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  • Performance

  • Format

  • Auto / Manual Controls

  • Still Features

  • Handling and Use

  • Audio / Playback / Connectivity

  • Other Features

  • Comparisons / Conclusion

  • Photo Gallery

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

Performance

The Sony HDR-CX7 comes equipped with a 1/2.9-inch CMOS sensor. This is the same chip found on nearly all of its top-tier HD camcorders this year, including the HDR-HC7, HDR-UX7, and HDR-SR7. The HDR-CX7’s chip has a gross pixel count of 3,200,000 (with an effective pixel count of 2,280,000 in 16:9 aspect ratio; 1,710,000 effective pixels in 4:3 aspect ratio).

 

First, we’ll look at the standardized testing. We shot a DSC Labs Chroma DuMonde Color Checker chart at an even 3000 lux and compared the results to the competition to see how it fared. Under these conditions, the color performance was as good as we’d hoped. The camcorder presented a nice, balanced spectrum. It pushed the saturation past the point where pro camcorders would have stopped, but really hit a sweet spot for a consumer camcorder. As usual with Sonys, the greens pop with a particular vivacity. Sony seemed comfortable relying on the high pixel count to produce a satisfactory sharpness, as the oversharpening was not too noticeable. Extreme zooms revealed that the blacks would bottom out along high contrast areas. To Sony’s credit, however, none of the whites blew out.

By comparison, the HDR-HC7, with its kinder, gentler HDV compression, still looked better. A close up look of the results side-by-side reveal that the HDR-CX7 lacks the fine detail retention of the HC7. Last year’s HDR-SR1, its first HDD AVCHD camcorder, had similar color performance and sharpness.

 

The closest competitor to the HDR-CX7 is the Panasonic HDC-SD1, which also records AVCHD video to a flash memory card. The SD1 features three 1/4-inch CCDs and produces a radically different color, much less saturated than Sony’s. In our Great HD Shootout, the Panasonic HDC-SD1 produced the second-best color in bright light after the Canon HV20. Overall, however, the Sony image looked much sharper. The SD1 produced a soft, almost out of focus look caused by a double assault of noise and compression artifacting. Overall, we have to put this particular battle in Sony’s favor. Panasonic has since announced the HDC-SD5 as a replacement, though that camcorder was not available at the time of this review.

Another major competitor is the Canon HG10, an AVCHD camcorder recording to hard drive. The HG10 blew us away as the best performing AVCHD model we’ve seen to date. In bright light, the image is virtually noise-free, and managed to produced the best color of any AVCHD camcorder. This was not surprising given that it shares the same imager as the Canon HV20 (the HDV camcorder we’ve been singing the praises of for months). In pretty much every regard of performance, it tops the CX7.

The Sony HDR-CX7 is also one of the few to offer shooting in the new-ish xvYCC color space, which Sony (true to form) has embraced and re-branded as their own "x.v. Color." xvYCC color space is reportedly up to 1.8 times the color gamut of sRGB, which is used on most flat panel TVs. We, like 99.9 percent of the population, do not own a TV that can play back in "x.v. Color," and can only speculate on its effectiveness. When we saw the display on an actual xvYCC monitor at CES in January, the image appeared to the naked eye as little more than a saturated sRGB image. Shooting in the "x.v. Color" mode on the HDR-CX7 showed about the same results: a more saturated image.

 

In the course of our practical shooting, we found several faults with the Sony HDR-CX7’s performance. In environments where the light temperature is fairly consistent, like outdoors on a sunny day or indoors under incandescent or fluorescent lighting, the color balance is fine. However, under mixed lighting (i.e. indoor fluorescent lighting with sunny windows), the camcorder cannot auto correct and the colors look abysmal. Not having a white card handy for a manual white balance will be a problem.

The problem, which we’ll get into in more depth later, was the auto focus. The HDR-CX7 could not seem make minor focus corrections with the speed you should expect in a $1,000-plus camcorder. A subject shifting back and forth and few inches, for example, would constantly be out of focus. We found this to be unacceptable, particularly because the manual focus control is so poor.

On the plus side, the HDR-CX7 did not show many signs of motion artifacting, which is a big stride in AVCHD compression. Panasonic’s HDC-SD1 had an intolerable amount, creating motion trails with the slightest shake. Last year’s first-generation AVCHD camcorders from Sony looked noisy under even the best lighting, and some of that was the result of compression artifacting. While the motion rendering did not look as good as HDV compression, all the Sonys have thus far looked better than the Panasonics.

Video Resolution (17.25)

We tested the Sony HDR-CX7 by shooting a DSC Labs video resolution chart, then reading the results from playback footage on an HD monitor. We found the camcorder was able to produce an approximate horizontal resolution of 600 line widths per picture height (lw/ph) and a vertical resolution of 575 lw/ph. This compared well to other HD camcorders, but slightly lower than the Sony HDR-HC7 and Canon HG10.

Low Light Performance* (3.51)*

Low light testing has a number of components. First, the camcorder is turned on a DSC Labs Chroma DuMonde color chip chart at 60 lux and 15 lux, then held up against the competition. At 60 lux, the Sony HDR-CX7 looked rather good. The large 1/2.9-inch CMOS chip was able to retain a lot of light. Unfortunately, it also produced a lot of fine grain noise. This much noise in a standard definition image would have been seriously detrimental to fine detail resolution. But because high definition is so, well… high in its definition, the fine-grain noise didn’t have much of an adverse effect in that regard. Blown up on a big screen TV, you’ll definitely see a lot of dancing pixels in the shadows, so be prepared.
 

In bright light testing, we saw a sizeable performance gap between the Sony HDR-CX7 and the HDR-HC7, which won out with its preferable HDV compression. At 60 lux, that gap decreased to put the camcorders neck-and-neck with each other. The color performance and apparent brightness were indistinguishable. The HDR-HC7 still has a sharper image, but only slightly. This seems to be due to the fact that the low light makes some of the CX7’s compression artifacts less noticeable.

