JVC GR-D250 Camcorder Review

by Nathaniel Hansen
Published on Mar 11, 2005 6:00 PM



With an MSRP of US$429.95 and a street price of $330, the JVC GR-D250 is JVC’s entry level model in the low-end consumer camcorder market. The model replaces last year's GR-D33, which received much praise for its handling of low light. Sadly, the feature that enabled the camcorder to process and reproduce color at incredibly low light levels has been removed. JVC did not include 3D noise reduction in this year’s hardware. Priced just a few dollars less than the middle of the road JVC GR-D270, it has a few less options, some of which users may find important enough to pay for an upgrade. Missing from the JVC GR-D250 is a USB port, SD Memory card port, and LED bulbs.

The GR-D250 is slightly smaller than last year’s GR-D33 by approximately 30%, but the reduction in size doesn’t seem to hinder the camcorder’s handling ability. Frosted in a shiny glaze, the GR-D200 series of cameras look a little flashier than models in years past. Visually there is almost no discernable difference between the GR-D250 and its sister models up the line. It was expected that the JVC GR-D250 would perform well in plenty of light, but with the removal of the 3D noise reduction feature, the low light performance will most assuredly be less than stellar. Read on for a full performance report for JVC’s GR-D250.

Video Performance (5.5)
The JVC GR-D250 has a hardware setup identical to the other models in the line, including a 1/6th-inch 680K CCD with 340K effective resolution for video and 340k for still photos. Like the JVC GR-D270, the GR-D250 includes the impressive 25x optical zoom. This is a trend seen across the industry, as manufacturers are looking for other ways to outdo the competition. There has been a dramatic increase of optical zoom power across the board this year, and it’s welcome, especially considering Panasonic’s extremely high opticals this year. In years past manufacturers simply used to increase the digital zoom capabilities, which was a total sham; any footage shot within the digital zoom spectrum was unusable, shaky, and best described as pixel enlargement.

In order to give every camcorder a chance to produce the best video possible, we shoot footage in our controlled environment at a light level of 3000 lux, equivalent to a bright sunny day. The GR-D250 preformed almost identically to its more advanced sibling, the GR-D270. This makes sense as the camcorders share a sensor. The camcorder features good performance at this light level, though not the best. The 3D noise reduction technology taken off of last year’s models isn’t really missed here, as there is enough light for the camcorder to adequately achieve focus and clarity. There is some noise and grain–and there should be in the grayscale anyway–but not as much as on some of this year’s Sonys. As far as color is concerned, the GR-D2750 is similar to many Sonys, producing good vibrant rich colors that may border on nuclear at points. This performance isn’t as good as some comparable Panasonic camcorders, though it is pretty good.

Video Resolution (8.2)
What goes into making and getting good video footage? While video quality is certainly related to the skill of the user, certain tells in the specs can usually hint at great potetial. Unfortunately, these tells can be inconsistent. Usually, the bigger the CCD the better, but that is not always the case. Even trickier, there are often big differences in video quality between camcorders with equally sized CCDs. In an effort to provide more information than the manufacture-lauded CCD size and optical zoom, we try to analyze the “true” resolution of the camcorder’s image.

With the GR-D250, we took footage in the camcorder’s regular 4:3 mode of a standard resolution chart, exported stills from this video, and, using Imatest Imaging Software, analyzed each still to approximate the camcorder’s “true” resolution. The JVC GR-D250 gave us approximately 235.5 lines of vertical resolution at its best, with approximately 349.5 lines of horizontal resolution, yielding a real resolution of 82307.27 (0.08 MP).

The Front (6.5)
The JVC GR-D250 has a solid feel to it, and it is evenly weighted. The front of the camcorder is graced by a 25x optical zoom lens, with a filter diameter measuring 27mm. Around the lens barrel there is a faux grip, but don’t be fooled: no amount of torque will allow you to rack focus or zoom in for that close-up.

