Canon HV20 HDV Camcorder Reviewby John NeelyPublished on Mar 26, 2007 5:00 PM 
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We had high hopes for the Canon HV20, just as we did for the Sony HDR-HC7 (Review, Specs, Recent News, $1128.56), and at first glance they look like they are cut from the same cloth. These camcorders are nearly identical in size and shape, they both produce a beautiful image, and bring a strong core feature set to into the ring. As it turns out, the HV20s is an imperfect beast, and the physical handling of the HC7 puts it to shame. It’s also slightly weaker in terms of overall image adjustability without independent shutter speed and iris control, and fewer tweaks to attributes like sharpness and saturation. However, the Canon HV20 delivered in ways the Sony fell short. Despite it’s relatively stripped-down feature set, it’s built around the needs of a videographer like few consumer camcorders. And then there’s the 24P, which sets is apart in a big way. In this clash of the titans, the battle tilts back and forth but one camcorder does indeed emerge victorious. Read on for the definitive play by play…The Front (7.5)
The HV20 has an oddly shaped retractable lens cover that is slightly more finicky and frail than the Sony HDR-HC7’s. Over time, the lens cover could become one of the camcorder’s first casualties, so be nice to it. Than again, a retractable lens cover on a consumer cam is always a perk. Along the left side of the lens is a vertical panel that encompasses, from the top: flash, instant AF sensor, and mini video light.
Based on its position to the left of and behind the lens, the flash is not particularly placed for even lighting, and the lens barrel may cast a shadow. The instant AF sensor, located just below the flash, adjusts very quickly to changes in focal distance or fast moving subjects. If you use a wide or telephoto lens, make sure the AF mode is set to normal AF, as the instant AF sensor will be obstructed. The mini video light on the HV20 doesn’t really contribute more than any cheap LED light would, and its the same one on Canon’s entry-level ZR850 (Review, Specs, Recent News, $265), but it is certainly a convenient way to illuminate interviews conducted in a coat closet. The remote sensor sits next to the mini video light.
Structurally, the HV20’s front end is similar to the HC7. Sony chose to mount the mic jack on the front, which could lead to wires obstructing the viewing pane, but their retractable flash protects from nicks and scratches. The HV20 gives you more features, a bigger filter diameter, and is lower and wider than the HC7.
The Right Side (6.5)
From afar, the right side of the HV20 has a familiar horizontal design akin to the Sony HC7, albeit with a fresh coat of silver paint. These camcorders have similar tape hatch designs. Only on the HV20, you’ll find the microphone jack, AV/headphone jack, and component terminal hiding behind a rubberized port cover toward the lens end of the camcorder. Although we’ve blasted Canon in the past for equipping their camcorders with flimsy plastic port covers, the HV20 proudly sports a burly, flexible enclosure. Mounting both the mic and headphone jacks in one location is easy on the memory. But because Canon condensed the headphone and AV jacks into one, make sure you manually select the correct mode, or you’ll be treated to a raucous surprise outlined in the Audio section.
The HV20’s hand strap is low strung and awkward. Its narrow band and cheap plastic construction do not greet the hand with Downy-like comfort. When the camcorder is released from the fingers, it flops to the side at a peculiar angle. The HC7 has the upper hand here (literally) with a padded, breathable mesh strap mounted higher on the body, providing more stability. Canon has not shown a great deal of strength in their consumer grade hand strap efforts, so this is not a monumental surprise.
The top loading tape hatch on the HV20 opens and closes at a faster rate than most camcorders in is class. This is great for filmmakers on a tight time schedule who can’t afford to sacrifice time due to a vexing bottom loading tape hatch. At the base of the tape hatch, there is a set of three wave-like grooves intended for additional grip. Although they may not prove to heighten the handling on the HV20, they provide the palm of the hand with a nice little massage.
On the top left side of the tape hatch there are two raised oval switches—the auto/P switch, and the tape/memory switch. You can access them by reaching around with your left hand, or sliding your right hand down and adjusting them with the index finger. The placement is awkward, but how many times are you going to need to access these controls on the fly? An avid videographer will want to keep the HV20 in P mode at all times while an SUV driving point and shooter will probably not even notice the switches even existed.
The Back (8.25)
The first thing you’ll notice about the back of the HV20 is that it’s fat and wide. The battery is notably broader than the HC7’s, but the HV20’s battery chamber does not delve into the body as deeply. This is a shame because Canon really skimped on the HV20’s viewfinder—it’s short, has no rubberized eyecup, and cannot be extended or pivoted upward. If you upgrade your power supply, you will be greeted with a whole face full ‘o battery. In addition, the minute dioptric adjuster, to the left of the viewfinder’s lens, is nearly impossible to slide. The HC7’s viewfinder is wide, retractable, and has a rubberized ring. Are you taking notes, Canon? So far the Sony HDR-HC7 has trumped in the HV20 in design, and with little respite it only continues from here.