Under the same 60 lux lighting, the Panasonic HDC-SD1 actually produced a brighter image. Again, the color performance was not as saturated, emulating a slightly more pro look. However, like in bright light, the image was had an overall fuzzy look. It was also terrible in motion, creating a lot of artifacting. We preferred the HDR-CX7.

The Canon HG10 produced a picture with just about the same amount of color retention, but a world of difference in noise reduction. Compared to the HG10, the HDR-CX7 looks much, much grainier.

At 15 lux, the Sony HDR-CX7 lost most of its color. What color there was became marred, as the camcorder could not take a manual white balance under such low lighting. This is not surprising, as nearly all camcorders fail in the 15 lux test. We just like to watch them fall. The Sony HDR-HC7 was brighter and more accurate, but had so much noise that a lot of fine detail was sacrificed. The Panasonic HDC-SD1 produced the most accurate colors, though the soft look of the video was once again the biggest failing. The Canon HG10 was the best performer in 15 lux, but it too was marred by a lot of noise.

The second part of our low light testing involves shooting a GretagMacBeth Color Checker chart at 60 lux, then running frames through Imatest to determine color accuracy, noise, and saturation levels. At best, the Sony HDR-CX7 was able to produce a color error of 13.2. This is rather high, but the results indicated that the error lay more in the in-camera saturation than errors caused by low light. Other camcorders with similarly saturated images produced an equivalent score, yet managed to look good otherwise in low light. According to Imatest, the saturation level was 75.08 percent. The noise was approximately 1.35 percent. This is higher than some others, but not bad overall. As we said, you can see the noise quite clearly with your own eyes.

The third segment determines sensitivity. We slowly and steadily drop the light levels, watching IRE levels on a waveform monitor, until the camcorder is peaking 50 IRE. These are areas where some level of fine detail could still be seen by the eye. At best, the Sony HDR-CX7 was able to produce a peak 50 IRE at 17 lux. This was not nearly as good as the HDR-HC7, which could do the same with only 7 lux of light. Since the imager is the same, even given manufacturing variances, the loss of sensitivity must be caused by the compression.

Stabilization (4.59)

We tested the effectiveness of the HDR-CX7’s Super SteadyShot OIS by using our custom built shake emulator, crafted exclusively for CamcorderInfo.com. The camcorder was set to full Auto mode with the LCD flipped open in order to simulate a typical recording position. The HDR-CX7 was tested at two speeds. Speed one is akin to a casual stroll down the sidewalk. Speed two is more along the lines of a hasty jog or rickety car ride. The HDR-CX7 produced a 61.2 percent shake reduction at speed one, however, failed to produce any change at speed two. Given the camcorder’s size and weight, this makes sense. These results prove it will be difficult to control fast motion, with or without Super SteadyShot.

Wide Angle (9.4)

We tested the HDR-CX7’s maximum field of view by measuring the left and right angles with a vertical laser. The camcorder was set to full Auto mode with Super SteadyShot disabled and the LCD flipped open. After subtracting the differences of both angle measurements viewed on a native monitor, we found the HDR-CX7’s maximum field of view to be 47 degrees, which is on the higher end.

 

 

 

 

Format

Compression (7.0)

The Sony HDR-CX7 is among the second generation of Sony camcorders to use the AVCHD compression format. AVCHD is still very new and there are a lot of reasons not to buy into it yet. The biggest reason is lack of support. There are only a handful of editing programs that can edit footage natively (meaning that it does not have to convert it first). Secondly, the codec is so tightly wound that it requires an immense amount of processing power to do anything with the footage, either editing or converting.

Those post-production headaches alone should steer many people clear of AVCHD. But there’s more. Because the codec is new, manufacturers are still early in the stages of figuring out the best way to implement it in camcorders. While the codec is spec’d out for a max 24 Mbps bit rate, most camcorders are only operating at a fraction of that speed. For various reasons, that’s the speed limit right now, but it will eventually get better. The Sony HDR-CX7 records at a maximum 15 Mbps, the same speed as the Sony’s HDR-SR5 and SR7, both AVCHD camcorders recording to hard drive. The HDR-UX series (UX5 and UX7) record to DVD, which records at a slower 12 Mbps. Canon’s HG10 is a hard drive model that records up to 15 Mbps. The Panasonic HDC-SD1 only records at a max 13 Mbps, which may factor into the motion delay we saw in its video.

We should stop and say, however, that bit rate can be a numbers race, just like zoom levels or megapixels or whatever else. A lot goes into compression other than bit rate. As far as we can see, the video from the HDR-CX7 looks pretty good. We can only assume future models will look better as the codec matures.

There are four quality settings in AVCHD: HD XP (15 Mbps), HD HQ (9 Mbps), HD SP (7 Mbps), and HD LP (5 Mbps). The camcorder can also record in standard definition, which is a feature that, while less exciting, certainly increases its flexibility. SD video is captured in good old MPEG2 in three quality settings: SD HQ (9 Mbps), SD SP (6 Mbps), and SD LP (3 Mbps).

Media (7.0)

The Sony HDR-CX7 records video and stills to a tiny MemoryStick Duo or PRO Duo card. Cards capacities range up to 8 GB, though the CX7 will only support cards up to 4 GB (go figure that one). No card ships with the camcorder, which means you’ll have to factor that into the total cost. The online Sony store has been running special bundle packages, so you may be able to snag yourself a deal.

A 4GB card will hold about 30 minutes of video in the highest quality (XP), 55 minutes in HQ, 65 minutes in SP, and 85 minutes in LP. In standard definition, a 4GB card holds 55 minutes in HQ, 80 minutes in SP, and 160 minutes in LP.

Editing (4.0)

Editing AVCHD footage is still painful. The most powerful platform right now is Sony Vegas 8, as more powerful NLEs still lack AVCHD support. HDR-CX7 owners will be pleased to know that Vegas 8 will only work with Sony-brand AVCHD camcorders. Canon and Panasonic owners, you’re out of luck. Corel also has an AVCHD-compatible editing platform, Ulead Video Studio 11, though it’s strictly beginner-level software. Mac users can now use iMovie ’08, though the editing features on that platform have been curtailed compared with ’06. Even software that does work with AVCHD natively tends to be sluggish due to the processor-intensive work of decoding.

