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

  • Tour

  • Auto / Manual Controls

  • Still Features

  • Handling and Use

  • Audio / Playback / Connectivity

  • Other Features

  • Comparisons / Conclusion

  • Specs/Ratings

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

Performance

Strangely, the image with the VDR-D200 was slightly darker than the Panasonic VDR-D100, the next model down, which has the same imaging system. These camcorders were shot at exactly the same light levels – 3000 lux – and under the same conditions. Even if we give a very slight variance in our testing levels, there still seems to be some additional variance in the auto exposure levels of the VDR-D100 and the VDR-D200. (This hypothesis is supported by evidence that each low light test was also slightly brighter in the VDR-D100.)

Last year’s Panasonic VDR-D75 is a more contrasty image, with thick, sharp lines between objects. The colors were also more saturated, particularly the yellows with stronger overall blues.

  

Last year’s Panasonic VDR-D75 had a more contrasty image, with thick, sharp lines between objects. The colors were also more saturated, particularly the yellows, and stronger overall blues.

The Canon DC20 had a brighter image overall, with far less noise. Also, the picture was sharper overall. The colors popped more than the VDR-D200. The significant differences are likely due to the larger, 1/3.9" CCD. It’s actually hard to compare these camcorders. The Canon DC20 far outweighed the VDR-D200.

The Sony DCR-DVD205 was brighter, to the point of blowing out. In all, the image appeared overexposed. There was also some minor instances of blue noise, which is a problem associated with some of their low and middle-end camcorders.

{column='Video Performance' models='Panasonic VDR-D200,Panasonic VDR-D100,Panasonic VDR-M75,Sony DCR-DVD205'}

Video Resolution* (10.4)*

The Panasonic VDR-D200’s video was tested for its resolution by shooting a standard ISO 12233 resolution chart and running those stills through Imatest imaging software. In 4:3 aspect ratio, the camcorder produced 322.5 lines of horizontal resolution and 321.5 lines of vertical resolution, yielding an approximate total resolution of 103683.75. In 16:9 aspect ratio, the camcorder produced 316.3 lines of horizontal resolution and 319.4 lines of vertical resolution, yielding an approximate total resolution of 101026.22.

The chart below shows how the Panasonic VDR-D200 performed in comparison to similar camcorders. Clearly, this is what you should expect for the price. It's not terrible, but it's not great.

{column='Video Resolution' models='Panasonic VDR-D200,Panasonic VDR-D100,Panasonic VDR-M75,Sony DCR-DVD205'}

similarities with respect to their single difference further indicates that either the VDR-D100 is slightly overexposing or the VDR-D200 is slightly underexposing due to manufacturing variances.

The Canon DC20 has a disappointing image at 60 lux, given the great image at 3000 lux. The image still looks sharp, but also dulled. The Canon manages to stave off most noise, and is still better looking than the Panasonic VDR-D200.

The Sony DCR-DVD205 saturated its colors unevenly. The blues look correct, the reds are too dull, and the greens are practically neon. The blue noise that was just hinted at in 3000 lux becomes very apparent here. It did not have any of the focus issues that the Panasonic suffered from.

The VDR-D200, like all Panasonics, offers manual gain control – a digital signal enhancement. At 60 lux, the camcorder had already boosted the gain to about 12dB. At a manual setting of 15dB, the picture looks a little better. At 18dB (the maximum setting), the picture has become entirely overexposed.

At 15 lux, the Panasonic VDR-D200’s noise has increased immensely, and dominates most of the fine detail. The general tone of colors still manages to pass through the noise, but low overall luminance levels kill color vibrancy. The 15 lux performance is a toss-up. Some camcorders put their efforts into maintaining resolution and minimizing noise, while sacrificing color. The VDR-D200 does the opposite, putting color first. We tend to appreciate the latter more, but we understand that shooters will have their own preferences.

The Panasonic VDR-D100 was essentially the same. The variance in auto exposure levels that caused the D100 to be slightly higher than the VDR-D200 were least obvious at 15 lux, but you could still point it out. The Panasonic VDR-M75 is a good example of what we just talked about, where a camcorder leans towards a noise-less picture over a colorful picture. The image is essentially greyscale, but it looks cleaner than the VDR-D200.

The Canon DC20 fits into the same category. Almost no color remains while noises levels are definitely noticeable. This image shows a total failure of gain, saturation levels, or any sort of in-camera enhancement coming to the rescue. The Sony DCR-DVD205 had similar brightness levels as the VDR-D200, but the colors are not quite as accurate. There is noise, but it comes in the chunky blue variety rather than the black fuzz tones of the Panasonic. Neither are pleasant to look at.

When shooting at 15 lux, the Panasonic VDR-D200 automatically found a gain level of 15-16dB. When manually set to 18dB, the picture did improve. Noise increased proportionately, which overwhelmed even more of the fine detail, but it’s a trade-off I’d be willing to make.

{column='Low Light Performance' models='Panasonic VDR-D200,Panasonic VDR-D100,Panasonic VDR-M75,Sony DCR-DVD205'}

Wide Angle* (9.9)*

We tested the wide angle capabilities of the VDR-D200 in both 4:3 and 16:9 modes. In 4:3 mode, the field width of the VDRD200 measured 49.5 degrees. In 16:9 mode, its field width also measured 49.5 degrees. Because these measurements are identical, the camcorder does not possess true widescreen capabilities. Camcorders that are capable of true widescreen use a 16:9 CCD that produces an increase of field width in 16:9 mode.

