JVC GZ-HD7 Camcorder Review

Since the summer of 2006, a record number of consumer HD camcorders have burst onto the scene, with more HDV models than ever before, as well as a burgeoning selection of AVCHD camcorders that record to flash memory, DVD, and HDD. Yet the buzz around JVC’s first HD Everio – the GZ-HD7 – has caused more than a few camcorder buyers to bide their time in anticipation of its spring 2007 release. Well, the wait is finally over, and we can confidently say the GZ-HD7 delivers on some, but not all, of its promises. The focus ring is excellent, and the Focus Assist makes dialing in crisp manual focus a breeze. In addition, a cluster of image controls on the back of the body that includes shutter speed, aperture and exposure compensation are highly accessible and efficient. In fact with its relatively large body, plethora of external buttons, and focus ring, the HD7 feels and handles like a scaled-down prosumer cam.

Yet we’ve known that this Everio would offer a high level of manual controls since we first spent some time with the HD7 at CES in January. The big question has been whether the camcorder would perform up to its billing. The HD7 records video using a new flavor of MPEG-2 compression that wanders as high as 30 Mbps in FHD (“Full HD” 1920 x 1080) mode. That led us to wonder whether that venerable HDV format had finally met its match. As it turns out, video performance is not the reason to buy the JVC GZ-HD7 – but it remains one of the year’s most intriguing models.

The Front (8.75)
If Darth Vader were to own an HDD camcorder, it would be an HD7. This thing is the definition of stealth. Up front, the Fujinon HD lens engulfs all. JVC has equipped the HD7 with a Fujinon aspherical lens, the same kind found on their professional and broadcast cameras like the GY-HD200 and HD250 (though not identical). The benefit of an ashperical lens is that moving from wide angle to telephoto has little effect on the maximum aperture, thus the aperture range for the GZ-HD7 is f/1.8 - f/1.9. This should have given it a huge advantage in low light, but JVC was not able to capitalize on it. The lens features an Electronic Beam Coating, which is designed to reduce ghosting and flaring. The 10x optical zoom lens has a focal length of 3.3mm to 33mm and a filter diameter of 46mm. The HD7 has a built-in manual lens enclosure that is much heftier than the ones found on the Sony HC7 and Canon HV20. You’ll also notice a large matte box housing the lens—a hand-me-down from an echelon of professional cameras, providing equal amounts of shade and the look of professionalism. Directly beneath the matte box is an inconspicuous sliding enclosure for an SD/SDHC card. The placement of the slot allows for a card to be easily swapped without removing the camcorder from a tripod. Next to the card slot is the Focus Assist button, which is easily accessible and responsive to the touch.

The cherry on the sundae comes in the form of a manual focus ring located toward the lens end of the HD7. The ring is large, smooth, and allows for great accuracy when focus assist is used. This is high end equipment, and the HD7 is the most rock-hard camcorder thus far. An oval focus button (auto/manual focus toggle) rests below the focus ring, and the two work in conjunction to bring rapid, accurate results. JVC deserves a fireworks display for their design of the HD7. 

The Right Side (5.75)
The right side of the HD7 showcases the 60GB internal hard disk drive, which is capable of up to 5 hours of full HD recording. Comfort is this camcorder’s middle name. The hand strap is one of the most snug designs we’ve seen all year. It has foam padding, is not low-strung, and supports the bulk of the HD7 with ease. On the right side of the hard drive enclosure is a small port cover, housing a mic input and AV terminal. Although the port cover blends in with the HD7’s sleek design, it is feebly constructed and could snap off with one deadly tug. Wedged in between the end of the HDD enclosure and matte box is the lens cover switch. Despite its obscured placement, the lens cover switch springs up and down with gusto, and is highly effective. At the other end, toward the back, is the mode dial, which lies directly beneath the thumb for easy access.

The Back (8.5)
In order for the HD7 to maintain its fat, wide profile, certain modifications had to be made, such as the horizontal battery design. Although the HD7 doesn’t have a significantly deep battery chamber when you pin it against the HV20 or HC7, its big honking viewfinder covers enough ground to accommodate an even larger battery than the one supplied without heightening rear-camera claustrophobia. The electronic viewfinder is rubberized and extends a full inch, revealing the dioptric adjuster on the left side. Again, this camcorder is comfortable. The battery release button is tucked behind the bottom right side of the viewfinder and is slightly difficult to reach. To the right of the battery release button is the oval shaped record start/stop button, which accommodates thumb placement and lies parallel to the mode dial.

Beneath the battery is a horizontal row of ports covered by a burly plastic strip. From left to right you’ll find the iLINK terminal, HDMI terminal, and USB port. Next to this panel is a smaller separate enclosure that houses the DC input jack. Both covers are easy to access and reclose. Along the left side of the HD7’s back end is a vertical strip of buttons including the [A] Aperture Priority button, [S] Shutter Priority button, and [Bright] Brightness button. JVC took into account the need for a quick picture adjustment on the fly, and this rear-mounted control panel expedites the process. Under the vertical string of buttons is a value adjustment lever for controlling the parameters of the aforementioned controls.

The Left Side (6.5)
Here’s where most of the action takes place. When the 2.7” wide LCD screen is opened, the LCD cavity exposes a host of buttons and controls: Select Play/Record, Info, Direct Backup/Event, and Menu. There is also an S-Video port and component terminal located inside the LCD cavity. Above the LCD cavity are two buttons: auto/manual and backlight. The HV20 and SD1 have the upper hand here with their rear-mounted joysticks, enabling one hand operation. Since the HD7 has such a solid design, most shooters will overlook the side-mounted menu control and adjustment gamut. However, the HD7 does have an LCD-mounted joystick along its left side, which is the next best thing. It’s great if you’re a two-hand shooter—one in the strap, one on the screen. The joystick is small, yet responsive, and the index and function button lie atop and below for instant navigation.

Above, the left side. Below, the buttons behind the LCD.

The Top (6.25)
Up top, the HD7 showcases its dual speaker stereo microphone. Usually, top-mounted microphones can be hindered or muffled by a rogue finger, but the placement of the HD7’s is far forward enough to escape an encroaching hand. The HD7 is equipped with a cold accessory shoe, which is too bad, given the camcorder’s overall professional design. The zoom lever is fairly decent—not as big as the HC7’s, so you’ll experience slightly less finesse while adjusting. Directly behind the zoom toggle is the photo button.