In short, editing AVCHD is a time-consuming, frustrating business, and not at all recommended for hobbyist editors.

 

 

 

 

 

 

Auto / Manual Controls

Picture & Manual Control
Automatic Control (8.0)

The Sony HDR-CX7 automatic controls are good, overall. The company prides itself on being the preeminent point-and-shoot leader, slapping the ubiquitous blue Easy button on every consumer camcorder they produce. When in Easy mode, the HDR-CX7 goes into full idiot-proof mode, screwed down more tightly than any other manufacturer’s Auto mode. The touch screen menu buttons increase in size (Sony assumes your hand-eye coordination has also suffered when in Easy mode), and the manual controls are severely limited.

The auto exposure is the one of the best auto controls. The transition time from one exposure to another is slower than Canon’s and Panasonic’s, but some people prefer it that way, as pro camcorders tend to a have a slower, more gradual response. Of course, pro camcorders often let you control that speed. With the HDR-CX7, it’s a fixed speed of slow. Also, be aware that the camcorder tends to overexpose slightly, blowing out the highlights. This is standard practice for most consumer camcorders. You’ll get more accurate colors and less blow out if you manually roll back the exposure a notch or two.

The auto white balance works great, under most conditions. Outdoor shooting posed no problem. Indoor shooting with a consistent color temperature was no problem. But shooting in mixed lighting conditions, that was a problem. For instance, shooting in our office, which is a mix of fluorescent overheads and windows, seemed an impossible feat for the HDR-CX7. Neutral tones took on a sickly green pallor. Results like this beg the user to take things into their own hands via manual adjustments. But how many beginning point-and-shooters know how to actually perform a manual white balance? If Sony hopes to hold onto their crown, they better get working on this problem.

The auto focus also presented some problems, as it did in the HDR-HC7. When shooting subjects within a few feet, the focus tended to bounce all over the place if the subject didn’t stand perfectly still. It looks as if the auto focus puts too much weight on the center of the frame, rather than averaging out the whole frame. Unfortunately, there is no option to change the auto focus method. What’s worse, the manual control is worthless, because we couldn’t even see these focus errors on the LCD while shooting. It was only later, when watching the footage on the monitor, that it became clear how much of a problem this was. Good focus in high definition is critical because the mistakes become that much more noticeable. You should expect better for your money.

The Sony HDR-HC7 also features a number of simple one-touch correction tools to help you get a better image without being a camcorder expert. Unfortunately, none of these can be performed from the cloying confines of Easy mode. Once exited from Easy mode, the Camera menu (lower right button) has several controls. Page one has the telemacro feature that automatically pushes the zoom to 10x and refocuses to help you with tele macro shots like bugs on flowers, flowers on water, water on bugs, and other tiny things. Page two of the Camera menu has the popular and easy Scene Selection tools (called "Program AE" or "Scene modes" by other manufacturers). Options include Twilight, Candle, Sunrise & Sunset, Fireworks, Landscape, Portrait, Spotlight, Beach, and Snow. Page three has Color Slow Shutter, which allows the camcorder to drop the shutter speed down very slow. The result is an image sorely prone to motion blur, but still life scenes in low light will have a lot of color. Page four of the Camera menu has Picture Effects and Digital Effects. Why they split these into two submenus is puzzling, as all the effects are cheesy and digital. They include Sepia, Black & White, Pastel, and Old Movie, which is a combination of sepia tones and a slow shutter.

Overall Manual Control (5.5)

The Sony HDR-CX7 is designed to be a point-and-shoot camcorder. Its manual control suite, as well as its interface, is significantly stunted compared to the other HD camcorders in the line. Every model this year, with the exception of the HDR-SR5 and the HDR-UX5, has some sort of interface control, either a dial or a knob, that offers faster, better access to the key manual controls. If nothing else, this physical dissimilarity would indicate the CX7 is different from other camcorders.

If that were the only difference, we could give this camcorder a pass. But Sony cut off more than its knob. Both of Sony’s HDV models offer manual shutter speed. The AVCHD models, including the HDR-CX7, do not. The HDR-HC7 also provides great controls over sharpness and color strength, as well as a histogram. The HDR-CX7 has none of these. Sony is clearly pegging the HDV models for the enthusiast market. With so many camcorders on the market (well over a dozen when the sub-$10,000 professional models are factored in) they’ve always been tight-fisted about including certain manual controls on one model but not another. It seems however, that if they want the enthusiasts to buy into AVCHD, they might spread the features around a little more liberally.

The remaining controls on the HDR-CX7 are spotty. The exposure control is simple, but poorly conceived. It lacks actual aperture control, as do all consumer Sonys. The manual white balance is great. The manual focus is abysmal. As we said, this is a point-and-shoot camcorder. The sad fact is that the auto controls are not going to work 100 percent of the time, and you may be left wishing the manual controls worked a little more in your favor.

Zoom (5.5)

The HDR-CX7’s zoom rocker seems oddly positioned, perched at the exact center of the top. Once the camcorder is in hand, however, it’s clearly the best place for it. The body is so small that pushing it to the right side (its traditional place) would have made for cramped handling. The control is a raised toggle, low to the body with a wide, textured grip. It’s a really good design that allows for precise control. We were able to get three distinct speeds depending on finger pressure.

One thing sorely missing here was on on-screen display that indicates the exact zoom power. When zooming, a small progress bar appears in the upper left hand corner to give a rough idea of where in the zoom range you are. But without an exact number, it can be hard to set up a shot. When the digital zoom is extended, the bar actually extends to twice its normal length, which helps. Most other camcorders simply color in a portion of the existing progress bar.

