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  • 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

The Sony DCR-DVD405 has a 1/3" CCD with 3.31 gross MP. This are the same specs of the imager found on last year’s DVD403, the model which the DVD405 is replacing. This imager gives an effective pixel count of 2.05 MP in 4:3 aspect ratio and 2.06 MP in 16:9 aspect ratio. A CCD of this size should produce a strong, sharp image, as it measures twice the size of the typical low-end chip. Larger imagers also typically produce good video in low light.

At 3000 lux, the DCR-DVD405 had very good color balance. Last year’s DVD403 was initially praised for its great color, but in retrospect, perhaps the praise was more for the high levels of saturation, which are bold but not accurate. Saturation levels have been reduced, but not erased entirely. You still get the color "popping" that helped make the DVD403 such a popular camcorder. The picture is less bright overall, but this is a good thing. The whites were too bright in the DVD403 and came close to blowing out.

The in-camera sharpening process has changed in this year’s Sony DVD camcorders. We talked about it in the DVD505 review as well. If you visit that review, you’ll see some more examples.

Perhaps in an attempt to curb the color fringing of last year’s DVD403, Sony increased the in-camera sharpening. While this helped with a fringing along relatively horizontal and vertical lines, curved lines were treated to some intense stair-stepping. Below are some crops of the DVD403, DVD405, and DVD505.

*200% crops of the DCR-DVD403, DVD405, and DVD505 (left to right). *

The DVD505, the next model up from the DVD405, has the same size sensor, but uses a ClearVID CMOS rather than a CCD. This was expected to produce superior results, given the hype and the $200 price jump. But our testing showed that these camcorders produced very similar looking video. An overview shows approximately the same levels of saturation and color balance. The DVD405 was more likely to produce halos along lines of heavy contrast. The DVD505, on the other hand, was more likely to lean towards anti-aliasing, which created blurs along some edges. Both the DVD405 and DVD505 showed the same in-camera sharpening problems along curved lines.

There was slightly less noise overall in the DVD505. Neither image was particularly noisy, but DVD405’s noise had a blue-ish tint, a problem that has overwhelmed some Sony CCD camcorders from the last few years.

The Panasonic VDR-D300, by comparison, uses three 1/6" CCDs. The next step-down model, the D250, is actually at the same price point as the DVD405, but we have not yet had a chance to review it. The D250 has the same three-chip configuration. At 3000 lux, the D300 showed a much sharper picture overall. Fine grain black noise was present, and there was more color gradation inside color tiles than in shots from the DVD405. The D300 did not show any of the in-camera sharpening problems that the Sony camcorders have. The D300 also had significant levels of saturation, but boosted the greens rather than the yellows. The camcorders had approximately the same level of brightness.

Finally, we compared the DVD405 to this year’s JVC hard disk drive camcorder, the GZ-MG37. Like DVD camcorders, it encodes video into the MPEG-2 format. The MG37 has significantly less under the hood – a 1/6" CCD – but the price point is only $100 less than the DVD405. In testing, the MG37 gave a terrible performance. Colors were mostly blown out and the picture lacked sharpness. Serious color fringing occurred along the red portions of the spectrum. In short, it could not be compared the DVD405 is any way but price.

In summary, the DVD405 has better colors than its predecessor, but the sharpness has taken a steep decline.

**Video Resolution ***(14.2)*

The DCR-DVD405’s video was tested for resolution using a standard ISO 12233 resolution chart and Imatest imaging software. In 4:3 mode, the camcorder yielded 450.3 lines of horizontal resolution and 315.7 lines of vertical resolution, producing an approximate resolution of 142159.71. In 16:9, the DVD405 yielded 490.2 lines of horizontal resolution and 295.2 lines of vertical resolution, producing an approximate resolution of 144707.04. As a means of standardization, the score is based on the 4:3 resolution.

The increase in the resolution score, despite the apparent decline in sharpness, is a bit puzzling. We ran the tests several times and came up with the similar results. We welcome comments from readers on this matter.

**Low Light Performance ***(5.75)*

At 60 lux, the DCR-DVD405 retained a significant amount of color information. Brightness has decreased only minimally, and sharpness has decreased only slightly. The noise increased, though it remained a fine grain. These are all the hallmarks of a large imager coupled with good automatic gain.

The DVD505 has the same size imager, though it’s a 1/3" CMOS in contrast to the DVD405’s CCD. The DVD505 actually has a darker image. Certain colors are showing the same amounts of saturation: yellow and green. Others – red, blue, and violet – have less saturation. The whites are also less bright. While over-saturation is something we would like a camcorder to avoid in bright light, in low light it can be a real boon.

The types of noise and sharpening in each camcorder differed. The DVD405 had a fine grain, dark noise. The sharpening created slight halos along high contrast borders, and there are some occurrences of Moiré patterns appearing in the trumpets that border the color tiles. The DVD505 produced a blue-ish noise that was not quite as fine as the DVD405’s. It avoids the halos and the Moiré patterns.

Last year’s DVD403 showed intense saturation, which made the yellows and greens bright enough to burn retinas. It managed to suppress a surprising amount of noise for the amount of gain it employs, but the picture lost a good deal of sharpness from the 3000 lux tests. There were slight Moiré patterns in the trumpets, but less so than in the DVD405’s images. No question, though; the DVD405 is much better in low light than the DVD403.

The Panasonic VDR-D300 lost a great deal of color information from 3000 lux, due to its small 1/6" CCDs. Even though it has three chips to the DVD405’s one chip, it is chip size rather than number that counts in low light performance. Sharpness was better in the DVD405. Finally, the JVC GZ-MG37 lost a good deal of color information and presented a rather dull picture with a lot of noise.

At 15 lux, the picture quality on the Sony DVD505 began to fail. The automatic gain and saturation were clearly exhausted. While most colors are still discernable, this would not likely be a usable picture. Noise increased, but not overwhelmingly so.

Here, the DVD505 was clearly superior. Though the blue noise is plainly evident, the picture is brighter overall and retained more color information. The DVD403 is also brighter, and at this light level, I would consider it the better performance (not so at 60 lux). Certain colors – green and yellow, in particular – appear much stronger in the DVD403’s image. The Panasonic VDR-D300 is much, much darker, and virtually unusable at this light level. The JVC GZ-MG37 was similar to the D300, but with more noise.

In short, the DVD405 had excellent low light performance, and finished only just behind the DVD505, which is darker but sharper. This is a top class performer in this category.