 

 

Format

**Compression* (5.0)*
**

Like most DVD camcorders, the VDR-D200 uses MPEG-2 compression at a maximum bit rate of approximately 8.5 Mbps.  This is a low bit rate when compared to MiniDV compression which has a much higher fixed bit rate of 25 Mbps.  In our tests, MiniDV camcorders consistently deliver better video performance than DVD camcorders, due largely to their higher data rate.  The fact that DVD camcorders deliver relatively low quality video is an important consideration, and the reason that historically the format has appealed primarily to the point-and-shoot market.

As with Panasonic’s other VDR series camcorders, the VDR-D200, offers three video quality settings which correspond to different bit rates and recording time per disc: XP at 8.5 Mbps or 18 minutes per disc, SP at 5 Mbps or 37 minutes per disc, and LP at 2.5 Mbps. or 75 minutes per disc. Audio is compressed using Dolby Digital’s AC3 compression format, at a bit rate of 16 bit (48 kHz/2 channel).

**Media* (5.0)*
**There Panasonic VDR-D200 supports two primary media types, one for video files and the other for still images. Video files can be captured to several 8cm (3")DVD: DVD-RAM (Ver. 2.1), DVD-RW (Ver. 1.1/2X-SPEED (2X-1X), or DVD-R (for General Ver. 2.0) formats. All of these formats are single layer formats, but a few camcorders from competing manufacturers now support dual layer (DL) discs, including Canon’s DC22.

Still images are captured to SD memory cards which are available in sizes ranging from 8 MB to 2 GB.  Given the fact that the camcorder is not capable of capturing stills at a resolution higher than 640x480, larger SD cards are not likely to be appropriate for use with this camcorder.  DVDs and SD memory cards are both popular media types, and can be found everywhere from supermarkets to box stores.

Even though the VDR-D200 can accept multiple DVD- formats, working with each type of disc involved some troubleshooting during our tests. We found it difficult to transfer footage we had shot on a DVD-RW disc to our PC, and we’ve run into similar problems on other Panasonic camcorders with the format. DVD-R discs were less problematic, but they can only be written once. DVD-RAM discs seem to be the most stable and cost-effective option, but few DVD players, and only some PC’s are compatible with the format. We had to install a DVD-RAM driver in order to work with footage shot to the disc.

**Editing* (3.0)*
**

If you plan on doing extensive post-production work with your footage, you should think twice before selecting this or any other DVD camcorder.  MPEG2 footage is notoriously difficult to work with, and importing it into most professional grade NLE’s (non linear editors) requires clip conversion or rendering.  MiniDV or HDV footage is much easier to work with, which is another reason, along with high compression levels, that DVD camcorders have not been embraced by serious hobbyists or professionals.

The VDR-D200 does ship with several applications that enable rudimentary post-production of footage shot with the VDR-D200.  The DVD-RAM Driver is software that must be installed on your PC in order to configure the camcorder as a drive for DVD-RAM or DVD-RW (VR format) discs. The DVD-MovieAlbum CopyTool is used for disc duplication, and DVD-MovieAlbum SE is a basic editing program that can be used only with DVD-RAM discs.  DVDfunSTUDIO is a basic DVD authoring program that enables users to create simple DVD discs for playback on consumer DVD players.


Tour

**The Front ***(5.0)
*The front of the Panasonic VDR-D200 is very similar to the VDR-D100. It has a 30x zoom, F1.8 – F3.9 lens, with a focal range of 1.9mm to 57mm (35mm equivalent: 35.7mm to 1072mm). The filter diameter measures 30.5mm. Beneath the lens is the built-in mic. Below that is the LED video light, one feature that the VDR-D100 does not have. Panasonic also tucked away a couple ports here – the composite AV / S-Video out and the mini USB 2.0 – which are well-concealed under a hard plastic cover down towards the bottom of the body. It’s a slim, efficient design.

 

 

**The Right Side ***(7.5)*

The right side of the VDR-D200 is nice and tall, making for an excellent grip. While Panasonic chose to flatten and widen their MiniDV line, DVD camcorders need to be taller to accommodate the DVD discs. This is, of course, the side where the media loads. The Disc Eject switch is located in the upper right rear corner. You may have to hold it down for several seconds to get a response.

**The Back ***(5.5)*

The back of the VDR-D200 is where most of the interaction with the camcorder takes place. First, there is the on/off switch, and directly underneath that, the delete button (represented by the trashcan icon). To the right is the mode dial, which juts out on the right side. The mode dial is used to switch between video, video playback, camera and camera playback. In the center of the mode dial is the king of all controls, the joystick, for maneuvering through the menus and playback.

To the lower left of the mode dial is the record on/off button, and beneath that, the Menu button. This is the only button in the bunch that, I think, is poorly placed. You’ll probably want to access it a lot, so why hide it under the record on/off button?

The whole lower half of the back is taken up by the battery. Above the battery is the Light button, which controls the LED light. Above that is the viewfinder. This can extend about 1-1/2" out from the body. Finally, in a small alcove between the viewfinder and the battery is the LCD-release button. You don’t have to use it to open the LCD panel, but it helps.

**The Left Side ***(7.25)*

The major feature of the left side of the VDR-D200 is the 2.5" LCD screen, with a resolution of approximately 105,000 pixels. The LCD can be pried open by a small divot between the screen and the back edge of the cavity, something users with large hands and short fingernails may find challenging. The only major control inside the LCD cavity is an auto/manual toggle, which is also used to turn manual focus on and off. A tiny camcorder reset button is slightly in front of the auto/manual switch, and returns the VDR-D200 to its factory settings. Behind the auto/manual switch is an onboard playback speaker, which can be used to monitor audio during video playback.