Zoom Power Ratio (10.0)

The Sony HDR-CX7 has a 10x optical zoom and 20x digital zoom. Yes, you read that last number correctly. In some strange turn of events, a manufacturer decided not to inflate the digital zoom to some absurd number. A 20x digital zoom is merely a doubling of the pixel size from 10x, which still results in a decent looking picture. Smart, practical decisions like this should be applauded. Well done, Sony.

Focus (4.0)

As mentioned earlier, the focus control on the Sony HDR-CX7 is very poor. This is all the more problematic for two reasons: first, the camcorder is high definition, which means that focus errors are much more noticeable; and secondly, the auto focus is weak, which means the manual focus may be called on more frequently.

Manual focus is engaged from page one of the Camera menu (lower right button). Our complaints with this control read like a laundry list. First of all, touch screens get blurry from all our greasy fingers, making it difficult to see whether anything is in focus. Second, the LCD is only 2.7 inches and 211,000 pixels, which is too small and low res. That may be good for camcorders, but is pittance compared to a lot of still cameras. Third, this LCD is the only way to check the focus. If it’s sunny or there’s a screen glare, there is no viewfinder to fall back on. Fourth, could Sony have crammed any more junk on the screen when all we want to see is the picture?! In total, there are seven graphic elements cluttering up the screen. Fifth, while you can push and hold these buttons to traverse the focal range, for really tight control, you’ll want to tap them until just the right focus is achieved. But tapping them shakes the whole camcorder, and if the focus is going on during live recording, the scene is ruined.

There you have it: five reasons not to buy the HDR-CX7 if you plan on needing focus control. There is one thing we do like, however. Unlike most manufacturers, the camcorder provides data on the focal length in metric units. They’re not terribly exact, but they may be helpful to some users.

Like most Sonys, the HDR-CX7 also offers Spot Focus control. When activated, a box appears on screen, framing most of the image. You simply push the area that you want focused. While extremely user-friendly, the Spot controls only work if you’re tapping a broad area. For fine areas of focus, you’ll have to (ugh!) rely on the manual focus control. Also, if the area doesn’t have enough contrast, Spot Focus will struggle then fall back to its previous focal point.

 

 

Exposure & Aperture (5.0)

The Sony HDR-CX7 comes equipped with a simple exposure compensation tool that lets you brighten and darken the image. Though the interface is clearly having an effect on the aperture and shutter speed, the actual values of those settings are hidden. It’s the deliberate masking of information like this that steers pros and enthusiasts away from Sony.

 

Conversely, it’s the ease with which exposure can be altered that makes Sony so appealing to point-and-shooters. When activated, via the Camera menu, a scale appears in the middle of the screen, with a plus sign on one side and a minus sign on the other. Just tap until the picture is exposed properly. The control is easy to access and simple enough for pretty much anyone to use, provided the LCD can be viewed properly. Sunny outdoor shooting might cause some problems in that regard.

Conversely, it’s the ease with which exposure can be altered that makes Sony so appealing to point-and-shooters. When activated, via the Camera menu, a scale appears in the middle of the screen, with a plus sign on one side and a minus sign on the other. Just tap until the picture is exposed properly. The control is easy to access and simple enough for pretty much anyone to use, provided the LCD can be viewed properly. Sunny outdoor shooting might cause some problems.

The camcorder also include Spot Meter, which works just like Spot Focus. When activated, a frame appears around most of the LCD. Just push where you want to exposure and … voila. It’s exposed. This works a little better than the Spot Focus tool because it’s more likely that you’re exposing for a wide, general area rather than a pinpointed spot.

Shutter Speed (0.0)

The Sony HDR-CX7 has no shutter speed control. On a $1,000-plus high definition camcorder, this is just plain terrible. Sony saw fit to equip the HDV camcorders – the HDR-HC7 and HDR-HC5 – but not the AVCHD camcorders, a capricious pigeon-holing of likely users. We firmly believe camcorders should come equipped with every available manual control. It’s up to the user to decide what controls they want and when they’re ready for them.

White Balance (5.5)

The HDR-CX7’s white balance options are located on the third page of the Camera menu. The list of options is quite small: Auto, Outdoor, Indoor, and "One Push" (Manual). Given its status as a beginner-friendly camcorder, we’ve always been surprised by the lack of one-touch options here. Granted, while the auto white balance is good under a lot of lighting conditions, mixed lighting gave it some problems. A few more variables, like "indoor fluorescent" and "indoor incandescent" would be appreciated.

Making a manual adjustment is fast and accurate, and certainly the most accurate way to get around mixed lighting hang-ups. Simply tap the One Push button, then the button underneath it (with the universal white balance symbol).

Gain (0.0)

There is no manual gain control on the Sony HDR-CX7. The only manufacturer that offers manual gain in its consumer line is Panasonic.

Other Manual Controls (3.0)
x.v Color - The xvYCC color space is a relatively new system that offers about 1.8 times the color space of traditional sRGB, which is what most TVs display. Color space, for those unfamiliar with the term, is a way of describing how many colors and which colors are used for an application (i.e. sRGB, Adobe RGB, etc.) These things can always be improved upon, and so xvYCC was developed for improved color display. Sony has a history of taking existing technology, slapping a propriety brand name on it, and passing it off as their own (like when the IEEE 1394 connection became "i.Link" on Sony products when most people simply called it "Firewire" or "DV"). Thus xvYCC became "x.v.Color." Of course, Sony manufacturers a select number of televisions that also support xvYCC, so a happy family of products is being created. Most people don’t have that support on their TVs, however, making this a very, very forward-looking technology that you may never use.
*

Guideframe* - The Guideframe option is buried deep in the fifth page of the Home Menu under Movie Settings. There are not many options here, just a simple on/off. When activated, the screen is segmented into nine portions to help you frame your shot. Panasonic and Canon both offer more options, like fewer lines, more lines, or different colors for the lines.
*

Zebra Patterns -* The HDR-CX7 offers the ability to see zebra patterns appear in areas that are overexposed. There are two settings, 70 and 100. These numbers refer to IRE levels, which are exposure levels as defined by the experts. All broadcasters have legal limits on how bright your IRE levels can peak, and if you were producing something for broadcast you’d monitor for hotspots. For everyday use, it’s helpful to keep them on so you don’t expose your shots incorrectly.

