-and-shooter geared camcorder. The manual microphone level controls (Set+AGC and Set) are features not found on most other camcorders in its class, and is sure to be a hit amongst manual control freaks.

Pros / Serious Hobbyists

Pros and serious hobbyists will not want to deal with vexing .M2TS files for which there are no known supported editing programs. For the serious hobbyist, the SD1 would fare well as a powerful little backup camcorder, but with so many other options including DV and HDV, the SD1 will most likely stand on the outskirts of this genre. To the advanced videographer, the SD1 is simply an overpriced toy.

Conclusion

The HDC-SD1 looks great, has an earthquake-beating OIS system, and produces decent HD video (more so when compared to standard definition camcorders rather than HDV camcorders). It’s also a Panasonic that point-and-shooters won’t be intimidated by, with a friendlier joystick menu than we’ve seen in the past. It’s also the first consumer camcorder to record HD footage to durable and convenient SD/SDHC memory cards. Yet despite the promise of AVCHD to bring HD video to the cassette-averse masses, the codec just isn’t ready for prime time, with few editing options available and no DVD player support.

Many consumers will find the inferior quality of high definition AVCHD versus high definition HDV footage acceptable. It’s still HD, and if you squint, you won’t notice the increased noise, compression artifacting, and motion trails over HDV. Unfortunately for the SD1, there are better AVCHD camcorders out there, including Sony’s debut HDR-UX1 (now replaced by the UX3, UX5, and UX7) and HDR-SR1. Both of those camcorders feature multi-function Cam Control rings that run circles (or rings) around the Panasonic joystick in terms of manual focus. They also suffer less from the AVCHD "acid trail" problem and include software that at least lets you view footage on your PC, while the HDC-SD1 includes nothing of the sort.

The SD1 does include some features we like to see, especially on a $1300 camcorder, including zebras, MF Assist, a microphone jack, and manual audio levels, but the company didn’t exactly nail them. Zebras can be turned on, but the IRE setting is unspecified making it a dubious tool. MF Assist on the SD1 is helpful, but the Focus Assist feature on Canon’s HV20 is considerably better, both filling the screen with a magnified image and including peaking. Finally, how useful is a microphone jack and manual level control with no headphone jack? The SD1 could have been an excellent camcorder if Panasonic had invested as much time in getting the feature set right as making it look sexy. As it is, the HDC-SD1 like its AVCHD codec isn’t ready for prime time.

Specs and Ratings

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Meet the tester

John Neely

John Neely

Editor

John Neely is a valued contributor to the Reviewed.com family of sites.

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