Instead of a pair of LED bulbs for improving low light shooting, JVC simply covered the hole with a plastic bump and stenciled their logo and 800x digital zoom on top. But don't cover this silly-looking bump: the automatic feature sensor lays beneath it. It does not double as an infrared remote sensor, as no remote is included with the JVC GR-D250. Under this auto feature sensor, JVC has positioned the dual mono speakers. Not a bad place for them to reside, but users should be careful when handling the camera during recording as these cardioid microphones pick up all handling noise during handheld recording.

The Right Side (7.0)
The right side of the JVC GR-D250 is surprisingly bare, with just three real features and two fake features. At the back of the right side, users can select between recording modes by flipping the recording mode switch. The switch is well placed and is easy to reach with an index finger in a variety of shooting postures. Play, Off, Automatic, and Manual are the stops available on the switch track. There is a mono playback speaker in the shape of a star in the middle of the camcorder’s right side. Above it is the first fake feature: a pseudo finger grip. There are a series of waves raised just millimeters off the surface of the camcorder body, and their position makes no sense.

Beneath the speaker and the fake grip is the second fake feature: a faux port cover. Although it looks like it can be opened, the two inch fake port cover can not, in fact, be budged. In my opinion, the fake port is a bit of an eyesore as no attempt was made to color-coordinate with the rest of the camcorder design.

Running diagonally from the top of the right side to the front end at the bottom is the thin pleather strap. Velcro and plastic hold it in place, but these marvels of NASA technology are more than enough to keep the 510 gram JVC GR-D250 attached.

The Left Side (7.5)
Reflective logos aside, the left side of the JVC GR-D250 has a streamlined design with two main features. The first of these is the row of recording/playback controls. Starting at the front of the camcorder, the buttons run horizontally in a line: Backlight/Stop, Focus/Play/Pause, Quick Review/Rewind/UP (-), Night/Fast Forward Down (+), and Menu/Data. These buttons are the control center for the camcorder's features and users must quickly become acclimated to their positioning and placement for improved recording.

Beneath the row of control buttons rests the all-important LCD monitor. The JVC GR-D250 includes a standard 2.5 inch diagonal LCD screen. The new GR lineup includes JVC’s new Clear LCD technology, although it’s definitely Un-Clear just how that technology works. The LCD monitor appears glossy and reflective like glass, but is tacky to the touch. It does not solarize with rotation as badly as other models in the past have, so for this alone JVC should be applauded.

Under the LCD, users can switch the media source between Video and Memory via the small pill-shaped switch.

The Back (7.5)
A great improvement in camcorder design and layout can be seen on the back of the JVC GR-D250. All of the available ports and their cover are on the back of the camcorder body. This saves having to search for different ports or have multiple cords competing for attention at different locations around the camcorder body.

At the top of the back is the extendible color viewfinder. Directly beneath is the battery receptacle, and beneath this is the port cover, discreetly hiding DC, A/V, and DV terminals.

On the right side of the back, users can easily access the record/stop button. It’s not red, but it does stick out enough for even the most farsighted person to notice.

The Top (7.5)
The glossy top of the JVC GR-D250 is graced by a zoom/volume toggle at the very back with the snap shot/photo button behind it. There is a divot just in front to improve grip, and the middle finger and index fall nicely into place atop the JVC GR-D250.

At the very back, the electronic color viewfinder can be extended back, but it cannot be rotated, thus rendering it somewhat useless. The top is streamlined and simple, and for all intents and purposes, works just fine.

Picture & Manual Control
Automatic Control (7.5)
Like the other JVC GR models, automatic control completely restricts access to the menu, thereby rendering it fully automatic. Users who like to switch between automatic and manual modes are out of luck in the pure “A” mode. Features such as Zoom, Auto illumination light (Light), as well as the new Live Slow mode are available in automatic mode, and can be accessed via the control buttons on the left side of the camcorder body.