 

 

 

 

Still Features

Still Features* (8.75)*

The HDR-CX7 records digital stills to Memory Stick PRO Duo cards in the following sizes: 6.1MP (2848 x 2136 in 4:3), 4.6MP (2848 x 1602 in 16:9), 3.1MP (2048 x 1536 in 4:3), and VGA (640 x 480 in 4:3). Thanks to the Dual Record function, the HDR-CX7 can snap stills up to 4.6 MP while recording HD video. Images can be recorded in fine or standard quality, and all automatic and manual controls are available in Photo mode.

The HDR-CX7 also includes a red-eye reduction feature to help eliminate devil eyes from subjects. Zebra stripes are also available to indicate overexposed areas, along with guide frames for fine tuning the composition. The HDR-CX7 includes a flash mounted to the side that can be set to manual or automatic.

Still Performance* (8.94)*

The Sony HDR-CX7’s still photos were tested for performance by shooting an industry standard GretagMacBeth Color Chart at an even, bright light. We then ran those stills through Imatest imaging software to determine the color error, noise, and saturation. At best, the HDR-CX7 was able to produce a color error of 6.71, which is good for a camcorder. Sony seems to be hitting better marks in accuracy, though the noise tends to be higher. In this case, noise made up 1.6975 percent of the image, with a 108 percent saturation. The noise can be seen by the eye. In order to get this best score, we had to lower the exposure a couple notches. The only exposure control on the camcorder is the "exposure" option in the menu. However, the EXIF data reveals what the camcorder is actually doing. The Auto mode had the camcorder set at f/3.4 with a 1/60 shutter speed. The best score closed the aperture down to f/4.0.

In practical shooting, the stills have a great sharpness. The quality matches that of a decent point-and-shoot camera. However, there is some discoloration in the noise, which is a frequent problem with Sonys.

Still Resolution* (22.33)*

In order to test resolution, we turn the Sony HDR-CX7 on an Applied Image ISO 12233 resolution chart, then run the stills through Imatest imaging software. At best, the Sony HDR-CX7 was able to produce a horizontal resolution of 1511 lw/ph – with a 1.78 percent clipping and a 4.02 percent undersharpening – and a vertical resolution of 1195 lw/ph – with a 1.26 percent clipping and a 9.18 percent undersharpening.

This best score was obtained by raising the exposure one notch using the "exposure" control in the menu. The EXIF data revealed the auto settings for this shot were f/4.8 with a 1/90 shutter speed. The exposure bump slowed the shutter speed to 1/60. Of course, you have no control over the aperture or the shutter speed directly.

These resolution scores compare favorably with similarly priced camcorders, around the same scores as the Sony HDR-HC7 and DCR-SR300, and much higher than the Panasonic HDC-SD1 and HDC-DX1.

 

 

 

 

Handling and Use

Ease of Use* (8.0)*

The Easy button, touch screen LCD, and instant one-touch controls make the HDR-CX7 as easy to use as any Sony camcorder. The tabbed menu structure is well organized, automatic adjustments are rapid and accurate, and button placement is exceedingly convenient. When Easy mode is activated, the menu buttons double in size, the Function menu disappears, and the HDR-CX7 slips into autopilot. All the shooter has to do is aim and record. It can’t really get any easier than that. On the other hand, making manual adjustments outside of Easy mode is rather daunting. Touch screens do not work to the benefit of the power user.

Much to our chagrin, the HDR-CX7 lacks some of the more powerful manual controls found on its HDV cousins, the HDR-HC7 and HC5. In the short run, this means the CX7 is probably a little bit easier to use. Of course, once you, the clever user, master the basics, you might be wishing you had access to shutter speed and other controls.

The HDR-CX7 records to one of the most convenient forms of media available: flash memory. Flash memory is extremely small, light, and in the HDR-CX7’s case can hold up to 30 minutes of footage recorded in the highest quality on a 4GB Memory Stick PRO Duo card. Not only is the camcorder itself ultra compact, lightweight, and portable, but you won’t be strapped with tapes or DVD disks to clutter your camera bag. Flash media is also weather resistant and durable—if you drop the HDR-CX7, there’s a darn good chance your footage will remain intact, whereas a DVD, hard drive, or tape is more likely to not make it. On top of it all, flash memory ranks among HDD camcorders in terms of ease of use—just throw a card in and go. Tapes need to be rewound or fast forwarded, and DVDs can take up to 10 minutes to finalize.

Handling* (5.0)*

At its release, the HDR-CX7 was touted as the world’s smallest and lightest AVCHD camcorder, stealing the thunder of the world’s first flash-based AVCHD camcorder, the Panasonic HDC-SD1. Recently, Panasonic has retaliated with the HDC-SD5, which is even lighter and slightly more compact than the HDR-CX7, if you can imagine that. At the rate things are going in the cutthroat world of "smallness," it’s only a matter of time until you can record HD video from a wristwatch.

So, let’s look at how these little buggers handle. Remember the glory days of semi-automatic MiniDV monsters? Think opposite. Nowadays, you are required to severely limit your coffee intake if you want to record stable footage, despite the effects of image stabilization. The HDR-CX7 is essentially a lens barrel with an LCD screen attached to it. At first glance, the HDR-CX7 looks like a stealthy toy geared toward development dwellers and SUV drivers. However, once you slip your hand into the breathable, padded hand strap, the negative predispositions melt away. This is what a hand strap should be. It’s comfortable and slung high enough so the camcorder does not flop to the side. The body of the HDR-CX7 is ergonomically sound and feels great in the hand. However, due to its diminutive size, most of your fingers will overshoot the entire length of the camcorder’s top, including the built-in stereo microphone. This happened on the HDC-SD5 also, but that camcorder was even more comfortable to hold thanks to its broad ridge that conforms to the palm of the hand.