Wide Angle* (8.6)*

The DCR-DVD405 was tested for width of field in both 4:3 and 16:9 aspect ratios in order to gauge whether this camcorder can produce a true 16:9 frame. When shooting in 4:3 the camcorder had an angle of 43 degrees. When switched into 16:9 format, the DVD405 did show an increase in width of field, with a final measurement of 47 degrees. But when shooting in 16:9 the camcorder will also crop and zoom slightly, and while a marginal amount of additional information is supplied on the sides, information will be lost on the top and bottom of the frame. With barely any difference between 16:9 and 4:3, and the use of crop and zoom to attain these results, we can conclusively state that the Sony DCR-DVD405 does not have a true wide angle 16:9 format.

Format

Compression* (5.0)*

When shooting with the Sony DCR-DVD405, video footage is compressed using an MPEG-2 format that can be burned to DVD-R, DVD-RW and DVD+RW. The camcorder has three separate image quality levels which will apply greater or lesser amounts of compression when recording and are located within the Standard Set submenu of the overall administrative menu. The settings for image quality allow High Quality (HQ), Slow Play (SP) or Long Play (LP) to be selected. The High Quality setting has a maximum data transfer rate of 8.5 Mbps. This transfer rate is drastically inferior when compared to MiniDV cassettes’ transfer rate of 25 Mbps. This transfer rate discrepancy is what continues to allow the MiniDV format to produce superior video quality.

Audio compression for the Sony DCR-DVD405 is accomplished with the Dolby Digital 2.0/5.1 Creator when shooting. The in-camera microphones can record 4 mono channels of audio, which are then compressed and recorded as a 5.1 surround sound file. For more on this "surround sound" feature, refer to the "audio" section earlier in the review.

The still images recorded by the Sony DCR-DVD405 can be recorded either to MemoryStick or DVD. Possible still image resolutions for this camcorder allow images to be recorded in the following sizes; 2016 x 1512 (3.0 MP), 1600 x 1200 (1.9 MP), 640 x 480 (VGA) and 2016 x 1134 (2.3 MP). All resolutions are recorded as JPEG files in either Fine or Standard.

Media* (5.0)*

The Sony DCR-DVD405 can record to 8cm DVD-R, DVD-RW and DVD+RW formats as well as to Sony MemoryStick Duo PRO format. Still images and video can be recorded to both formats when shooting with this camcorder. These formats both have a maximum recording capacity of 20 minutes of video when shooting in HQ mode. The recording time can be extended by recording with higher compression rates of LP or SP, although image quality will be drastically compromised, and results will be far from the quality which is standard with even the lowest quality MiniDV camcorders. When shooting with these heightened compression levels, the DCR-DVD405 can record 30 minutes (SP) and 60 minutes (LP) of video footage.

When shooting with a DVD-R format, the disc can only be recorded to once and users will not have the freedom to delete scenes immediately or during playback. This 1.4GB 8cm disc can record in both 16:9 and 4:3 formats and will supply a rudimentary DVD menu upon finalization of the disc.

If the DVD-RW format has been chosen, the user can shoot in either Video or VR modes, switched between by entering the format submenu within the P-menu structure. The video mode allows users to record in the format that is recognized by nearly all playback devices. But video mode only permits the user to delete the most recently captured image and provides no other editing options. If the VR format is selected, the camcorder will provide access to in-camera editing tools. However, the disc will only be playable once finalized by playback devices that are capable of supporting the VR mode. Neither mode is capable of supporting playback on other devices without finalization, and when shooting in VR mode the camcorder will not record the DVD menu available in Video mode.

The DVD+RW is the final DVD format that is compatible with the DCR-DVD405, and this format, unlike DVD-RW and DVD-R, cannot record both 4:3 and 16:9 format images to the same disc. Also, this format does not provide in-camera editing or extensive deletion options. The DVD+RW format does create a menu structure when the disc is finalized, and the format can be played back on DVD devices regardless of finalization status.

Still images can be recorded to all DVD formats as well as to MemoryStick Duo PRO or MemoryStick Duo, the proprietary memory format of Sony. The maximum memory capacity for the MemoryStick Duo PRO that is compliant with this camcorder is 2 GB.

Editing* (3.0)*

Editing options for the Sony DCR-DVD405 are limited. This doesn’t really come as a big surprise, considering the auto-friendly format of the DVD405. The DCR-DVD405 comes with an included PicturePackage Ver.1.8.1 that allows users to copy still and video images from DVD or MemoryStick to PC, copy footage from DVD to Video CD, Music Video/Slideshow producer and Automatic Music Video Producer, lets users save stills on a CD-R.

The music video and slide show creator are expectedly kitsch and chock full of schmaltzy audio clips. This plethora of regrettable options is sure to leave the budding video editor queasy and desperately searching for a copy of Final Cut.

If you want to capture and transfer DVD footage onto a computer and this simple and rarely functioning program has overstayed its welcome, it is possible to transfer footage through a number of DVD ripping programs currently available online for download. These options work with far greater consistency and success than PicturePackage Ver.1.8.1 and allow users to take this DVD footage from its MPEG-2 format into a number of formats that are usable in more serious editing programs like Avid, Adobe Premiere and Final Cut Pro HD.

It is too bad that the software bundled with DVD camcorders continues to be so limiting. It’s still plagued with problems, including the loss of audio during video transfer (a problem found on both the 405 and 505 by Sony). One of the advertised advantages of the DVD format is that unlike MiniDV cassettes, the transfer of footage from DVD to PC is not a real-time process, so that the time spent capturing and importing footage is theoretically reduced in comparison to real-time tape transfer. Unfortunately, neither the DVD405 nor DVD505 has the requisite user-friendly traits to enable transfer to be that simple.

Tour

**The Front ***(8.0)*

The Carl Zeiss Vario-Sonnar T* 10x optical zoom lens is by far the most prominent feature on the sloping front face of the Sony DCR-DVD405. The lens has a 30mm filter diameter and a focal length of 5.1 mm to 51 mm. The in-camera flash is a horizontal sliver centered above the lens. The remote sensor and recording lamp are located beneath the zoom lens on a downward incline, away from fingers or other obstructions. In the lower left corner of the front face is a swiveling right hand strap eyelet that allows the strap to pivot out of the way when the DVD compartment is opened.

**The Right Side ***(7.25)*

The right side of the Sony DCR-DVD405 is dominated by a DVD compartment that has a hinge located near the back edge. The compartment can be opened by sliding the access switch located on the sloping plane between the top and front of the camcorder. Spanning the body of the camcorder horizontally at a slight downward angle from back to front is a right hand strap that is padded and comfortable. The strap is adjustable and is connected to the camcorder on the front and back sides, and has a swiveling and pivoting front eyelet so that users can reposition it when opening and closing the DVD compartment. While it is helpful to have this pivoting eyelet, the bottom-loading DVD compartment was still hard to access when the camcorder was resting on a desk or other flat surface. This is definitely not a problem with top-loading DVD camcorders. The hinge is sturdy and looks like it can stand some abuse without the problems that often occur with MiniDV tape mechanisms, which tend to jam or stall due to their fragile construction.

