JVC GZ-HD3 Camcorder Reviewby David KenderPublished on Sep 17, 2007 5:35 PM 
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Michael Perlman contributed to this article.
The GZ-HD3 is JVC’s second attempt at pitching a high definition camcorder to the consumer market. Its first outing was the ambitious GZ-HD7 (Review, Specs, Recent News, $1529), which at first glance looked like lightning stolen from the gods – a pro feel and lots of pro features in a consumer body and price. But performance faltered and the price wasn’t competitive enough with the uber-popular Canon HV20 (Review, Specs, Recent News, $903). The GZ-HD3 has seriously slimmed down on some of those winning features – notably the full 1920 x 1080 recording and the optical image stabilization – but seems to retain a certain allure. Will the hefty size and obscure MPEG-2 TS compression tickle prosumer aspirations, or push consumers away?
The Front (8.25)
One thing JVC excels in is style, and the GZ-HD3 oozes hotness from every angle. This camcorder looks like a Canon HV20 fused with a Panasonic HDC-SD1 (Review, Specs, Recent News, $1119.99), dipped in black stealth. In front, the massive Konica Minolta 10x optical zoom lens thrusts forward, framed by a matte black lens hood. One of the primary differences between the GZ-HD3 and GZ-HD7 is optics. The GZ-HD7 features an aspherical Fujinon Professional HD lens as opposed to the GZ-HD3’s non-aspherical Konica Minolta lens. An aspherical lens reduces spherical aberrations, which are reflections of light that hit the outside of a mirror, rather than the center. An aspherical lens also reduces optical aberrations, which lead to inherent blurriness. Most importantly, the aspherical lens on the GZ-HD7 allows the aperture to remain nearly fixed throughout the zoom (f/1.8-f/1.9), which can help it in low light. The aperture range on the GZ-HD3, with the same 10x zoom, is f/1.8-f/2.4.
The GZ-HD3’s lens has a focal distance of 3.2mm-32mm. Though the GZ-HD7 features a larger prosumer-esque lens hood, the GZ-HD3 is the only other camcorder in its class to come equipped with one. In addition, you won’t find many camcorders with a lens that touts a 46mm filter diameter—the GZ-HD3 is one of the few, the proud. Beneath the lens is a small gray lens cover switch that shifts from left to right. Rather than fiddling with an external lens cap pendulum, all you have to do is flip a switch. Yes, automatic lens enclosures require the least amount of thought—well, none—but what happens when their delicate inner mechanics choke? Just remember to flip that switch, and scratches will never enter into the picture.
To the right of the lens cover switch is the round, concave Focus Assist button, a handy function you’ll read about later on. To the left of the lens cover switch is a trapezoidal rubberized port cover that extends out and upward to reveal the mic jack and USB terminal. The port cover is secured by a flimsy plastic strip that will snap with a medium-grade tug. A front-mounted mic jack is generally not the most optimal placement for boom recording—you’ll have to devise an obstruction-free cable route in order to minimize onboard clutter. However, for a handheld microphone, the mic jack makes sense up front. To the left of the lens is a circular, convex video light. Don’t be fooled—the light looks cool, but will only project a weak, bluish spotlight on anything you record.
The Right Side (5.75)
Behold the GZ-HD3’s inhospitable right side. With only a hand strap to speak of, the HZ-HD3 is as HDD as you can get. One of the most complex qualities of this camcorder is its use of different materials and textures. The right side is constructed of a dull, dimpled plastic, supposedly for grip. It does prevent the GZ-HD3 from slipping out of your hand, which is what would happen if the right side was constructed with the smooth, lustrous plastic featured on the left side. At $1,300, you’d expect a solidly-built camcorder, and JVC delivers in most areas—save the hand strap. This is virtually the same strap found on JVC’s entry-level standard definition GZ-MG130 (Review, Specs, $467.95). The GZ-HD7 is blessed with a larger, comfort-ridden strap, but the GZ-HD3’s just seeps with shoddiness. Regardless, the GZ-HD3 is balanced and steady in the hand, but no one likes the feel of grating nylon, especially in the dead of summer.
The Back (6.5)
Here’s another shout-out to the point-and-shoot crowd—no viewfinder. While the GZ-HD7 features a rubberized, extendable viewfinder, the GZ-HD3 opts for ports instead. The A/V and DC terminals are located at the top, housed by a flexible plastic cover that is secured to the camcorder’s body via two flimsy plastic strips. You'll find the battery just below the A/V and DC terminals. The GZ-HD3’s design team apparently went to school on the Canon HV20 and Sony HDR-HC7 (Review, Specs, Recent News, $1128.56)’s cavernous battery chamber design. Rather than channeling the GZ-HD7’s horizontal battery design, the GZ-HD3 stands in line with a burgeoning number of camcorders with cave-like battery chambers. Though the GZ-HD3 does not necessarily have to sport this design due to its lack of a viewfinder, it’s nice to minimize the amount of protrusions.
To the right of the battery is a vertical row of ports, sheltered by a cover that is tantamount to the quality of the A/V and DC cover. Within this column you’ll find the FireWire (IEEE 1394), HDMI, and component terminals. Above this row of ports is a small set of three lights that coincide with the mode dial: access/charge, video, and photo. The mode dial rests along the far right edge of the back and can be shifted upward with ease to change modes. Lastly, the oval record start/stop button is wedged in between the lights and mode dial, and falls right beneath the thumb for quick access.
The Left Side (6.5)
Here’s where the GZ-HD3’s style maxes out. The left side is constructed of a smooth, shimmering black plastic that will seduce even the most resistant consumer. The lens barrel is crafted out of grooved, machined aluminum. Panels of matte plastic are peppered in at the top and bottom to round out a truly beautiful sight. With the LCD closed, the only control present is the video light button, located on the outside of the focus assist button barrel. We love an external button dedicated to the video light, but don’t waste your time—the GZ-HD3’s video light is about as effective as a penlight. Once the 2.8-inch LCD screen is swung open, a box of four buttons is visible within the LCD cavity: Select/Play/Record, Auto/Manual, Direct Backup/Event, and Menu. You’ll also find an S-Video port next to the playback speaker.
The LCD panel contains a vertical strip of controls containing the battery/index button, joystick, and Function menu button. Two-handed shooting is the name of the game for any Everio—this is one of JVC’s prime selling points.
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The left side of the JVC GZ-HD3 |
The LCD cavity of the JVC GZ-HD3 |
The Top (6.25)
Up top, the GZ-HD3 sports a built-in dual-channel stereo microphone mounted toward the lens end. We typically shun top-mounted microphones because they are easily muffled by fingers, but the GZ-HD3’s overall size and grip keeps fingers at bay. The right side of the top is composed of three subtle grip grooves located along the top ridge of the HDD enclosure. While these grooves are intended for ergonomics, JVC did not take into account how difficult it is to latch onto smooth, glossy plastic. You’ll have to tilt your hand at an angle to keep the GZ-HD3 upright. Toward the back you’ll find the zoom toggle and photo button. The GZ-HD3’s zoom toggle is no different from any other standard definition Everio—tiny and cheap. Keep in mind the Canon HG10 (Review, Specs, Recent News, $1299.99) costs less and offers a prosumer-style rocking zoom lever. At the caboose you’ll find a cold shoe covered by a sliding plastic tab. Like the Canon HV20, the cover is not attached to the body of the camcorder, so be prepared to lose it.