The HDC-SD5’s has a lot of compelling handling points in its favor (as Panasonic typically does), but the rear-mounted joystick was sent to the chopping block. We’re not sure if Panasonic was attempting to eliminate even more mass from the HDC-SD5, but it does not come close to the classic voluminous Panasonic joystick found on most of its camcorders. In some small way, we almost prefer Sony’s touch screen menu to a shoddy joystick. Almost. We still think a joystick, as a rule, is preferable, especially rear-mounted joysticks that free up your non-shooting hand.

Unlike the HDC-SD5, the HDR-CX7 features an open battery chamber, allowing for the ability to upgrade to a larger battery. The HDC-SD5’s battery chamber is internal, meaning it can only accommodate a battery large enough to fit within the defined dimensions. Thumbs down for Panasonic. In addition, the HDR-CX7 is equipped with a row of LCD panel controls, while the HDC-SD5 is saddled with a barren LCD panel and minimal external controls. Overall, we’re very impressed with the handling performance of the HDR-CX7, given its absurd size.

Menu* (6.5)*

The HDR-CX7 utilizes Sony’s friendly tabbed "Home" menu, which excels in organizational and navigational capability. This menu design was originally rolled out last year when Sony introduced its first-generation AVCHD camcorders. Buttons are laid out intuitively, options are grouped accordingly, and the accompanying sounds are magically soothing. The home button is located in the upper left corner, while the Playback and Camera menu buttons sit, respectively, at the bottom left and right corners of the LCD screen. In addition, a round home button is embedded right next to the onscreen home button, as if one button wasn’t enough. Keep in mind that a 2.7-inch LCD screen with touch screen control is not the most optimal method when it comes to maneuvering through the menu. The buttons are too small to press, and we sometimes had to tap more than once to get a result. We prefer Panasonic and Canon’s rear-mounted joysticks.

Pressing the Home button activates a screen that consists of five tabs located toward the bottom: Camera, View Images, Others, Manage Memory Stick, and Settings. The Camera submenu consists of Movie mode, Photo mode, and Smooth Slow Record settings. The View Images submenu is made up of Visual Index, Movie Index, Photo Index, and Playlist Settings. In the Others submenu, you’ll find the following options: Delete, Edit, Playlist edit, Print, Computer, and TV Connect Guide. The Manage Memory Stick submenu is comprised of Format, Info, and Repair image database file settings. In the Settings submenu you have control over Movie Settings, Photo Settings, View Images Settings, Sound/Display Settings, Output Settings, Clock/Language, and General Settings. At any point, you can press the "?" button, which triggers a small prompt window that explains each option and asks whether or not you would like to execute it.

The Camera menu is the place to find all the controls you want during shooting. The structure is similar to the Home menu, but the groupings make a little more sense. There are five tabs located at the bottom of the screen. The first three pages consist of Manual and Automatic controls, called Camera 1, 2, and 3. The last two tabs include effects and record settings. Camera 1 is composed of all the focus controls: manual/auto focus, Spot Focus, and tele macro. Camera 2 consists of all the exposure controls: manual/auto exposure, Spot Meter, and Scene Selection. Camera 3 is color: white balance, Color Slow Shutter, and Super NightShot options. The fourth tab, Effects, includes faders, picture effects, and digital effects. Finally, Record Options is comprised of HD/SD record settings, Record mode, and microphone level.

 

Portability* (6.0)*

A finalist in the world’s smallest HD camcorder contest, the HDR-CX7 will hide in a corner of a small camera bag with room to spare. Measuring a petit 69 x 67 x 131mm (2.75 x 2.75 x 5.25 inches) and tipping the scale at just 450 grams (15 ounces), the HDR-CX7 is the definition of portability—well, a definition based on the booming AVCHD market (See Panasonic HDC-SD5). One downside to the HDR-CX7 is that a 4GB Memory Stick PRO Duo card will only offer 30 minutes of recording time in the highest quality setting. You’ll have to stock up on cards or repeatedly export footage in the field to solve this dilemma. Another downside is that most of the connectivity ports are not located on the camcorder but on the base. It you want to watch the footage or connect to a computer, that’s another thing to pack in the bag. Frankly, we would prefer a little bulk to the camcorder if it meant keeping it a self-contained package. The HDR-CX7 is solidly constructed despite its minute components, and it will withstand the perils of travel as long as it is handled with care.

LCD and Viewfinder* (7.0)*

The HDR-CX7 is equipped with a 2.7-inch LCD screen that flips out 90 degrees from the camcorder’s body and rotates up to a full 270 degrees. The LCD screen has a 211,200 pixel resolution that delivers a sharp picture. Since there is no viewfinder on the HDR-CX7, Sony has poured a bit more quality into the only monitor available. The LCD panel is stacked with Home, Zoom in/out, and Record start/stop buttons. Even more controls can be found within the LCD cavity, such as playback and the Easy button. Since the LCD is a touch screen, most shooters will experience trouble pressing the small buttons. Touch screens are great on 3.5-inch LCD screens or higher, but transferring an ATM-grade interface to a puny monitor does not amount to a user-friendly system.

**

Battery Life*** (10.1)*

We tested the HDR-CX7’s battery life by placing the camcorder in full Manual mode with SteadyShot off and the LCD flipped all the way out. The HDR-CX7 recorded continuously in the highest HD quality setting. When a Memory Stick filled up and needed to be formatted, the battery was removed and the external power supply was plugged in. All in all, the HDER-CX7’s battery pack lasted a total of 101 minutes and 14 seconds (1 hour 41 minutes and 14 seconds). For a camcorder this small, this is not a bad performance. We do recommend stocking up on backup packs for longer shoots, though.