We like the fact that Panasonic has moved manual controls out of the LCD cavity and into the back of the camcorder where it's easier to access. However, we do think the acres of real estate could have been put to better use. Sony positions the memory card slots in the LCD cavities on some of its camcorders, and Panasonic has been known to locate ports there. We would have liked to see these features in the LCD cavity rather than on the camcorder’s underside where they can’t be accessed when the camcorder is affixed to a tripod.

The Top* (6.0)*

The top of the Panasonic VDR-D200 is very clean, and has only two controls. The Zoom Toggle is located near the rear end of the camcorder, and has a sliding lever design which we find to be inferior in terms of sensitivity to the pivoting lever on Panasonic’s one-chip MiniDV line and Canon’s camcorders. The zoom toggle’s placement also required slight strain when we hand-held this camcorder – while it’s impossible to truly create a one-size-fits-all camcorder − we found this zoom toggle a little disappointing.  The zoom toggle also serves as a volume control in playback mode.  The other control on the top of the VDR-D200 is the Photo button, located just behind the zoom toggle, near the camcorder’s back edge.  It’s a small but functional button, and is easily reached with the right index finger.

 

 

 

Auto / Manual Controls

Picture & Manual Control
Automatic Control (5.0)
Like Panasonic’s other consumer camcorders, the VDR-D200 has two major interface menus that are used to access the camcorder’s various options: the Manual Control Menu and the Administrative Menu. The Administrative Menu is a text-based menu that is reached by pressing the menu button at the back of the camcorder’s body. The Administrative Menu is used to control functions that generally do not need to be changed while shooting such as tape speed, screen displays, aspect ratio, digital zoom on/off and menu language.

The automatic / manual switch is located in the LCD cavity.

Switching the VDR-D200 into Auto Mode is easy.  You simply open up the LCD, look for the control switch, and move it to the Auto position.  As with other Panasonic consumer camcorders, the VDR-D200 performed well in Auto Mode, but there were a few weak points. When zooming or panning across a complex scene, or a scene with low contrast, the camcorder took a few seconds to make adjustments to contrast, color and focus. This resulted in level and focal breathing while the camcorder searched for the proper setting.  Even so, the camcorder did not always get focus right, and tended to select the brightest part of the image as its perceived subject.  This is a typical area of difficulty for any camcorder in Auto Mode, but we’ve observed that Sonys are often slightly more adept at making accurate adjustments. The zoom is also on the slow side, but otherwise performed well with its nicely designed zoom toggle. 

Overall Manual Control (7.0)

The Manual Control Menu is used to adjust the picture while shooting, but it also accesses some presets.  Unlike the completely text-based Administrative Menu, the Manual Control Menu is icon-based. The menu is reached by depressing the center of the joystick, which causes a small disc-shaped menu to pop up in the lower right corner of the display. "1/2" appears in the center of the menu disk, indicating that you are on page 1 of 2. On the first page, you’ll find icons for Soft Skin mode, Fade and Backlight compensation.  These options are available when shooting in both Manual and Auto Modes.  When shooting in Manual Mode, pressing the center of the joystick again, brings up page 2. There you’ll find the meaty manual controls: white balance, shutter speed, aperture, and gain.

This animated gifs show the main menu and its first two sub-menus.

*

Zoom (7.0)*

The zoom toggle on the Panasonic VDR-D200 has a slider type design, meaning the control is pushed back and forth in a groove on the top of the camcorder body.  The toggle itself is not a bad control, but I prefer the rocker switch design found on many Sony camcorders, which I find to be more responsive. The slider is pressure responsive with a variable zoom speed, so pressing the slider further along its track in either direction increases the speed of the zoom. When constant pressure is placed on the zoom toggle, and the slider is held in one spot in its track, the zoom speed remains constant.  The 30x optical zoom has a very smooth action, and with this camcorder it’s possible to slowly ease up on the zoom to land gently at a stopping point.  It’s a refined control that yields good results with practice.  The placement of the toggle puts it within easy and comfortable reach of the right index finger when hand-holding the camcorder.

Zoom Power/Ratio (30.0)

The VDR-D200 has a 30x optical zoom placing in the company of only a few DVD camcorders that offer optical zooms in the 30x or above range. This powerful zoom is made possible by the camcorder’s relatively small 1/6" CCD. Nonetheless, a 30x optical zoom makes this camcorder a good choice for users who like to get close to the action.

This camcorder also has a digital zoom that ranges up to the absurdly high magnification of 1000x. Because digital zooms do not function optically but instead magnify the pixels available at a camcorder’s optical zoom maximum, they degrade image quality very quickly. Even doubling the optical zoom max, to 60x on this camcorder, results in noticeable blurring of the image. Luckily, the VDR-D200 enables digital zoom to be disabled or capped at 50x in the Advanced submenu of the Administrative menu. While we understand the attraction of digital mega-zooms, they offer little in the way of true utility, and should be viewed as the marketing gimmicks they are.

Focus (5.0)
Manual control over focus on the VDR-D200 is engaged by pressing the switch in the LCD cavity down when the camcorder is in Manual mode.  When the switch has been pressed down, a schematic appears in the manual control menu with a minus sign on the left and a plus sign on the right, and the letters MF appear in the upper left side of the screen.  Pressing the joystick left or right shifts the focal distance of the lens closer or farther, respectively.  There is no numerical or visual scale to indicate where in the focal range you are – a feature that would allow users to achieve accurate focus more quickly.