One of the most important shooting elements that actively contributes to the camcorder’s Automatic control potential is light. Depending on the amount of light available in a scene, the camcorder will perform relative to that light source. Under well-lit conditions, the JVC GR-D250 can hold its own in automatic, and adjustments to focus, white balance, shutter speed, and exposure are made virtually seamlessly.

Auto Focus was reliable through most of the optical zoom levels, but it slows considerably after 18x. White balance and exposure are practically invisible as their transitions are made a little slower. I prefer the slower transition, as the sudden compensation in exposure or white balance can be as jarring as an unexpected jump cut.

Overall Manual Control (5.0)
Well equipped to perform a variety of jobs in manual mode, The JVC GR-D250 has an easily accessible menu to assist users in the tweaking process. Pressing the “menu” button located on the top of the left side of the camcorder body (and ensuring that the camcorder is set to Manual mode) initiates the menu which neatly displays the available features: Exposure, Shutter Speed, White Balance, and Gain.

Utilizing the + and — buttons, users can scroll through the multitude of options available in manual mode. The + symbol moves down and the — sign moves up which is a bit puzzling. To make a selection, users simply have to scroll to the menu item and press the menu button. This action will place them inside the sub-menu where they can once again use the + and — buttons to scroll to a selection. Pressing the menu button a final time will make that selection (unless there is another sub-menu, in which case the process is repeated). This system isn’t as easy to use as Panasonic’s new system found on its lower-end MiniDV camcorders, but it is still very good, much better than Sony’s touch screen menu system, especially for manual control lovers.

The best way to use the JVC GR-250 is not in the automatic mode, but by leaving the camcorder in Manual mode and leaving the options in automatic until the time comes to make an adjustment. I find complete restriction from the menu distracting and it frustrates me when I push a button that does nothing. I love that the buttons are on the camcorder body, and props to JVC for not burying them within or under an LCD. Below are individual descriptions of manual control features available on the JVC GR-D250.

Zoom Control (7.5)

Digital zoom aside, the zoom capabilities on the JVC GR-D250 are top-notch. With 25x total optical zoom, there are few subjects users won’t be able to get close to. It’s best to switch the digital zoom off, as this does nothing but distort the image. However, for users who have a hankering for pixel enlargement, digital zoom options of 100x and 800x are available. Don’t expect any of the automatic features to function very well in these modes.

The zoom is controlled in one place on top of the JVC GR-D250. The zoom toggle is easily moved left and right, and its placement is smart as the index finger naturally falls just in front of the toggle when holding it with the right hand. Variable zoom speeds are possible up to 18x, at which point the camera defaults to a very slow zoom speed. This occurs so that the camera can make adequate adjustments to automatic settings. This toggle is definitely easier to control than those found on this year’s Panasonic MiniDV camcorders, though not quite as easy as Sony’s.

Focus (4.0)
Like most camcorders, it’s probably best if users leave focus in auto mode. Users can access manual focus while in Manual mode by pressing the focus/rewind button located above the LCD on the left side. With the + and — buttons, users can adjust between telephoto and wide angle focal lengths, respectively. When the focus has been adjusted fully, or rather, can go no further, the appropriate symbol will appear: mountain for wide angle or portrait for telephoto.

I cannot think of many instances in which push-button focusing would be absolutely necessary or practical, but I am glad that it is included. I am equally pleased that accessing the focus in manual mode is relatively easy as the buttons are located on the camcorder body, outside of the LCD. It would have been nice to see some numerical focal values during adjustment to get a better idea of what I was doing though.

Exposure (Aperture) (4.5)
When the JVC GR-D250 is set to manual mode, users can make adjustments to the exposure. Exposure is adjusted by selecting Exposure from within the manual control menu, and then switching to manual exposure. By pressing the menu button again, the menu will close and the user will notice a numerical icon on the left side of the screen. This is the exposure, and it can be adjusted up or down (-6 to +6). If menu is pressed again, the exposure is locked. My only irritation with this mode is that to make further adjustments to manual exposure, the entire process must be repeated. Also, actual F-stop measurements would have been a handy accompaniment to independent shutter speed adjustment.