 

 

 

 

 

Audio / Playback / Connectivity

Audio* (5.0)*

The HDR-CX7 is equipped with a 5.1 channel Dolby Digital built-in stereo microphone that is mounted to the top. There are no onboard audio adjustments, such as levels or AGC (auto gain control) found on the Panasonic HDC-SD1. In fact, you won’t even find a wind cut feature on the HDR-CX7, which is almost universal among camcorders. At this level of audio quality, it wouldn’t do the HDR-CX7 much good anyway. The only setting you have over recorded audio is a normal and low setting for the microphone. That’s it. Your best bet is to take advantage of the AIS (Active Interface Shoe) on top. Yes, it’s only compatible with Sony mics, but it’s better than relying on the awkwardly-placed built-in microphone, hands down.

Playback* (6.0)*

In order to play back recorded video and stills, you can press the oval playback button embedded in the LCD cavity or the rectangular playback button located in the bottom left corner of the LCD screen. Once in Playback mode, a screen will appear with two tabs located along the bottom—one for video clips and one for recorded stills. Bookending these tabs are two buttons: Video Toggle mode, and the Playback menu. Above this row of controls is a large screen containing thumbnails that represent individual clips or images.

 

To the left of the thumbnails is a thin vertical scrolling bar that navigates between pages. You can change the date of a clip by pressing the date button located in the upper right corner of the LCD screen. Thumbnails can be viewed in small and large sizes, and the LCD screen can accommodate either six or 12 icons at once based on the size. You can also set the zoom toggle to bounce back and forth between small and large thumbnails.

To access a clip or image, simply press on its corresponding thumbnail and it will begin playing within the entirety of the LCD screen. A host of playback controls usurp the previous menu screen: rewind, fast forward, slow rewind, slow fast forward, play, and pause. In order to return to the Playback menu, just press the back button. In Photo mode, your playback options are limited to beginning and pausing a slide show and selecting the next or previous image.

In Video mode, the Function menu consists of three tabs at the bottom containing the following options: add, add by date, HD/SD index settings, delete, delete by date, delete all, and divide. In Photo mode, the function menu is composed of two tabs that offer print, slide show, delete, and delete all options.

Connectivity* (7.0)*

The HDR-CX7 contains ports along the back, left, and top sides. In back, a vertical strip of two burly plastic doors pull out and swing to the side to reveal the HDMI, AV out, and DC jacks. Finger tabs are located at the top and bottom of the port covers to aid accessibility. This is the quality craftsmanship we expect to see on a camcorder. The Memory Stick PRO Duo slot is located within the bottom ridge of the LCD cavity, housed by a hinged plastic enclosure. The problem with this placement is—you guessed it—tripod interference. On the plus side, the HDR-CX7’s tripod mount is located to the far right side of the bottom, allowing enough space to clear a small tripod head, but not by much. On top, the HDR-CX7 is equipped with an AIS (Active Interface Shoe) that is only compatible with Sony products, as the marketing team would have it.

 

Sony has chosen to split up the ports between the camcorder and a separate docking station, which has USB, component, AV out, and DC jacks. Why they chose to put an HDMI on camcorder but not on the docking station, and vice versa with the USB, makes little sense to us. The whole thing could have been simplified by putting all the ports right on the camcorder and skipping the base entirely.

 

 

 

 

 

Other Features

What’s in the Box?

The Sony HDR-CX7 ships with the following items:

-AC Adapter

-Power Cord

-Handycam Station

-Component Cable

-AV Cable

-USB Cable

-Wireless Remote Commander

-Button-type Lithium Battery

-NP-FH60 Rechargeable Battery Pack

-4GB Memory Stick PRO Duo Card

This is a pretty full gamut of accessories. The only thing you’ll have to invest in is an extra Memory Stick PRO Duo or two. Another battery wouldn’t hurt, either.

Other Features* (4.0)*

*Picture Effects - *Similar to Photoshop filters, Picture effects will alter the look of your recorded video footage. Choose from Monotone, Pastel, and Black and White.

*Digital Effect(s) - *The HDR-CX7 also includes digital effects—or in this case just one digital effect: Old Movie.

*Fader - *In order to apply a cinematic touch to your footage, select faders to fade in and out of recorded clips. Choose between black and white.

*Backlight Compensation - *When a subject in the foreground is underexposed, the BLC (backlight compensation) function increases the exposure to highlight the subject more evenly.

*Dual Record- *The Dual Record Function enables you to capture 4.6-megapixel stills while recording HD footage.

*Super NightShot Infrared System - *Sony’s classic Night mode is revamped via the implementation of infrared technology. You’ll still get a grainy image that looks like it came from Mars.

*Tele Macro - *This pointless feature automatically zooms in on a subject, blurring the background. You can also achieve this effect by using the zoom toggle.

*Smooth Slow Record - *Hands down, one of the niftiest extra features on a consumer camcorder. Smooth Slow Record captures three seconds of footage at 240 frames per second. The end result is beautifully buttery slow motion.

*Battery/Display Info - *In order to check up on the status of the battery or recording time information, press and hold the Disp/Batt button in Standby mode. A screen with a colorful bar will appear, indicating the remaining battery life.

 

 

 

 

Comparisons / Conclusion

Comparison
*
Sony HDR-SR1*

Sony’s debut into world of AVCHD was pioneered by the utterly awesome HDR-SR1 ($1,500 MSRP). The HDR-SR1 records AVCHD video to a 30GB HDD and features a whopping 3.5-inch LCD screen, cam control ring with focus/exposure/auto exposure shift/white balance shift, and mic and headphone jacks. In addition, you get an extendable viewfinder and flash mounted just above the lens. The HDR-SR1’s 1/3-inch ClearVID CMOS chip cranks out an excellent image, but is pelted with noise in low light. Now, the HDR-CX7 really can’t hold a candle to the HDR-SR1’s architecture, handling, or manual controls. What the HDR-CX7 does offer is better low light performance and all around video performance—but not by much. The only other thing the HDR-CX7 brings to the table is its preposterously small size and ample amounts of chic. Point-and-shooters who want to make love to the camcorder catwalk will fall for the HDR-CX7. Those who aim for the director’s chair will most likely opt for the HDR-SR1.