Compared to the manual focus adjustments of most other consumer camcorders, the joystick works well.  It’s superior to the touch screen interface for focus adjustments found on comparable Sonys, but it does have its limitations.  It moves quickly through its focal range, with the result that it is very easy to overshoot your focus point.  I managed to get this adjustment to work by gently tapping the joystick left or right, but a pressure sensitive adjustment like the zoom toggle would improve the usability of this control. A focus ring would be better still, but they are rare on consumer camcorders. They are only found on Panasonics at the top of the MiniDV line.

Exposure (Aperture) (6.0)
The manual controls for aperture, gain, shutter speed, and white balance are combined under a shared interface on the Panasonic VDR-D200.  This makes the controls very efficient due to their proximity to one another in the menu, but using them successfully is a tricky process that requires some practice.  In addition, aperture and gain settings are linked on a continuum and are not independent controls, so that when the iris is open, the next step along the scale activates the camcorder’s gain function.  The only major drawback to this arrangement is that it takes a while to traverse the camcorder’s entire aperture/gain range.

The aperture settings on the VDR-D200 are accessed from page 2 of the Manual Control menu by pressing the joystick down until aperture or gain is highlighted on the left side of the LCD.  Aperture options available are OPEN (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, with smaller steps between each full stop.  This adds up to a considerable aperture adjustment range, though as mentioned above, traversing the entire range takes a while.  Pressing and holding the joystick does not cause the camcorder to move through the range as one might expect, instead forcing you to press left or right to move through each step.  It’s annoying to be sure, but a small price to pay for such an excellent manual control on a consumer camcorder.

Gain works in exactly the same way as the aperture control, and kicks in once you have passed the open iris setting by pressing the joystick towards the plus sign (right). Gain options range from 0dB to 18dB, and like aperture, each full step is separated by two incremental steps.  It is worth noting that aperture and gain are not independent adjustments, but are treated as a single continuum from f16 to Open iris with 18dB gain.  These features are independent on higher-end camcorders allowing for even greater image control, but most consumer camcorder users tend to use aperture and gain on a continuum anyway.  

*Shutter Speed (7.0) *

Manual shutter speed control is available from page 2 of the manual control menu, and is selected by moving the joystick down until a shutter speed setting such as 1/60 is highlighted on the left side of the LCD.  Once shutter speed is highlighted, moving the joystick left or right enables you to traverse through VDR-D200’s options: 1/60, 1/100, 1/120, 1/160, 1/250, 1/350, 1/500, 1/750, 1/1000, 1/1500, 1/2000, 1/3000, 1/4000, and 1/8000 of a second. As with the camcorder’s other manual image controls, the joystick must be pressed once to move from step to step, so changing the shutter speed setting from 1/60 to 1/500 requires pressing the joystick right, three times. 

White Balance (7.0)

White balance options on the VDR-D200 are fairly limited, and include auto, indoor, outdoor and manual. The preset options are available from the manual control menu’s page 2. When the camcorder is in manual mode, white balance is accessed by pressing the joystick down until the white balance selection is highlighted.  If you are accessing white balance for the first time, "AWB" appears on top of the manual control list lining left side of the LCD.  Moving the joystick left or right moves through the four white balance options. 

 

Setting the white balance manually is a quick and simple process.  When you first select the manual white balance icon, it flashes in the left hand list to indicate that it has not been set.  Pressing the joystick up sets white balance, and when the icon stops flashing, the control has been set.  A second white balance icon appears at the top of the round manual control menu as a reminder that the joystick is pressed upwards to set white balance manually.  We found the manual white balance worked very well – it sets quickly and produces excellent color.

Gain (7.0)

As noted in the aperture paragraph, gain controls are placed on a continuous scale with aperture, accessed from page 2 in the manual control menu.  To access gain control, you depress the center of the joystick twice in manual mode, then press down until an F-stop or gain setting is highlighted in the list on the left side of the LCD.  F-stop measurements appear below shutter speed, and gain measurements appear below F-stop in the list.

 

If the F-stop setting does not read OPEN, you’ll need to press the joystick right until the iris is open.  Continuing to press the joystick right causes the gain indication to become highlighted, and allows you to traverse the range of gain options from 0dB to 18dB. As the gain value is increased, noise in the image increases and color fidelity worsens, which is a typical by-product of gain boost on a video image.  As noted above in the discussion of exposure, it takes a long time to traverse the full range of the camcorder’s exposure/gain scale because the joystick must be tapped once to step through each increment.  In terms of image control, however, the wide range of exposure and gain options on this and other Panasonics is better than that offered by any other maker of consumer camcorders.

Other Manual Control (0.0)

There are no other manual control features offered on the Panasonic VDR-D200.

Still Features

**


**

**

Still Features*(6.5)
*The VDR-D200 captures stills onto SD card, which are loaded through a card slot under the LCD cavity. As we’ve said countless times, bottom-loading anything is a hassle if you’re using a tripod. The still resolution is limited to 640 x 480, which is roughly equivalent to 0.3MP – that’s 3/10 of a single megapixel, for you non-math majors. Even the crudest dedicated still camera captured at 12x that resolution. 640 x 480 is hardly worth the effort it takes to transfer the files to your computer or printer. The VDR-D100, the next model down, is the same camcorder with no still features. If you’re really torn between these camcorders, here’s some advice: take the $100 you saved by buying the VDR-D100, double it, and buy a cheap point and shoot camera.