The JVC GR-D250 does include a spot metering option, allowing users to select a particular area of the scene that merits exposure priority. By pressing the + and — buttons, users can select an area of the scene in which they would like the exposure to be metered. Spot metering is not accessed through the menu, but by pressing the Back Light button (Stop) twice until the spot exposure control icon appears. Users can use the plus and minus buttons to move to the area of the screen they want exposed. This is a great feature and is becoming an industry standard.

Shutter Speed (6.0)
Shutter speed on the JVC GR-D250 can be controlled manually by setting the camcorder into manual mode and pressing the menu button. Once inside the menu, users can scroll through the shutter options including shutter speeds of 1/60, 1/100, 1/250, 1/500, 1/1000, 1/2000, 1/4000, and program AE modes of Sports, Snow, Spotlight, Twilight, Sepia, B/W, Classic Film, Strobe and Mirror. This is a healthy number of shutter options and should keep even the manual control freak happy, though some really slow options, such as the ones featured on the new three CCD Everio, would have been nice.

White Balance (7.0)
The JVC GR-D250 includes a standard manual white balance set up with options of Auto, MWB, Fine, Cloud, and Halogen. Like other manual control options, these can be accessed through the menu. To properly calibrate white balance manually, users should focus the camcorder on a true white space (ideally a piece of paper or a wall) and then press and hold MENU. Once the white balance icon blinks rapidly, the white balance has been calibrated and will be saved even if the camcorder is switched off or switched to another manual white balance mode.

Gain (0.0)
There is a gain option on the JVC GR-D250, sort of. Three gain settings are available including OFF, AGC (automatic gain control) and Auto (adjusts the shutter and gain). A noticeable difference can be discerned between each of the settings, and users would be encouraged to find the one that best suits the shooting environment. The downside to automatic gain control is the grain that is added to the scene if the lighting conditions are less than 100 lux. A great feature to have within the manual controls, but users should use it with temperance.

Other Manual Controls (0.0)
There are no other manual controls on the JVC GR-D250.

Ease of Use (6.0)
A comfortable and well-weighted camcorder, the JVC GR-D250 is easy to handle, therefore making it easy to use. The buttons on the exterior of the camcorder body boost the points in this section as well. This in conjunction with the easily navigable menu makes the JVC GR-D250 very easy to use in both Automatic mode and Manual mode.

Automatic mode is completely restrictive, so the user can rest assured (maybe) that the camcorder hardware is taking care of everything. It’s impossible to access the menu, so there really is no way to screw things up in automatic mode.

Additionally, the placement of the ports is intelligent and makes postproduction ease of use simple and straight forward. With all terminals and ports at the rear of the camcorder body, users have only to look to one place for their postproduction connectivity. The downside for the JVC GR-D250 is the lack of USB ports for those people still using this medium as an effective way to transfer video.

Still Features (1.5)
There are some still capabilities on the JVC GR-D250, though they are limited in size and image quality. The camcorder is a far cry from being considered a hybrid though, as the photos are captured to DV tape and have to be extracted via Firewire for emailing or printing. It is unclear (and unlisted) what the size of the images will be (full DV frame) but users can snap off photos to MiniDV tape in four modes: Full, Nega, Pin-Up, and Frame. Most likely, photos to tape are designed for a “video” slide show, so users can play a video sequence of pictures for around 7 seconds apiece to their friends.

Still Resolution (0.8)
As the GR-D250 captures stills only to tape, I would refer the reader to the above paragraph(s) on video resolution for an assessment of the resolution of stills captured to tape. It was scored in accordance with the Video Resolution score.