To the right of the battery is a strip containing the FireWire and HDMI terminals, housed by a thin, rubberized plastic enclosure. Unlike the sturdy port cover on the tape hatch, this enclosure is flimsy and difficult to snap back into place. It is attached to the body by two frail plastic strips. This way, it’s easier to rip the port cover out during a bout of frustration as a result of attempting to close it. The HC7’s port enclosures are stronger. The HV20’s DC input is also more susceptible to being yanked out or corroded.
Props to Canon for amending a small but irksome design flaw: the record start/stop button. They have finally added a red dot on it. Another accolade-worthy feature: the rear-mounted joystick atop its trusty sidekick, the ergonomic function menu button. Rather than wading through Sony’s murky swamp of touch screen menu options, all the power lies at your thumb with the HV20. The function menu button is right where it should be, right beneath the joystick, to ensure rapid menu selections. The joystick itself is a bit on the small side and has a bit of play, but it is highly responsive. Above the joystick is the mode dial, which can be switched into camera or play. The dial is more rigid than the HC7’s and is less likely to be inadvertently bumped into an undesirable mode.
If you can ignore the left side of the HV20’s back end, you will be very happy.
The Left Side (7.25)
Before we open up the LCD screen, let’s talk about style. On the runway, it’s a toss-up. The HV20’s metallic, two-tone body is rife with curves while the HC7 is all about bold, chunky lines. Either way, you’ll notice almost identical manual focus wheels toward the lens end, and like the HC7, the HV20’s focus wheel is equally as wretched. The focus wheel is the next step down from a focus ring, but that doesn’t excuse its trivial size and slippery interface. Vexation runs rampant while trying to focus the HV20, and owners of the HC7 will be able to empathize. The manual focus button to the right of the focus wheel is convenient for instant mode shifts, and the backlight correction button sits just above. Toward the battery end of the HV20, on top of the LCD screen, is the display button and mini video light/print button. It’s a good thing Canon threw a video light button on the HV20, because it would not be worth wasting the time questing through the menu to access it.
Once flipped open, the HV20’s 2.7” wide LCD screen reveals a panel of flattened playback buttons located on the bottom edge of the LCD panel. These are relatively standard on Canon camcorders, and can be a bit of a pain to press without using your fingernail – but better that touch screen buttons. Inside the LCD cavity, you’ll find…barely anything. The HC7 based most of its existence within the LCD cavity. On the HV20, all you’ll find is a Mini SD card slot (which is protected by a hefty, hinged, rubberized door), USB terminal, and round playback speaker. Where have all the controls gone!? Canon has condensed and simplified the buttons, switches, jacks and dials on the HV20, excluding ancillary throwaways like some sort of Easy mode button or LANC jack equivalent found on the HC7.
The Top (6.0)
A quick glance at the top of the HV20 will highlight the camcorder’s rotundity. Hold on tight! Toward the lens end is the built-in stereo microphone. Unlike the HC7’s front-mounted microphone, the HV20’s top-mounted microphone is designed to pick up less harsh, peaking sounds from action directly in front of the camcorder. The only downside is that it’s easier to inadvertently muffle the microphone while handling the camcorder. A point-and-shooter who uses two hands to hold the HV20 is likely to accidentally record the high-pitches scraping of fingers across the mic.
Next in line is a choice by Canon that we’re still trying to extract the logic, if any, from. Toward the battery end of the camcorder, there is a long, shield-like plastic cover. This is the door to the Advanced Accessory shoe. Great! Now let’s open it, and…the door falls off! Canon did not attach the plastic cover to the body of the HV20. If you don’t lose this cover during your first shoot, it’s only a matter of time, unless your name is Memory Jackson. Why? It would have been a snap to attach the cover to the body via two rubberized strips on the right side so it swings up over the tape hatch and out of harm’s way. This was a bad move.
While we’re on the subject of lacking design, check out the HV20’s zoom toggle. No plastic platform. No rigid grip. Just a tiny tab that sits flush with the body. This is the worst zoom toggle from Canon in years. Again, we ask “why?” This is silly, Canon. You have designed a camcorder with superior video quality and 24P, but you can’t tack on a decent zoom toggle? If the HV20 had the handling of the HC7, a mega camcorder would be born.