**The Back ***(6.5)*

The electronic color viewfinder is positioned in the upper left corner on the back face of the camcorder and can be pivoted upwards by forty-five degrees. The viewfinder eyepiece is made of an unforgiving light gray plastic. On the underside of the viewfinder is a dioptric adjustment slider that was sizable enough for even large fingers to access and make alterations. When the viewfinder is lifted, the user can also access a port cover that can be flipped open to reveal the MemoryStick Duo Pro slot beneath. The rechargeable InfoLithium battery is positioned beneath both the MemoryStick slot and the viewfinder. Because the viewfinder can pivot upwards, the battery pack will not be uncomfortably in the way; don’t get too excited-- you still can’t access menu structures or make alterations to minimal manual controls without engaging the LCD. The battery can be released via a switch located on the bottom of the camcorder, along the edge where the camcorder and battery meet.

To the right of the battery’s top edge is the start/stop record button, comfortably reached with the thumb of the right hand when shooting. Above this button is a flash charge LED which alerts the user as to the power state of the flash unit. Slightly above and to the left of the flash charge indicator is a flash button. To the right of the flash button are two more LEDs that are used to indicate whether the camcorder is in DVD or MemoryStick modes. In the upper right corner of the back face is a polished silver mode switch with a green tab on the top edge which must be pressed to alter mode settings. When the tab is moved to the right, the camcorder switches between MemoryStick and DVD modes; when the tab is moved to the left it switches the camcorder to off/charge. All of the controls and LEDs are well labeled with white text that stands out from the dark gray camcorder body. The only concern with these labels is that they are merely printed on the surface of the camcorder and could possibly be rubbed off with heavy use.

**The Left Side ***(8.25)*

The left side of the DCR-DVD405 features a 2.7-inch, 123,200 pixel LCD screen that flips open by either the back or bottom edge. This LCD does not have the clasp-mechanism of the DVD505 which acted as a safety device during portage and hasty handling. Without this mechanism, the 405’s LCD is at risk, although with careful packing and handling this shouldn’t be a huge concern. Three small rubber pads on the body of the camcorder protect the LCD screen from being damaged by too-close buttons or the camcorder body when the LCD is closed.

In the center of the LCD cavity, starting at the top, is the Easy mode button. It is visually distinguished from the other controls in the cavity thanks to a blue dot placed on the button. The wide select button is located beneath the easy button, with the display/battery info button positioned under both. On the frame of the LCD on the outermost edge are secondary controls for zoom and rec. start/stop. While this zoom control is not nearly as subtle or variable as the zoom lever found on the top of the camcorder, these controls can suffice when shooting from awkward positions that restrict access to the primary controls.

Beneath the closed LCD on the body of the camcorder are two other controls, centered in the middle of the camcorder body. The play/edit control permits entrance into the playback mode. The backlight button directly in front of it controls the LCD brightness. Forward of these controls is a port cover, which took a bit of work to open via the tab on its back edge. The port cover is permanently connected along the bottom edge of the camcorder, which is fine if the camcorder is handheld, but when on a tripod head or flat surface accessing these controls is tedious—it is impossible to move the cover fully out of the way. This port cover masks the A/V and DC in ports for the DCR-DVD405.

A second port cover wraps itself around the corner of the bottom front edge of the LCD hinge. It can be opened via tabs on the lower front edge or back edge and reveals a remote/LANC port as well as a Hi-Speed USB port. While this port was easier to open than its neighbor, the large size of the cover and the thin delicate hinges seem to be a perfect equation for deterioration. And with nearly half of the port cover masking nothing but blank camcorder surface, it seems as though there is a port or two missing.

The Top* (7.75)*

The in-camera 4 channel microphones of the Sony DVD405 are on top of the lens barrel near the front of the camcorder. This microphone set is unfortunately positioned near the fingers of the right hand and often picks up both hand movement and the noise caused by the zoom toggle when released quickly. Behind the in-camcorder microphones is a port cover that can be flipped open via a tab located along the back edge. It masks the Active Interface shoe, which accepts proprietary hot shoe external options for video lights, flash and microphones. This cover is connected via a sturdy hinge on the left edge. Between the back edge of the Active Interface shoe cover and the front edge of the viewfinder barrel is the control for turning the NightShot feature on and off.

Auto / Manual Controls

Picture & Manual Control
Automatic Control (9.5)

In recent years the Sony consumer camcorder offerings have been dominated by camcorders that are friendly to users less interested in investigating or using manual control. While this auto-heavy format is expected on lower-priced camcorder models anyway, this continued theme up into the $1100 price range for the DVD505 and the $900 DVD405 is a bit surprising considering that most other manufacturers have at least provided manual shutter speed at such prices. But Sony is not budging from this auto friendly stance, and users will either love or hate the restrictions that this camcorder can place on them. For even further restrictive simplicity, an Easy mode option is present on the Sony DCR-DVD405 for the user who is looking for a truly auto camcorder.

The Easy mode is entered by pressing the Easy button, differentiated from the other controls by a blue dot in its center, in the LCD cavity. Once engaged, Easy mode limits the user to control over the zoom toggle. The P-menu, which is otherwise vast and overwhelming with its poor formatting, becomes a simple four-button screen that allows the user to format the DVD, turn button noise on or off, finalize the disc and set the clock and date. All other options are hidden when this mode is entered.

The standard auto mode provides a handful of manual control options for the user comfortable with navigating an illogical default two-tier menu structure. Users can control focus, zoom, white balance and exposure when shooting with the DVD405. Image settings like shutter speed, aperture and gain, which can be controlled manually throughout all of the Panasonic MiniDV and DVD camcorders, will not be accessible when shooting with either the DVD405 or even the more expensive DVD505. Auto controls reacted well in a variety of changing situations, and although there was a noticeable struggle with focus in low light levels, the camcorder shot well with auto controls when in most other situations.

Unique to Sony touch screens, and included on the DVD 405, are two controls that allow the user to measure focal depth and lighting through a spot touch control. The Spot Focus and Spot Meter controls are both located within the P-menu structure and allow the user to press sections of the image on the LCD where the user wishes the camcorder to gauge settings and react accordingly. While both features worked well in simple layout and lighting situations, the camcorder was less reactive and nuanced when it encountered complicated scenes. Additionally, the finger tip of this reviewer is not small and when used on a 2.7-inch LCD, the results were rarely those that were desired. A stylus would help, although what would really help is a better LCD like that found on the DVD505 with measurements of 3.5 inches diagonally.