Normal and High. And despite the small resolution of the pictures, you do benefit from a delay timer, the impressive manual control suite that’s found in the video mode – aperture, shutter speed, gain, focus and white balance – along with auto controls like Soft Skin Detail, backlight compensation and the Scene modes. Unfortunately, you do not have access to digital zoom, stabilization or MagicPix mode.

As we always say, a camcorder is no replacement for a still camera, and this is especially true with a near entry-level model like the VDR-D200.

Still Resolution* (1.8)*

The stills of the Panasonic VDR-D200 were tested for their resolution by shooting a standard ISO 12233 resolution chart and running those stills through Imatest imaging software. In all, the 640 x 480 still produced an approximate resolution of 117612.0. The chart below shows the VDR-D200’s place in the spectrum of comparable camcorders. Because most of these models have larger imagers, and therefore larger stills, the VDR-D200 did not fare so well. It compares more favorably to entry-level MiniDV camcorders with 640 x 480 stills.

{column='Still Resolution' models='Panasonic VDR-D200,Panasonic VDR-D100,Panasonic VDR-M75,Canon DC10Sony DCR-DVD205'}

Still Performance* (3.35)*

The big advantage of the Panasonic VDR-D200, over its little sibling the VDR-D100, is its ability to take stills. However,  judging by the maximum resolution (640 x 480) and the quality, it’s not much of an upgrade. Camcorders process video and still images differently, and the stills, rarely, if ever look as good. In the case of the VDR-D200, the colors are not as accurate as they are in video mode. The green levels are lower, which tended to kill the entire green portion of the spectrum. Overall, the picture has a pale look to it. The fine detail is not too impressive, but the resolution is limiting. This is as good as a 1/6" imager can do.

Most of the competition we looked at produced larger stills, which increased resolution, but the color deficiencies were very much apparent. The Panasonic VDR-M75 captured 1280 x 960, but color performance was exactly the same. The Canon DC10, also 1280 x 960, was brighter overall. In fact, the brighter portions of the grey scale tended to look too bright. And while the image appears washed out, the colors were more balanced than we saw on the VDR-D200. Finally, the Sony DCR-DVD205, at 1152 x 864, has a strange yellow-blue dichotomy, virtually ignoring the reds and greens. The image was bright and sharp, but the colors were so bad that the stills would be essentially unusable.

This is not a still camera by any means.

{column='Still Resolution' models='Panasonic VDR-D200,Panasonic VDR-D100,Panasonic VDR-M75,Canon DC10Sony DCR-DVD205'}

**

Handling and Use

**
****Ease of Use*** (6.5)
*When assessing the ease of use of this camcorder, it’s useful to take the extensive manual control feature set into account.  Sony DVD camcorders are easier to use, and this makes them a good choice for users who only plan on using their camcorder in auto mode.  However, Sony DVD camcorders lack the range of image control offered by the VDR-D200 in manual mode, and an experienced shooter can almost always get a superior image by setting a camcorder manually.  Arguably, the picture produced by the VDR-D200 in the hands of an experienced user will be better than the image produced by another camcorder in auto mode. The reason being that automatic image calibration is never as good as a trained eye.

With this context in mind, the Panasonic VDR-D200 has a highly efficient manual control interface that makes tweaking the video image easier than on other manufacturer’s DVD camcorders.  We find the joystick navigation system to be the most successful in the consumer camcorder market for making manual adjustments.  At the same time, using the manual control menu involves a steep learning curve.  The icons that appear in the disk-shaped menu are not intuitive, and the list of manual control settings that appear on the left side of the LCD can be confusing.  With practice, however, the interface makes the camcorder’s considerable range of manual adjustments extremely accessible.

The administrative menu, reached by pressing the Menu button, is also implemented well. With a linear text menu format, it is very easy to navigate using the joystick, and makes changing the camcorder’s general settings easy even for first timers. In sum, the VDR-D200 offers more in the way of manual control adjustments than DVD camcorders that are not made by Panasonic, and as such, it’s a more powerful and complex tool. No competing line of DVD camcorders is as easy to customize as the VDR-D200’s family, and for greater ease of use, buyers will need to look to manufacturers like Sony that don’t offer the consumer nearly as many features.

Handling* (6.5)*

The Panasonic VDR-D200 is a comfortable camcorder to shoot with.  The zoom toggle was within easy reach of my index finger, and the Photo Shot and Record/Pause buttons were also easy to reach without altering my grip on the camcorder.  In addition to these basic controls, I was able to operate the camcorder’s entire range of manual controls with my thumb via the joystick controller with only my shooting hand.  Of all consumer camcorder manufacturers, only Panasonic has managed to pull off this ergonomic feat.  Sonys, Canons and JVC’s all use interfaces that at some point require the use of two hands to make camera adjustments.  Navigating through the full gamut of manual controls was not exactly a strain-free experience for me because I had to slightly alter my

on the camcorder in order to effectively manipulate the joystick, but it did allow me to tweak the image quickly.

A few controls can’t be reached with only the right hand.  The Delete and Menu buttons were just out of the reach of my right hand and the auto/manual mode switch is located in the LCD cavity.  Because these switches are not directly related to manual control, however, it’s fair to say that the VDR-D200 can be operated with one hand. The only major misgiving I had with the manual control interface was that traversing the range of image controls, like aperture, required pressing the joystick to step through each increment.  With over thirty steps from F16 to 18dB gain, moving between settings with very different light levels is a chore.  Another handling annoyance is the camcorder’s lengthy processing time during playback. There is no way around the fact that DVD camcorders like this one need time to search the disc, bring up footage, render thumbnails, etc.  The reaction time of the playback feature seems slow when one is accustomed to shooting with quick-reacting MiniDV camcorders, but that’s the price you pay for random access and DVD convenience.