Still Performance (2.0)
The colors of stills captured to tape would be comparable to that of video taken to tape. For this reason, I would refer the reader to the above paragraph on video performance for analysis of the color spectrum. As far as grain is concerned, keep in mind that it will not be moving but it will be present nonetheless.

As a side note, the lack of still capture to card on this camcorder might not be as bad or retro as it seems. I ask the reader to read the sections concerning still capture, features, and performance in the GR-D270 review, to see that its still quality isn’t something to be desired. As cheesy as a video slide show sounds, it might save you fifty bones if you decide on this bad little boy instead.

Low Light Performance (3.5)
As with the video performance of the GR-D270, we were surprised at how well the GR-D250 performed at lower light levels, like 60 and 15 lux, without last year's 3D noise reduction technology. Needless to say, the auto gain features on this camcorder boosted the brightness of the image and contributed to its overall muddiness, but these images aren’t as riddled with noise as some of the lower-end Sonys. Like the GR-D270, the GR-D250 show a very bright image at 60 lux, which while muddy and marred by some focal problems, is much brighter than other camcorders’ images, and with a duller noise.

At 15 lux, the image darkens dramatically relative to its 60 lux display. However some color information is still present which is nice, and usually absent of many lower-end camcorders, e.g. the DCR-HC21. Also, the noise on the GR-D250 is more muddy and washy than the crisper, staticy noise found on many other camcorders at these lower light levels. Whether this is better or worse, it’s hard to tell, but one thing is clear: the darkness at 15 lux certainly hurts the performance of both the GR-D250 and the GR-D270. Maybe the lack of 3D noise reduction prevented a decent automatic gain controller from boosting the gain (and brightness) while keeping the remaining color information and clarity intact.

Zoom Power/Ratio (25.0)
There is terrific zoom power on the JVC GR-D250, especially considering the price point and its position within the entry level consumer camcorder market. The only downside to the zoom is the major slowing of zoom speed once the camcorder reaches 18x. From there to 25x there is only one speed option and it is regulated (both zooming in and zooming out) by the processor. However, it’s great to see the boost in zoom power on these lower-end consumer camcorders. It’s a good thing too, as Panasonic’s entry level camcorders have extremely high optical zooms as well.

VCR Mode (6.5)
VCR mode couldn’t be any easier than it is on the JVC GR-D250. All of the controls are on the exterior of the camcorder body, on the left side above the LCD. The camcorder needs to be set to playback mode, done by switching the mode switch to play. Once in playback, users simply navigate their footage using the VCR playback control buttons. The menu is truncated and includes three screens for setting up the camera for playback. The JVC GR-D250 scores points for placing the playback buttons in an easy to reach location. Other than that, the VCR mode is pretty standard.

LCD/Viewfinder (7.0)
The LCD on the JVC GR-D250 measures 2.5 inches diagonally, and it employs JVC’s new Clear LCD technology. It’s unclear what the pixel ratio is, but I estimate between 113k and 120k. The LCD has a gloss to it which seems to counteract any glare from an outside light source. The LCD can also be rotated 270 degrees total. When closed, the viewfinder has to be extended to avoid putting the camcorder to “sleep.”

The Viewfinder is placed at the top of the back of the JVC GR-D250, and can be extended approximately 2 inches towards the user. It cannot be rotated. Users can select whether they want the LCD or the Viewfinder to have power priority. Closing the LCD or the viewfinder with the power still on places the camcorder into a sleep mode which is great for a quick startup. The viewfinder measures .16 inches diagonally, and is color. At full extension, the viewfinder can clear the battery pack as it protrudes from the back though it doesn't do so by much.

Audio (3.0)
Audio on most consumer camcorders is sketchy at best, and the JVC GR-D250 is no exception to this rule. There are two mono speakers placed at the front of the camcorder body, at the bottom. They are, for the most part, out of the way of roaming fingers, but users should take note that the mic will pick up all handling noise, and in most cases will pick up camera recording and function noise. Unfortunately, there is no microphone input or manual audio level control, but we weren’t really expecting them here.