Along with the auto, manual, and spot controls come a smattering of preset shooting modes that cover general shooting situations that users may encounter. These modes can be especially helpful for users who find themselves comfortable with auto mode but still uncomfortable with manual settings. The Program AE modes are listed in the P-menu in the submenu of the same name, and come in options of Auto, Spotlight, Portrait and Sports. These are potentially helpful, but certainly not expansive. If the idea of preset shooting modes is attractive and the limited options on the DVD405 are disheartening, there are options by Panasonic and Canon that provide both more presets and more control flexibility.

Overall Manual Control (3.0)
The Sony DCR-DVD405 isn’t entirely devoid of manual controls. But although the auto-centric design of lower-end Sony camcorders is understandable, the minimal options provided with this $900 camcorder will force many advanced consumers elsewhere. At this price point, one would expect at least control over settings like shutter speed.

The manual control settings for the Sony DCR-DVD405 are accessed by entering the P-menu, in which focus and exposure are on the first two pages. The three page P-menu structure displays six opaque buttons on each page that overlays a live view LCD screen. The pages of the P-menu are scanned by pressing the up and down arrows on the left side of the LCD screen. The default settings for the menu make it present settings that neither follow a logical structure nor make for simple navigation. Users can reconfigure the menu, but the likelihood of a beginner being up to the task is small.

The original default P-menu structure provides the following settings in regular shooting mode: setup, finalize, surround monitor, exposure, spot focus, fader, spot meter, focus, program AE, format, unfinalize, mic ref level, LCD brightness, super NS, color slow sync, beep, language and P-menu setup. Honestly, how many users are more likely to use a digital fade control more than white balance? Or rather, why are we encouraging users to use digital fade over white balance? Sure—shifting, deleting and adding to the menu is possible with some skill, but how about just having a well designed, clear, concise menu structure from the start?

The alert reader may have noticed that one manual control—white balance—is distinctly missing from the default P-menu. The white balance menu is actually located within the administrative menu under the category of "Camera Set". The placement of white balance in this menu structure is definitely going to minimize the number of casual users who are going to use white balance, even though it works well and is simple to set.

The administrative menu for the Sony DCR-DVD405 is accessed by pressing the setup menu button on the first page of the P-menu. This menu is structured differently from the P- menu, utilizing a never-ending cyclical list structure that overlays most of the LCD screen. Breaking up the monotony are five sub-category menus that may be rotated through as a shortcut to moving through the entire list. These category menus won’t display all the options within their specific submenu, and users must memorize or scan haphazardly in an attempt to locate appropriate options.

The category menus for the DCR-DVD405 are camera set, pict. appli., media set, standard set and time/langu. Listed within these menus are the following control options: program AE, spot meter, exposure, white balance, auto shutter, spot focus, focus, Super NS, NS light, Color Slow Sync, self-timer, digital zoom, SteadyShot, fader, digital effect, picture effect, demo mode, format, finalize, unfinalize, disc title, rec mode, micref level, surround monitor, LCD/VF set, TV type, remaining, remote control, record lamp, beep, display output, setup rotate, auto shut off, sub-t date, clock set, area set, dst set and language. Needless to say, with this many options it won’t be simple to quickly scan this behemoth of a menu, and those essential controls will need to be transferred to the P-menu structure for easier access.

One final note - the touch screen LCD has the added cost of battery life.

*

Zoom (8.0)*

There are two zoom controls on the Sony DCR-DVD405. The primary zoom is on the top of the camcorder body, positioned for control with the index finger of the right hand. The second zoom control is to the left of the LCD, on the frame surrounding the screen. The zoom lever on the top of the camcorder body reacted quickly and efficiently and produced zoom speeds that were reactive to different pressure levels. The zoom lever itself is framed by raised bumpers at both the front and back so that accidental slipping and incorrect engagement is less likely when shooting. A small horizontal scale appears in the upper left corner of the LCD that displays the relationship of the current zoom level to wide angle and telephoto. This scale could be greatly improved if it were labeled with actual measurements of distance; as it is, it’s undersized and vague.

The only major concern regarding the zoom toggle wasn’t its performance, but rather its placement near the in-camera microphones (or rather, the placement of the microphones near the toggle). When using the zoom lever, we noted that when it is quickly released the sound is picked up and recorded.

The push button zoom control on the frame of the LCD screen provides a fixed zoom rate. This isn’t a huge detractor since the inclusion of a secondary zoom control is a bit of an anomaly, though it additional controls certainly don't hurt.  The placement of the zoom on the frame of the LCD lets users can control this feature from a variety of shooting positions that generally limit access to the primary zoom control on the top of the camcorder.

Zoom Power/Ratio (10.0)

Like the DCR-DVD505, the Sony DCR-DVD405 has an optical zoom level of 10x. The DVD405 has a SteadyShot stabilization system for electronic image stabilization, which will help with camcorder shake although not as successfully as optical image stabilization systems will. You may notice that the optical zoom for this 1/3' CCD is smaller than 1/6' camcorders like the Sony DCR-DVD105, which sports a 20x optical zoom lens. This increase in CCD size comes at the price of ultra-zoom ranges. However, considering the marked increase in video quality when shooting with a 1/3 inch chip, a decrease in zoom range is a negligible trade off. The 10x optical zoom lens of the Sony DCR-DVD405 will perform successfully in most if not all situations and will not suffer from the camera shake of ultra zoom camcorders. But even with a lower zoom level of 10x, the use of a tripod is still recommended if possible when shooting. 

The camcorder also provides a digital zoom system with a maximum zoom of 120x. However, image quality degrades the further a user approaches the end of a digital zoom range. An image with 15x digital zoom applied will have a vastly lower image quality when compared to an image which only engaged optical zoom. Digital zoom can be either used to its full 120x capabilities or capped at 20x for a far more legible (although still compromised) image.

A small zoom scale is displayed in the upper left corner of the LCD screen when the zoom lever is activated. This sliding scale will split into two halves when digital zoom is turned on, and users must press the zoom lever again when transitioning between optical and digital zoom. This is advantageous for automatically-oriented users who are concerned about accidentally entering the range when shooting, though it will unfortunately show up as a slight stutter on the footage.

Focus (4.0)

Sony does provide manual control over focus on the DVD405, but using this manual focus is only advisable when the auto focus is straining and no other option exists.

Manual focus is entered by selecting the Focus submenu on the second page of the P-menu. The user can press the mountain range or the portrait bust icons on the LCD screen to alter manual focus levels to adjust far or near, respectively. The focal depth for the camcorder is displayed in the center of the screen so that users can monitor changes in depth as the changes are being executed.