Portability* (6.5)
*The VDR-D200 is not an ultra-compact camcorder, but Panasonic has reduced the size of this year’s DVD line in comparison to last year’s models. The VDR-D200 measures 61mm x 32mm x 91mm or 2.40" x 1.26" x 3.58", and weighs 110g or 0.24 pounds.  These measurements indicate the camcorder body only, excluding battery and DVD disc.  This makes the camcorder too large to slip comfortably into a pocket (unless you habitually wear cargo pants) but it is small enough to fit into a purse or knapsack without creating a bulge.  You’ll probably want to consider the AC adaptor, battery and the amount of recording time you might need if you plan to take the camcorder on a trip. These items will double the packing space required.

Another important portability factor is battery life, and this camcorder offers a very respectable recording time of approximately 144 minutes. It’s not a huge amount of time, but unless you’re the type of shooter who likes to archive every minute of the family trip to Six Flags, it should be adequate for a day’s excursion.  Longer life batteries are available from Panasonic or third party manufacturers.  Finally, the single-layer DVD’s this camcorder accepts are a relatively inefficient recording format.  Each disc can only hold 18 minutes of high quality XP footage while some new models can record an hour of XP footage onto a dual layer disc.  To take advantage of a full battery’s juice, you’d need 8 discs, so keep this in mind as you weigh the merits of the VDR-D200 versus camcorders that make use of more efficient formats.

 

LCD/Viewfinder* (6.0)*
The 2.5-inch LCD on the Panasonic VDR-D200 has a 4:3 aspect ratio, which reflects the native CCD size of the camcorder.  In contrast, the more expensive VDR-D300 has true widescreen capabilities, and a 2.7" 16:9 display.  The resolution of the LCD is only 105K pixels, which places its resolution at the lower end of consumer camcorders since some camcorders boast over 200K pixels.  In terms of the display’s apparent sharpness, this one is on par with most others on the market because the quality of an onscreen image has more to do with the electronics than its pixel count.

The extendible EVF (electronic color viewfinder) has a slightly higher resolution at123K, providing a power-saving alternative to the LCD. The EVF has a dioptric adjustment which is accessible on its top surface when it is extended. The dioptric control is easier to use than many, since they usually suffer from being under-sized.  All of the camcorder’s manual controls can be operated while using the EVF because, unlike many manufacturers, Panasonic has not placed vital controls in the LCD cavity.  In addition, many camcorders simply don’t allow menu navigation or access to manual controls when the LCD is not open, curtailing effective use in situations where the EVF is a better option.  The majority of consumer users do prefer fold out screens for monitoring their video image, but using an EVF prolongs battery life and can be a better means of assessing the image in bright sunlight.  Kudos to Panasonic for providing users of the VDR-D200 with a camcorder that offers full functionality when the EVF is used.

Battery Life* (14.5)
*The DR-D200’s included CGA-DU12 battery was tested for life expectancy during recording. During the recording test, we placed the camcorder in auto mode, set the aspect ratio to 4:3, turned image stabilization, and used the LCDscreen. Video quality was set at the highest mode, XP. While changing discs, we disconnected the battery and used DC power to change discs before reconnecting the battery and hitting record again. In total, this battery lasted a respectable 2 hours, 24 minutes, and 30 seconds (144 minutes, 30 seconds). 

 

 

Audio / Playback / Connectivity

Audio* (4.0)*

Audio options for the VDR-D200 are limited because this camcorder lacks Mic-in and headphone ports, features which are found on the VDR-D300.  Needless to say, onboard stereo mics on consumer camcorders leave much to be desired.  They are small, pickup any and all sounds near the camcorder, including sounds made by the camcorder’s own motors and the shooter as s/he makes adjustments.  This camcorder is hobbled by its audio limitation so if sound quality is important to you, consider a camcorder that allows the use of external sound gear.

High Pass filter that reduces impact of the buffeting sounds caused by wind when it hits the microphone’s screen.  Wind Cut does help in light winds, especially when recording dialogue, but becomes less effective as wind speed increases.  It also reduces the overall fidelity of recorded audio because it eliminates not just wind noise, but any other sounds in a similar register. The VDR-D200 also includes Zoom Microphone, a feature that links audio levels to the camcorder’s zoom.  While this feature imitates the effects of microphones used to pick up distant sounds (such as hypercardioid booms), the Zoom Mic feature will boost the whole audio signal, introducing a greater risk of overmodulation.  It’s a feature that should be used sparingly, if at all.

VCR Mode* (8.0)*

The joystick is used for both video and still playback on the VDR-D200, and playback functions of the camcorder are easy to navigate even if they are a bit limited.  Video playback mode is engaged by turning the mode dial to the playback setting, represented by a "play" icon in the form of a right facing pointer.  Once initiated, clips are shown in an 8 thumbnail per page browser format. Pressing the joystick in any direction moves from clip to clip, and basic information about each clip is displayed below the thumbnails.  This information includes the date and time the selected clip was recorded, and the length of the clip.

Moving from page to page takes a while. In between pages, the camcorder freezes while it renders the next 8 thumbnail page.  Holding the joystick down advances from one page to the next, or 8 clips at a time. What’s confusing is that the page display will only change when you release the controller.  Then, you must wait while the camcorder renders the next page of clips.  A vertical scrollbar on the right hand side of the thumbnail display indicates where in the scene library you are, and a scene counter at the top of the screen reflects the scene number as you advance through the pages.