Handling (7.75)
The JVC GR-D250 is well designed and its weight is distributed evenly. It has enough heft to feel valuable and enough sheen to look flashy. All of the buttons, toggles, and switches are well placed and in natural easy reach of the appropriate fingers. The port placement at the back seems smart to me, although others may disagree. The centralizing of port locations saves the user from the wire tug-of-war that usually accompanies postproduction on these small camcorders.

Handling the JVC GR-D250 is basically a joy, as the layout, design, and inner hardware work together to make the experience as easy and as effortless as possible.

Portability (8.0)
The JVC GR-D250 is small enough to be easily portable, but does have considerable heft for a camcorder of its size. It’s not so heavy as to warrant a trip to the chiropractor after a family vacation, but it’s big enough and heavy enough to keep users from cramming it in their pocket. It doesn’t come with a case, so users will be pleased to know it can fit in a medium-sized purse or hand bag, or even in a loose but secure coat pocket.

Battery (8.9)
Shipping with the same battery as the JVC GR-D270, the GR-D250 offers 1 hr, 29 min, and 21 sec of battery life during recording.

Compression (8.0)
The JVC GR-D270 records NTSC DV to MiniDV tape.

Media (8.0)
There are no media options other than MiniDV tape on the JVC GR-D250.

Editing (8.0)
To make room for emerging technology, I think that manufacturers should do away with on-camera editing functionality. With the advent of personal computers and often included editing software (however poorly programmed and designed) it seems frivolous to continue including these features (wipes, fades, etc.) as a part of the camera’s software. Users can do some limited insert editing (video only) and for whatever reason this may be a plus for some consumers.

Widescreen/16:9 Mode (6.5)
Two different wide modes are available on the JVC GR-D250. When the camcorder is set to Off, the camcorder records images at 29.97 frames a second in an aspect ratio of 4:3, or the same as your average Television set. When switched to Cinema mode two black bands are inserted at the top and bottom of the image. This banding is commonly referred to as letterboxing the image. The Manual insists that the black bands will disappear on wide screen TV playback. Playing back footage on a television with an aspect ratio of 4:3 will have the bars intact.

Standard 4:3 mode

Letterboxed Cinema Mode

Squeezed Mode as seen at a 4:3 ratio (such as the LCD screen)

Squeeze mode is designed for recording images that will be played back on TVs with 16:9 aspect ratios. During playback and recording the image will seem to be vertically stretched, but the image will correct itself provided the output source is wide screen formatted. These are useful modes and are becoming an industry standard.

Scan Rates/24P (0.0)
There are no alternate frame rates available for the JVC GR-D270. It records to MiniDV tape at 29.97 frames per second.

Ports (5.0)
The ports are centered at the back of the JVC GR-D250 and are easily accessed. The port cover is easily removed and it discreetly hides A/V, DC, and DV ports. There is no USB port and the A/V is for output only, which means no analog-to-digital pass-though. Plugging in headphones to this port will produce nothing but static and processor noise. I like that the ports are all in one place, although it may cause some trouble if all the ports are used at the same time, making the camera prone to following wherever a cable pulls it.

Other Features (5.0)
TeleMacro
Allows for closeup focusing, up to .6th of an inch.

Wind Cut
This is accessible through the menu and reduces the dB level to keep the wind from popping against the microphone diaphragm.

Image Stabilization
Digital image stabilization is available with the JVC GR-D250. It can be turned off and on within the menu.

Night Alive
In manual mode, users can access the Night Alive feature which slows the shutter allowing for more light to hit the image sensor.

Analog-to-Digital Pass-Through
The GR-D250 is not capable of this as it lacks an analog input; this means that you cannot use the GR-D250 as a middleman between your computer and that old analog camcorder.