One of the downsides to using a touch screen interface for focal control is that during adjustment, the left hand will obscure part if not all of the LCD. Also, the LCD has a total pixel count of 123,000 pixels, and with a screen measuring 2.7 inches, the resolution isn’t going to be high enough to produce images that can be accurately gauged for focal depth. Adding to the drawbacks is the residue on the screen left behind by fingers; it will further mar the ability for users to properly adjust focal levels. The manual focus is definitely functional, but its drawbacks make using this feature less of a feasible possibility.

The camcorder also includes a spot focus that requires an immense amount of tapping and cajoling to work in anything but the most basic of scene situations. If shooting with one or two focal depths, the spot focus can perform accurately. However, when forced to contend with multi-depth/multi-subject scenes, the spot focus wasn’t sensitive enough to react to subjects in close proximity or at slightly varied depths, even when using a pencil as a stylus.

Exposure (Aperture) (4.0)

Exposure on the Sony DCR-DVD405 can be manually controlled by pressing the P-menu button in the lower right corner of the LCD screen. Once this menu is open, the exposure button can be selected to display the full submenu with settings of auto and manual. When the manual exposure option is selected, the forthcoming horizontal exposure scale can be altered by pressing the + and – controls on the LCD screen. This screen provides a live view that allows instant visual confirmation of changes.

*Shutter Speed (0.0) *

The shutter speed for the Sony DCR-DVD405 is not manually controllable, which isn’t really a shock considering that aperture and gain are also fully automatic. The automatic shutter speed range for the DCR-DVD405 is 1/4 to 1/4000th of a second, which will enable the DVD405 to perform well in strong lighting but handicap it in lower light. No consumer Sony camcorders have manual shutter speed, but we won't stop saying that they should.

White Balance (7.5)

White balance is one of the few controls on the Sony DCR-DVD405 that is genuinely, fully controllable. Unfortunately, Sony placed this manual control outside of the easily accessible P-menu. Instead, users must press the P-menu setting, followed by the setup button, which opens the entire administrative menu, which can then be scanned for the camera set submenu, that must then be opened and scanned for the white balance menu. Needless to say this is not simple. The likelihood that a point-and-shooter is going to successfully navigate this overwhelming labyrinth is about as likely as David Bowie showing up to your birthday to sing "Dance Magic Dance".

It is highly recommended that users take advantage of the ability to rebuild the P-menu structure to include this definitely useful control. Why Sony excludes the white balance from the P-menu (while choosing to include settings for digital faders) is beyond this reviewer. White balance settings within the submenu include preset modes of outdoor and indoor in addition to full auto and one-push (manual) white balance. The white balance submenu is displayed as a set of semi-transparent buttons on top of a live view screen, so that at least is a helpful aspect of it.

Gain (0.0)

It should come as no surprise to those readers familiar with Sony camcorders that the DVD405 does not come with manual control over gain. That said, MiniDV camcorders throughout the Panasonic consumer line, down to their lowest priced PV-GS29 at a $299 MSRP, do. Although it’s not a huge loss for the dedicated point-and-shoot user, those looking for manual controls now or in the future will want something more.

Other Manual Control (0.0)

There are no other manual controls included with the Sony DCR-DVD405.

Still Features

Still Features* (8.0)*

The DCR-DVD405 captures stills to MemoryStick Duo and MemoryStick Duo PRO in two qualities, Fine and Standard, and four resolution sizes: 2016 x 1512 (3MP), 2016 x 1134 (2.3MP widescreen), 1600 x 1200 (1.9MP) and 640 x 480 (0.3MP). No MemoryStick is included in the box.

*A well-placed flash above the lens, and MemoryStick Duo slot under the viewfinder. *

The still features are unremarkable. We don’t recommend buying a camcorder as your primary capture device for stills anyway, as even the cheapest dedicated still camera is bound to do a better job than most camcorders. However, if you are keen on still features, take a look at the DVD505, the next model up in the Sony DVD line. It has a larger maximum still size, 2304 x 1728, and better still quality.

The DVD405’s still features include a flash, well-placed above the lens, burst capture and exposure bracketing. The number of stills you can capture in burst mode is dependent on the resolution size, but in 3MP, it’s only 3 photos. With exposure bracketing, the camcorder takes 3 stills in a row at slightly different exposures, giving you the choice of which looks best.

Still Resolution* (7.7)*

We tested the resolution of the DVD405’s stills by shooting a standard ISO 12233 resolution chart and running the results through Imatest imaging software. The largest 4:3 still, 2016 x 1512, scored an approximate resolution of 766590.75. The largest 16:9 still, 2016 x 1152, produced an approximate resolution of 375098.88.

This is a decent score for a camcorder shooting at 2016 x 1512, and obviously not as good as the DVD505, which shoots at a maximum size of 2304 x 1728.

Still Performance* (7.0)*

The DVD405 produced stills that were extremely sharp, though a little flat. The blues appeared strongest, and the green-yellows the flattest. Most color tiles showed a tendency to gradate from lighter to darker tones. The camcorder also did a fair amount of in-camera sharpening, which resulted in some jagged edges along high contrast areas. The DVD405 managed to suppress noise in most areas, but areas of black were excessively noisy.

Comparatively, the DVD505 showed an image with less sharpening, more resolution, and less noise. The 505 also had a slightly better tonal range, which resulted in richer colors and better color variations.

The Panasonic VDR-D300 had richer, brighter colors, though the noise was readily apparent, more so in the grayscale than anywhere else. However, the areas of black were relatively noise free, unlike the DVD405.

We also held up the Sony HC96 MiniDV cam for comparison, which had remarkably similar looking stills, because they likely share identical imagers – 1/3" CCDs. In fact, these were near duplicate images.

Handling and Use

Ease of Use* (9.0)*

The Sony DCR-DVD405 continues the tradition of Sony camcorders being exceptionally easy to use in auto mode. On the left side of the camcorder in the LCD cavity is a button with a blue center that will set the camcorder into an Easy Mode that provide users with the simplest possible shooting mode. The Easy Mode will only allow the user to switch between shooting mode and control zoom levels; all other settings will be altered by the camcorder. If the user is feeling more adventurous, but still not up to tackling manual controls, the user can play with two additional options. The spot focus and spot meter modes allow users to tap a portion of the LCD that contains the region the camcorder should meter in or focus for. While not overly sensitive or nuanced, the modes at least give the novice user a starting point from which to evolve.

Handling* (8.0)*

The Sony DCR-DVD405 has about the same handling of any Sony camcorder with a touch screen LCD and simple external controls; it allows competent auto shooting without requiring that the user dive into the menus. The manual controls for the camcorder are however primarily located within the LCD touch screen interface, though what controls remain external are well labeled and spaced and positioned for comfortable access.