*Sony HDR-HC7
*At the current moment, HDV reigns supreme over AVCHD. The HDR-HC7 ($1,399 MSRP) makes the best use of its 1/2.9-inch ClearVID CMOS chip by displaying a beautiful, crisp color palette. The HDR-CX7 fails to up the ante due to its AVCHD compression. Furthermore, the HDR-HC7 features a multi-function cam control dial, mic and headphone jacks, and an extendable viewfinder. The HDR-CX7 answers, yet again, with its lovable petit size and stealthy all-black design. The bottom line is that the HDR-HC7’s prime focus is image quality and advanced control. The HDR-CX7’s main concern is looking good while shooting HD video. So reach inside, connect to your inner chi, and figure out whether you’re a member of the AV club or Project Runway.

 

Panasonic HDC-SD1 and Panasonic HDC-SD5

The Panasonic HDC-SD1 and HDC-SD5 ($999.95 MSRP) are two flash-based AVCHD camcorders that record to SD/SDHC cards. While Sony was busy pushing the world’s first HDD AVCHD camcorder—the HDR-SR1—Panasonic burst onto the scene with the HDC-SD1, the world’s first flash-based AVCHD camcorder. Sony’s HDR-CX7 is a retaliation, of sorts, to the

HDC-SD1, so let’s have at it.

The HDC-SD1 features three 1/4-inch CCDs that contribute to a sharp, clean image. When it comes to low light, the HDR-CX7 takes the lead, offering more balanced color. Architecturally, Sony emulated the HDC-SD1’s innovative "lens barrel with an LCD" design and reduced the HDR-CX7’s weight and dimensions by roughly 20 percent. The HDR-CX7 also includes a hot shoe, LCD panel controls, and an open battery design, as opposed to the HDC-SD1’s limiting enclosed design. We’d have to go with the HDR-CX7 on this one, but hold your horses. Panasonic realized the strain they were about to face before the release of the HDR-CX7, so they, in turn, had to retaliate as well.

The result was the HDC-SD5, a miniature version of the HDC-SD1, measuring even smaller than the HDR-CX7. Though we haven’t had the chance to test the HDC-SD5, you can expect a decrease in low light performance. Panasonic fell back to three 1/6-inch CCDs, yet at the same time upgraded to 1080 "full HD" recording, increasing resolution. Despite the small chips, the HDC-SD5 looked pretty promising on the large LCD screens at the Panasonic event. We’ll just have to wait and see.

Canon HG10

From what we’ve seen so far in AVCHD video, the Canon HG10 ($1,299 MSRP) is the captain of the ship. The HG10 produced the best AVCHD image in bright light and low light, and it includes true 24P. We should warn you, though—the HG10’s 24P mode is pointless compared to its superior HDV counterpart, the HV20. You’ll just be bombarded by mounds of motion trailing, so leave this feature off. Aside from great video, the HG10 is innovatively constructed. It features an LCD-mounted scroll wheel, pro-sumer grade zoom rocker, an extendable viewfinder, and a mic jack. The HG10’s manual controls are also superior to the HDR-CX7. There’s no question about this one—Canon HG10 all the way.
**

Who It’s For**
Point-and-Shooters

Almost any Sony under $1,400 is point-and-shooter friendly. The HDR-CX7’s Easy mode, touch screen LCD, and great automatic controls are direct indicators. The HDR-CX7 will suit those who quest for HD quality video crammed in a stealthy, miniscule lens barrel with an LCD attached to it.

Budget Consumers

You can buy two decent HDD camcorders or three MiniDV camcorders for $1,200, but you can only buy one HDR-CX7. Budget consumers, it’s not your day.

Still Photo / Video Camera Hybrid

You get a maximum still size of 6.1-megapixels, which is rare for a consumer camcorder. The HDR-CX7 only records to a Memory Stick PRO Duo, so nix the hybrid functionality. Also, the still feature set is lacking. If you want to snap relatively large pictures and nothing else, the HDR-CX7 is for you.

Gadget Freaks

Gadget freaks will explode with delight when they slip their clammy hands into the lush hand strap of the HDR-CX7. Between the radical all-black design, flash format, and palm-sized HD video recording, gadget freaks will have a hard time not spontaneously combusting in Best Buy.

Manual Control Freaks

Sonys cater more to the user who is willing to branch out manually, but not that far. While Panasonic stands atop the Manual Control Mountain and Hitachi flounders below in a sea of ineptitude, Sony hovers midway up the trail. The HDR-CX7 is no Pansonic, but it will get the job done.

Pros / Serious Hobbyists

This is a high-end consumer toy. Pros will wonder why the HDR-CX7 is smaller than their camera’s lens.

Conclusion

If Sharper Image or SkyMall suddenly decided to sell decent-quality merchandise instead of its normal garbage, the Sony HDR-CX7 would be a front-page feature. And if the brand association wasn’t so detrimental, Sony would probably love that. It’s a compact, easy to use camcorder with a buzzy acronym – AVCHD, ooh la la! – that few people understand. Most importantly, it looks cool and it’s high definition.

The HDR-CX7 is geared toward people who have a lot of money to spend, but not a lot of interest in the finer points of movie making. Nearly every other HD camcorder made by Sony offers better handling, in the shape of a control dial or a knob. The two HDV models, the HDR-HC5 and HDR-HC7, also offer more powerful manual controls and a much simpler post-production process to create finished movies. Editing software is slowly catching up to the AVCHD video format, but the processing times are maddeningly slow, even on powerful computers. On average, we’re guessing that potential CX7 owners don’t intend to do much more than connect the camcorder directly to a TV and watch last week’s antics on the yacht.

The image quality from the HDR-CX7 is very good, don’t misunderstand that point. It’s not the best consumer HD camcorder we’ve seen this year (that would go to the Canon HV20 followed by the Sony HDR-HC7). It’s not even the best AVCHD camcorder we’ve seen this year (that being the Canon HG10). But under good lighting, the camcorder will produce video that can stand up to scrutiny on a big screen TV.

 

 

 

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

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