Comparisons
Sony DCR-HC21
The DCR-HC21, Sony’s entry-level MiniDV camcorder this year, shoots with a video quality and 680K CCD similar to the GR-D250. The DCR-HC21 performs differently than the GR-D250 in low light situations, and in many ways is inferior. The GR-D250 produces muddier images, but ultimately, although dark at 15 lux, more discernable. The DCR-HC21 features less manual controls than the GR-D250, and requires the use of the camcorder’s touch screen menu system to access them. The DCR-HC21 has been recommended to sell for $400, though you can probably pick it up for less.

Panasonic PV-GS31 The PV-GS31 is Panasonic’s middle-of-the-road low-end MiniDV camcorder and is recommended to be available for $399. At a cheaper recommended price than that of the GR-D250, this camcorder could just be the pick of the lower-end camcorders this year. It has a humongous 26x optical zoom, includes still capture to SD card (with very decent performance) and a wealth of manual controls (standard for Panasonic). Last year, Panasonic’s lower-end MiniDV line was held back by its ease of use, (or lack thereof) but this year, the navigational system has been overhauled and a new joystick control has been added, making one-handed usage very easy. Pretty cool. While the exact performance of the PV-GS31 hasn’t been tested yet, it should be comparable, in imaging, to that of the PV-GS35. See our full review of this camcorder.

Canon ZR200
For a recommended price of $399, Canon’s ZR200 is available. It includes a similar imager to this year’s JVC GR-D250 and is identical to last year’s ZR models. We are a bit skeptical as to the low light performance on these new ZRs since last year’s model were so bad. But, aside from that the new ZRs are smaller, include Hi Res 16:9 mode (as seen on last year’s Optura 400 and 500), and record stills and mpegs to SD/MM card. The ZR200 has a 20x optical zoom, but it doesn’t include any new manual controls compared to the GR-D250. The new ZRs’ menu systems are navigated with jog dials, which may or may not be your bag. As far as we're concerned, the ZR models offer a much better navigational method as well as the best zoom toggle of the lower end camcorders. It video and low light, though similar to the JVC's, is slightly better as well.

Who It's For
Point-and-Shooters (7.0)
A good choice for those who don’t mind completely restricted access to the menu when in automatic mode.

Budget Consumers (8.5)
At $429, and with the lack of USB, LEDs, and memory compatability, users on a budget would make a better investment by spending $50 more on the JVC GR-D270.

Still Photo / Video Camera Hybrid (5.0)
Definitely not. The JVC GR-D250 is as hybrid-unfriendly as they come.

Gadget Freak (6.0)
Not a camcorder for the true gadget freak. Look to the GR-D290, but even then, the GR line doesn’t have much in the geek chic department.

Manual Control Freaks (8.5)
A great number of manual controls, aside from no independent aperture adjustment, all easily accessible within the menu. Using them might prove difficult, but hey--at least they’re there. For even more manual controls, look to a Panasonic.

Pros / Serious Hobbyists (7.0)
Not really a good choice, as the pro or serious hobbyist will most likely miss the noise reduction and some manual control.

Conclusion
Truthfully, the JVC GR-D250 is a good little camcorder, with a decent price point and smart design. I would have liked to see them reduce the price further, however, as the features that it lacks have a combined value of more than $20 (the difference between the recommended prices of this model and the model up). Missing are the USB terminal, LED bulbs, and Still Memory compatibility. That last one places this camcorder in the Stone Age, as most users demand some interchangeability between their gadgetry these days. Though with the still performance of the GR-D270, the next model up, users might not miss still memory capability too much.

Video performance under well lit circumstances is on par with other camcorders in the industry. There is considerable noise introduced into the image when the AGC is turned on, and I recommend it be turned off. The downside is that indoor shooting will be very difficult as the camcorder's ability to make adjustments will be severely hampered. All in all though, the GR-D250’s low light performance hasn’t been hampered that much by its lack of 3D noise reduction.

From a design and layout perspective, this camcorder is an improvement over last year's models, though from a performance perspective, not much has been changed for the better.