While this simplified external layout is great for beginning and casual users, the lack of immediate access to the limited manual controls will certainly be an aggravation for advanced users. They will find that accessing controls like exposure, focus, white balance and spot focus/meter will necessitate maneuvering through the overly circuitous menu structures. While the menu structure is irritating, it can at least be customized by the user to better fit their shooting style. Of course, we would prefer a logical menu from the start that wouldn’t need reworking just to be functional.

The real problem is that the manual controls must all be changed through controls displayed on the LCD screen. The 2.7-inch 123K pixel LCD does not have a resolution high enough to provide a sharp, clear image for properly gauging focal accuracy. Also, fingers are constantly blocking, smearing and obscuring the LCD when making adjustments to features like focus and metering, which obviously require a clear view for good accuracy.

The camcorder handles well during shooting, and the right hand can grip the right side of the camcorder comfortably for a steady and confident shot. The right hand strap hits the back of the hand properly and the swiveling and pivoting connection point on the front of the camcorder made sure that this strap was properly positioned. The in-camcorder microphones are too close to the controls and fingers of the right hand, and handling noise gets picked up easily. This problem doesn’t exist with frontal microphones or when shooting with the accessory external microphones; however, if you are relying on this camcorder’s internal microphones, be prepared to hear a subtle rustling when shooting off-tripod.

Portability* (5.0)*

The Sony DCR-DVD405 is not the most portable camcorder on the market. While smaller than the DVD505, it still might feel too heavy to carry around in the hand all day. The DCR-DVD405 weighs in at a hefty 1 lbs. 4 ounces with battery and DVD, and the size and weight of this camcorder will necessitate a handy and protective travel case (if the $900 price tag isn’t motivation enough).

LCD/Viewfinder* (9.25)*

Although there are many similarities between the Sony DCR-DVD505 and the DVD405, one of the unfortunate disparities comes in LCD size and resolution. The DVD505 had an impressive and functional 3.5-inch, 211,200 pixel touch screen that allowed for more efficient control of the menu due to the large interface size. The DVD405 unfortunately is equipped with a 2.7-inch, 123,200 pixel LCD that is dwarfed by the DVD505’s. The menu navigation obviously suffered with this downsizing, and while still capable of producing 16:9 format (though not true widewscreen) video, this screen won’t be drawing the lusty gazes of fellow camcorder enthusiasts. This LCD also suffered the same set of problems prevalent with all touch screen LCDs, e.g., the smearing and oily sheen which come with use. This overshadows the screen’s resistance against solarizing, even when tilted at an angle.

The screen can swivel and rotate 270 degrees, and its brightness is controllable via a Backlight button which is located externally on the body of the camcorder beneath the LCD screen. It is also controllable through the LCD Bright submenu within the P-menu. The LCD brightness submenu displays a horizontal scale overlay that can be adjusted to compensate for various lighting situations.

The DVD405 has an electronic color viewfinder designed for actual use, rather than a simple check mark for the spec sheet. The viewfinder for this camcorder pivots 45 degrees upwards so that the eye of the user can avoid the battery pack directly beneath. A pivoting viewfinder makes a huge difference in handling, and should be sought after by anyone interested in more than weekender shooting. The viewfinder window is surrounded by a light gray plastic eyepiece that is anything but forgiving, which is unfortunate since a rubber eyecup would make using this device very comfortable. On the underside of the viewfinder is a dioptric adjustment dial for customizing the viewfinder to the user’s eyesight. The viewfinder will not function unless the LCD screen is closed, which means that when shooting with the viewfinder the manual controls and menu structures will not be accessible; these features are accessed through the touch screen interface. Like the LCD screen, the viewfinder’s brightness and color can be adjusted. This is done through the viewfinder brightness submenu within the administrative menu. It is also possible to adjust the viewfinder display to either squeeze or letterbox format when shooting.

Battery Life* (9.7)*

The included NP-FP60 battery was tested for life expectancy during continuous recording. In order to test this, we recorded video with the LCD open and no zoom or manual controls engaged. When the DVD media was full, we removed the battery, plugged in the DC power, switched DVDs, re-inserted the battery and continued the recording. In total, the battery lasted 96 minutes and 59 seconds (1 hour, 36 minutes, and 59 seconds). This same battery model lasted 104 minutes in the DVD505, possibly because the DVD505 uses a more energy efficient CMOS sensor.

Audio / Playback / Connectivity

******Audio*** (4.0)*

 The DVD405 does not have an external mic jack. Sony has teamed up with Dolby Digital to provide the ability to record audio that can be output through 5.1 channels via Dolby’s 5.1 Creator. They have certified it as offical 5.1 Dolby Surround Sound. But before the excitement causes you to grab your wallet and car keys, this 5.1 channel moniker should be clarified. The audio that will be recorded isn’t going to have the surround sound audio quality that consumers have come to expect with the John Travolta celluloid action travesty (otherwise known as Swordfish).

This is because most 5.1 channel work is created and mixed as a postproduction process that emphasizes that these are 5.1 channels of autonomous audio that are used to create space aurally in film. That just can’t happen when users are recording with four microphones that are positioned within one square inch on the top of a camcorder. The audio that will result will have minor if no variance between channels. The center channel for the 5.1 channel setup, using only internal microphones, is created by mixing the front left and front right audio channels. While this could possibly be useful if strapped with an older 5.1 playback setup, most DVD players now have a feature that can take stereo audio recordings and spread it across all 5 channels for a comparable audio recording to the one found with the DVD405.

The DCR-DVD405 allows the user to record Mic Ref levels of either Normal or Low. The low level is intended for a more authentic surround sound recording and not intended for the human voice, and the normal level records various surround sounds at the same volume. The difference between the two levels was minimal, and users would be better off investing in an external microphone for the proprietary hot shoe. A surround sound monitor overlay screen can be used to monitor audio levels over the 5 channels, and while it’s a handy visual display, it has to be closed when accessing any other onscreen setting. This makes using the monitor feature for extended periods a hassle.

The most notable variation between audio channels occurred when corners of the microphone guard were touched by the fingers of the right hand. This occurred easily due to its placement. This four microphone setup isn’t all bad; with four channels of audio, any inconsistencies and glitches in the recording will be better masked when compared to a stereo or mono recording of the same material.