Depressing the center of the joystick causes the selected clip to begin playing on the LCD. When a clip is displayed, the joystick is used to navigate and standard VCR controls are assigned to cardinal directions: left is fast-forward, right is rewind, up is play/pause, down is stop.  It is also possible to perform basic edits such as trimming and joining video clips in-camera.  The camcorder also offers some file management such as deleting clips and images prior to exporting, and finalizing a DVD.  File management options are found in the general playback menu

 The VDR-D200 can record footage in a 16:9 aspect ratio, but this camcorder does not have a 16:9-native CCD.  Instead, this camcorder uses employs a letterboxing approach to recording widescreen footage.  The camcorder literally superimposes black bars over the, essentially cutting off the top and bottom of a 4:3 video image to achieve a 16:9 aspect ratio.  It’s a crude (but common) method that reduces the total amount of visual information recorded to disc in widescreen mode.

 

 

Other Features

Widescreen/16:9 Mode* (5.0)
*

Scan Rates/24p* (0.0)
*Like other DVD camcorders, the Panasonic VDR-D200 utilizes a 60i scan rate.  Currently, only MiniDV and HDV camcorders offer options for alternate frame rates such as 24p on the consumer market.

Other Features* (6.0)
**Electronic Image Stabilization - *The VDR-D200 features an electronic image stabilization (EIS) system. EIS is a feature that reduces the effects of camera shake on the recorded image. During video recording with EIS engaged, the camcorder’s digital processor creates a digital buffer-zone around the video frame. This buffer reduces the total amount of information captured by the camcorder, and reduces image resolution. For most people, the benefits of EIS are worth the small tradeoff in image resolution. Some higher-end consumer camcorders like the MiniDV Panasonic PV-GS500 use the superior OIS (optical image stabilization) system, which does not reduce the resolution of the recorded image. EIS can be turned on or off by selecting the option from the Advanced submenu of the Administrative menu.

*Fade in/ Fade out - *Like most camcorders, this one has an in-camcorder fade feature, accessed from the first page of the Manual control menu, and available in both auto and manual modes. The VDR-D200 offers basic fades to and from either black or white.

*MagicPix - *MagicPix is Panasonic’s proprietary low light mode, and records colors with better fidelity than with gain boosted. According to the VDR-D200 user manual, MagicPix slows the signal charge of the CCD as much as 30 times. The impact of this feature on the video image is typical of slow shutter effects, and resulting in a stuttering and blurred look. Features like this are best engaged when the camcorder is affixed to a tripod in order to keep the image as sharp as possible.

*Backlight Compensation - *This feature can be employed when shooting subjects backlit by strong lighting. The backlight compensation will brighten the image onscreen and hopefully light the front plane of the subject enough to provide functional footage. The backlight compensation control is located within the first screen of the joystick menu and will remain accessible whether the camcorder is in full manual or full auto mode.

*Soft Skin Mode - *The soft skin mode is intended for use when shooting portrait subjects at a close range. This mode will "smooth" the skin of the subject to produce a more flattering image intended to mask scars and unappealing skin imperfections. Note that this feature will blur and smooth any other subject in the scene which possesses "skin color." While potentially useful, don’t think that this is going to solve an impressive bout with poison ivy. It can only do so much.

Ports* (3.0)*
The Panasonic VDR-D200 has two ports located at the lower edge of the camcorder’s front, below just below the video light: A/V out and Hi-speed USB 2.0. The port cover is made of sturdy plastic, and fits snugly over the ports but cannot be removed when the camcorder is mounted on a tripod.  This is a minor drawback, but we always favor feature placements that do not require removal of a camcorder from its tripod because sometimes the difference between getting the shot and missing the shot is a matter of seconds.

The AV port and USB port lie along the bottom of the front side.

The DC-in port for the Panasonic VDR-D200 is located inside the battery slot, representing another less than ideal port location. The chief drawback occurs when switching between battery and DC power, the camcorder must be powered down which could result in a missed shot. On the other hand, the recording time this camcorder is capable of in XP mode is limited to 18 minutes per disc, so users will be forced to change discs frequently – and interrupt their shoot – anyway.  The last port is the SD card slot, located on the underside of the camcorder.  Needless to say, it’s another poorly located feature that we’d prefer to see in a more accessible location.

 

 

Comparisons / Conclusion

**Comparison
***Panasonic VDR-M75*
*

*There are two primary differences between the VDR-D200 and its predecessor from last year, the VDR-M75. While the VDR-D200 sports a modest 1/6-inch CCD chip, the VDR-M75 had a significantly larger 1/4.5-inch chip. In terms of actual video performance the chips are comparable but different. Last year’s camcorder produced an image with more contrast, poorer color reproduction, and less noise than this year’s. The major improvement that that Panasonic has made to the VDR-D200 is the replacement of the four-way touchpad on the camcorder’s left side with a rear-mounted joystick. The joystick is a much better interface, and it tips the scales in favor of the VDR-D200.

Panasonic VDR-D100

The core imaging specs and manual control specs of the VDR-D200 and its slightly cheaper (by $100) cousin, the VDR-D100, are identical. Panasonic hopes that with the addition of an SD card slot for still capture, and a video light, some buyers will shell out the extra cash for the hybrid capabilities of the VDR-D200. Unfortnately, this camcorder doesn’t differentiate itself enough to make it a better choice. With the ability to capture stills at a mere 640x480, this camcorder’s photo function is good for snapshots but no more. Save your cash, and go with the VDR-D100. For $100 you can buy a bottom end digital still camera that will outperform the "hybrid" VDR-D200 by leaps and bounds.