If the disparities between the Sony DCR-DVD405 5.1 Creator and professional 5.1 surround sound aren’t offputting, know that this Sony camcorder does have a handful of microphone options for their Active Interface proprietary hot shoe. Microphone options for this camcorder currently include a wireless Bluetooth microphone for $199.99, a surround sound external microphone $149.99 (only records four channels), a high-fidelity stereo microphone for $99.99 and a shotgun microphone for $69.99. These microphones, while certainly better than the internal microphones, are still restrictive in terms of quality. If Sony were to drop the proprietary status of their hot shoe or include an additional Mic-in port, the possibilities for more serious audiophiles would make this camcorder a far better option.

We should note that we didn't listen to the DVD405 on a 5.1 Surround Sound system. The way we came to these conclusions on the quality of the 5.1 performance was that we used the audio monitor on the DVD505 to look at the pickup pattern for the microphone. When we tested that we didn't see any difference between the pickup of different sounds at unique places in a testing room. We are working on a method for testing the audio properly to paint a better picture of the audio pickup of the DVD405.

For an overview of the Bluetooth wireless microphone performance and design, refer to our recently published Sony DCR-DVD505 camcorder review.

VCR Mode* (9.0)*

The playback mode is entered by pressing the play/edit button on the left side of the camcorder beneath the LCD screen. The playback mode allows users to view both video and still images as single frames, six thumbnails, or 12 thumbnails. Both multi-up thumbnail formats allow the user to move from page to page via the up and down arrows on the left side of the LCD screen. Switching between the multi-up format to the single image display is accomplished by pressing the thumbnail image on the LCD screen, which is a bit confusing since toggling between six and twelve image multi-up is accomplished through the zoom lever. When video images are displayed as full screen clips, the user can scan from clip to clip via the left and right arrows displayed on the LCD. At the bottom of the screen during full image playback are the standard VCR controls: fast forward, rewind, stop and play/pause. It is also possible to engage 1.1x to 5x of digital zoom for closer examination of images. One of the nice design features of this touch screen playback mode interface is that it enables users to move between video images saved to DVD, still images saved to DVD, and MemoryStick by merely pressing the proper tab located on the bottom of the LCD screen. This will let users view and select images with a speed that is certainly not found with MiniDV format camcorders, and this speedy access is in fact one of the main advantages of the DVD format.

Editing images while the DVD (or MemoryStick) is still in-camcorder is not actually possible with all video modes and formats. In fact, full editing of images or video clips is only accomplishable when the camcorder is set to shoot in VR mode and the footage is recorded to DVD-RW format. If shot on any other disc format or while the camcorder is in video mode, the user must import footage into another postproduction editing program.

Otherwise, the user will find an edit tab alongside the standard VCR controls when reviewing video clips. The edit mode displays a time lapse bar directly above the VCR controls that is used as the marker point for where the edit feature cuts the footage into two separate video files. The DVD405 can also delete, restructure and link video files together to allow further footage manipulation. With a little bit of thought, users can cut, delete and restructure video files with a fair level of ease that will suffice for a rough cut.

Ports* (5.5)*

Ports for the Sony DCR-DVD405 are located on the back, top and left sides of the camcorder. The MemoryStick slot is located beneath a well designed cover that is sandwiched between the electronic color viewfinder and the body of the camcorder. To open the cover, the viewfinder must be pivoted upwards and out of the way. The port cover snaps open easily and is definitely the most consciously designed port/port cover on the camcorder.

The ports on the left side of the camcorder are directly beneath the LCD screen. The most forward port cover wraps around the bottom and front edge of the LCD and is opened via two tabs located on its back and bottom edge. This port cover is massively oversized, with over half of the cover masking nothing but the body of the camcorder. It’s connected to the camcorder via a hinge that is hardly durable. Beneath the cover are two ports, one for the Remote/LANC and one for a Hi-Speed USB connection. The port cover directly behind this port and fully beneath the LCD screen is opened via a tab on its back edge. This port cover has a hinge on its bottom edge which makes accessing the two ports beneath it problematic if the camcorder is on a flat surface or a tripod head. The ports beneath this cover are an A/V-in/out and a DC-in jack. Since the A/V port is capable of supporting both in and outward video and audio signals, the user can engage in analog to digital pass-through. This is a great feature to have when recording from external playback devices which don’t have a digital interface option.

On the top of the Sony DCR-DVD405 there is an Active Interface shoe, positioned directly behind the four mono in-camera microphones. The Active Interface shoe’s cover is easily opened and has a hinge on its left side that connects to the body of the DVD405. The Active Interface Shoe is a hot shoe, but before getting too excited, it should be noted that this shoe is a proprietary feature that only accepts Sony brand products. While not a port per se, it does provide an additional interface of a sort.

Other Features

Widescreen/16:9 Mode* (6.0)*

Engaging the widescreen feature on the Sony DCR-DVD405 is a simple process which can be engaged by users of any skill level. The wide select button, located in the LCD cavity, allows the user to toggle back and forth between this camcorder’s 4:3 and 16:9 modes (though this camcorder doesn’t produce a true wide angle frame). Thankfully, engaging this camcorder’s alternate aspect ratio doesn’t necessitate menu navigation or dealing with the touch screen interface. And though the "16:9" mode does crop some image information, it will produce an image that neatly fills the expanse of a widescreen television.

Scan Rates/24P* (0.0)*

The Sony DCR-DVD405 has a standard fixed scan rate of 29.97 frames per second.

Other Features* (4.5)*
Active Interface Shoe – The Active Interface shoe is a hot shoe that has the unfortunate restriction of being a proprietary shoe that only accepts Sony brand accessories for lighting and audio. For more information on compatible microphones, see the ‘Audio’ section.

Color Slow Shutter – The Color Slow Shutter setting is located within the P-menu on the third page, and allows users to shoot with higher color saturation levels when in lower light situations through an automatic slowing of the shutter speed during shooting. Note that when shooting in low light, the Sony DCR-DVD405 struggled with maintaining focus when shooting in AF mode, and more advanced users may wish to use the manual focus option to overcome this poor performance.

Electronic Image Stabilization –Sony has outfitted this camcorder with an electronic image stabilization system that will compensate for camcorder shake when shooting. While certainly better than nothing, it is not as good as Panasonic’s famous optical image stabilization system.

Battery Info – To access the battery info screen, the power switch on the DVD405 must be set to off. The user can then press the Battery Info/Display button in the LCD cavity, which will momentarily turn the LCD screen on and display the recording time left when using either the LCD or the viewfinder. The user can also check if the camcorder is currently charging the battery.

Comparisons / Conclusion

Comparisons
Sony DCR-DVD403
The Sony DCR-DVD403 was released in 2005 and is the predecessor to this year’s Sony DCR-DVD405. The DVD403 originally retailed for $1000 and can now be found for far less. Like this year’s model, the 403 has a surround sound microphone, Active Interface proprietary hot shoe, 2.7-inch LCD, 10x optical zoom, LANC port, USB 2.0, A/V-in/out and DC-in ports. The DVD405 has dropped by $100 and has added a pivoting viewfinder for easier viewing and a far better placement of the in-camcorder flash. There is also the significant addition of the MemoryStick DUO slot; the DVD403 only recorded stills to DVD. We like the DVD405.