Sony DCR-DVD205

The Panasonic VDR-D200 vs. Sony’s DCR-DVD205 a classic head-to-head that highlights the traditional strengths – and weaknesses of these camcorder titans. The Sony is easier to use, and turns in better Auto mode performance, but is hobbled when it comes to manual control where the Panasonic shines. The DCR-DVD205 also has a completely different touchscreen-based interface that is idiot-proof, but we much prefer the efficient joystick on the VDR-D200. In terms of core imaging specs, the Sony comes out on top, with its 1/5.5" CCD and 690K effective pixels – more than double the 340K found on the Panasonic. The larger chip gives the Sony better overall video performance, and it takes bigger stills as well (1152x864) – but only to DVD. So which is the better camcorder? In this competition, we give the slight edge to Sony. The Sony DCR-DVD205 is clearly better for point-and-shoot users, but a user who is adept with manual controls might be able to squeeze better video from the VDR-D200, despite its lackluster imaging.

Canon DC20

Canon’s DC20 (soon to be replaced by the DC22) is a fairly strong performer, and its 1/3.9" CCD is a good deal larger than the 1/6" chip on the VDR-D200. The larger chip size produces sharper video than the Panasonic, and also turns in a better low light performance. The DC20 is also a legitimate hybrid camcorder, supporting multiple still image sizes up to 1632x1224 vs. only 640x480 for the VDR-D200. While the Canon may have better video capture abilities, the Panasonic has a better manual control feature set with full manual control over options like aperture. While the DC20 includes a host of presets and semi-manual controls, like spot metering, in this regard it can’t compete with the VDR-D200. However we still think the Canon is a better camcorder, even at its admittedly steep $755 initial MSRP.

Who It’s For

Point-and-Shooters *(7.0)
*The Panasonic VDR-D200 is a good camcorder for users who don’t think they will make use of manual controls, and it is a solid performer that’s easy to use. It could be an especially good choice for buyers who usually point and shoot, but also want to dabble in the world of manual control.

*Budget Consumers (3.5)
*Users who want the most camcorder bang for their buck would be advised to avoid DVD camcorders entirely – MiniDV camcorders at half the price of the Panasonic VDR-D200 like the Canon ZR500 produce better video. Even for buyers who are at the budget end of the DVD camcorder market have better choices, including the VDR-D100 which is the same camcorder (minus a video light, anemic still features, and an unimpressive software bundle). Indeed, it’s difficult for us to make the call on whether this camcorder is right for anyone…

Still Photo / Video Camera Hybrid (3.0) 
Is the VDR-D200 a hybrid camcorder? Well, technically, yes. It has a memory card slot and can capture stills at a resolution of – ahem – 640x480. That one resolution choice is at the very bottom end of digital still photo resolution, and makes any claims by Panasonic that this camcorder is a hybrid, marginal at best.

*Gadget Freaks (2.0)
*This camcorder is a basic, low to middle end DVD camcorder. There is really nothing innovative about it to attract camcorder buyers on the bleeding edge. If this group is looking at DVD camcorders at all, they are probably eyeing Sony’s new AVCHD models, the first camcorders able to record high definition video to disc.

*Manual Control Freaks (5.0)
*This is a solid choice for users who make full use of a camcorder’s manual control suite, a group that’s probably well-acquainted with Panasonic camcorders already. With control over gain, shutter speed, aperture, white balance, focus, and zoom, the VDR-D200 enables a high degree of image customization. For $100 less, the VDR-D100 offers the same manual controls, and given the questionable value of the VDR-D200’s add-ons, is a more sensible choice.

*Pros/ Serious Hobbyists (2.0)
*Pros and serious hobbyists finally have some options worth looking at in the DVD camcorder world – and the VDR-D200 isn’t one of them. While MPEG2 footage is difficult to edit and DVD camcorders produce highly compressed video, the AVCHD high definition format should finally bring the 8cm disc a measure of respectability. Sony’s HDR-UX1 is the first DVD camcorder to make use of AVCHD. With some higher-end features including a focus ring and external mic jack, it’s really the only DVD camcorder on the market that might pique the interest of pros and serious hobbyists.

Conclusion
The Panasonic VDR-D200 is essentially the same camcorder as the VDR-D100 but with a video light (a feature of dubious value) and some still features that you’re better off not using. Should you buy it? Probably not. We liked the VDR-D100 well enough, but this $100 upgrade is a fool’s buy. The only reason you would really want to take such inferior quality stills would be for continuity control (costumes, prop placement, lighting, etc.) in a professional or pro-striving video. Honestly, there’s little chance that anyone in that demographic is looking for a camcorder in the low-end DVD market. So why did they put these features on? It’s a quick and easy upgrade which allows them to mark the price up a little.

Our advice is to look at the comparisons here and in the VDR-D100 review to make your choice (we'd recommend taking the VDR-D200 out of the equation). Panasonic has some great options in the camcorder market, but this is not one of them.

Specs/Ratings

{{manufacturer_specs_table}}{{raw_scores_table}}

Meet the tester

David Kender

David Kender

Editor in Chief

@davekender

David Kender oversees content at Reviewed as the Editor in Chief. He served as managing editor and editor in chief of Reviewed's ancestor, CamcorderInfo.com, helping to grow the company from a tiny staff to one of the most influential online review resources. In his time at Reviewed, David has helped to launch over 100 product categories and written too many articles to count.

See all of David Kender'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