*Sony DCR-DVD505
*The major and most noticeable difference between the DCR-DVD405 and the step-up DVD505 is the shift from a 1/3-inch 3.30 gross MP CCD to the DVD505’s 1/3-inch, 4.0 gross MP ClearVID CMOS sensor. Other enhancements with the 505 include the 3.5-inch LCD screen, a larger still image resolution, more features and a Smooth Slow record mode. Similarities otherwise abound between these two camcorders; both have an electronic color viewfinder, Active Interface proprietary hot shoe, 5.1 Creator, 4 internal microphones, MemoryStick Duo PRO for still images, DVD-R/DVD-RW/DVD+RW compatibility, ports for A/V-in/out, DC-in, LANC, USB 2.0 and included editing software. The DVD505 is slightly larger than the DVD405 and does weigh slightly more, though users can expect superior video and still performance when shooting with the DVD505. The DVD505 can be purchased for around $1100.  Winner: DVD405.

*Sony DCR-DVD305
*While the DVD305 certainly costs less than the DVD405 with an MSRP of $700, this reduction in price comes with reductions in video quality and control options. The DVD305 has a smaller CCD, a poor viewfinder design and a far lower still image max resolution. The overall design of the 305 is significantly lacking in comparison to the 405 and 505, which have a slightly more professional feel. A supplied microphone for 5.1 Dolby surround sound may actually give this camcorder an edge above the DVD405 and 505, due to its raised position above the camcorder body. This camcorder has the same 2.7-inch touch screen interface with the same menu structure found with the 405 and 505; it also has electronic image stabilization, NightShot Plus and the ability to accept the same DVD formats. Winner: the DVD405.

*Panasonic VDR-D250
*The VDR-D250 was released this year by Panasonic. Unlike the Sony models, this DVD camcorder comes with a full list of manual control options as well as a superior optical image stabilization system. The VDR-250 has a smaller 1/6-inch chip with 2.8 gross MP, and an SD card slot for still images. This camcorder has a 2.7-inch LCD screen and a 10x optical zoom lens, as well as a electronic color viewfinder. Users who prefer external control over a touch screen interface will find the menu structure and navigation of the VDR-D250 to be a pleasing alternative. The VDR-D250 will be available in the same price range as the Sony DCR-DVD405. We like the Panasonic.

JVC GZ-MG37
Although the JVC GZ-MG37 records to hard drive, like the DCR-DVD405 it records video footage in MPEG-2 format. Unlike Sony, the resulting footage won’t be saccharine sweet in over-saturation; instead it will opt for dull, under-saturated color and an inferior overall video quality. The MG37 has an internal 30GB hard drive, the ability to record 7 hours of high quality footage, an SD card slot, USB 2.0 port and the ability to transfer footage either to PC or DVD. Audio options on this camcorder are certainly less developed than those on the DVD405, and the lack of a viewfinder means the LCD is the only viewing option. The LCD is similar to the 405 with measurements of 2.7 inches diagonal, although this model does not have a touch screen. This camcorder does have an S-Video-out port in addition to an A/V-out port, and also has more manual control options. However, the control options are accessed through a menu structure that is arguably even worse (who knew it were possible?) than the Sony DVD camcorder line. The JVC GZ-MG37 has an initially lower MSRP of $800, $100 less than the $900 MSRP of the Sony DCR-DVD405. The strong winner: DVD405.

Who It’s For
Point-and-Shooters *(7.0)*

For the point-and-shoot user looking content with auto controls and a totally illogical menu structure, the Sony DCR-DVD405 will provide a responsive set of auto features.

Budget Consumers* (3.5)*

At $900, the Sony DCR-DVD405 is not a budget camcorder, even if it is less expensive than the DVD505. If image quality, recording time, editing ease and manual controls are important, skip Sony DVD camcorders entirely and look towards alternatives in the MiniDV format by manufacturers like Canon or Panasonic.

Still Photo / Video Camera Hybrid* (5.0)*

This camcorder definitely has hybrid abilities; still images can be recorded to both DVD and MemoryStick formats. With a variety of image sizes, a proprietary hot shoe and an in-camera flash, the Sony DCR-DVD405 is certainly up to the task.

Gadget Freaks* (4.0)*

With less stunning specs than the DVD505 and the novelty of the DVD format wearing thin, the DVD405 is a harder sell for the gadget freak.

Manual Control Freaks* (3.0)*

Manual control options on the Sony DCR-DVD405 are limited to exposure, focus and white balance which are unfortunately controlled through the still problematic touch screen interface system.

Pros / Serious Hobbyists* (4.0)*

The pro or serious hobbyist should be looking for the best image quality with the least amount of compromise when it comes to manual control and features. With high compression levels, poor image quality and an auto-heavy layout, the DCR-DVD405 is not a camcorder intended for this consumer market.

Conclusion

In the end, the Sony DCR-DVD405 and DVD505 may be more similar than Sony counted on. The $200 price gap suggests that the CMOS sensor would provide significantly better results. It’s either that, or the 505’s "Smooth Slow Record" feature is so spectacular that $200 is worthwhile premium. Neither, it turns out, are correct. 

The performance positives were the same between both camcorders: good color balance and low noise. The negatives differed – the DVD405 produced halos, the DVD505 had more jagged edges – but have approximately the same weighting. During low light testing, the DVD405 looked better at 60 lux, and the DVD505 at 15 lux. How can one choose?

The DVD505 clearly wins in the still features and still performance category. At half the resolution (2MP versus 4MP), the DVD405 cannot compete. But we are not inclined to lend much support to a camcorder who’s main virtue is its still capabilities. The best camcorder stills are not likely to match the performance of even a low-end dedicated still camera. If you’re seriously considering the DVD405 or 505, save the $200 and put it towards a point-and-shoot. We’re recommending the 405. 

As for the DVD405 in competition with the greater DVD market, the Panasonic VDR-D250 is hard to beat. We love the D300, and expect great things from its little sibling. Panasonic easily trumps Sony is handling, manual controls, and picture sharpness. Only in low light does the DVD405’s 1/3" imager take charge. 

For Sony fans, the DVD405 is the one to get. It’s a worthy follow-up to the DVD403, with improvements in still features, video quality, and a price drop.

Specs/Ratings

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Meet the tester

James Murray

James Murray

Editor

James Murray is a valued contributor to the Reviewed.com family of sites.

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