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Panasonic SDR-S100 Camcorder Reviewby David KenderPublished on Sep 2, 2005 8:00 AM 
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Read more about : SDR-S100 News - SDR-S100 Picture Gallery - SDR-S100 vs GZ-MC500 - Flash Memory - P2 technology
Robin Liss contributed to this article.
Hail the new pint-sized player in town, the Panasonic SDR-S100. Recording MPEG2 video to a 2GB SD card (included), this little puppy promises to pack a wallop. Not only does it claim the title of first 3 CCD SD cam, but with a totally redesigned compression system, the video is unbelievably sharp. As with most first-generation models sporting a new technology, there are problems in wonderland. Prepare to be under-whelmed by a decent first job, with all the faults of a beta test. Camcorderinfo.com got one of the first cracks at this model, and we have the most comprehensive review anywhere.
Video Performance (8.0)
The video performance of the SDR-S100 is extremely sharp. The excellent showing is driven by the 3 CCDs, each measuring 1/6”, producing 640K effective pixels. These are identical specs to the PV-GS250, which, despite the relatively small size of the CCDs, is one of our top contenders this year.
At 3000 lux, the equivalent of a sunny day, the image was quite crisp. The colors, however, were remarkably dull for a 3 chip camcorder. Some parts of the spectrum put in a good showing. Note the blues and darker greens. They possess a richness that’s hard to match. The grayscale was well-defined, but the whites appeared less bright than a 3 chip camcorder should be producing. The yellows and reds, however, should be sent to bed without their supper. These are the deficiencies inherited from the PV-GS250, something we were hoping to see corrected by this point. No such luck this year.
The GZ-MC500 could not compete for sharpness or color definition. Its 3000 lux performance was generally washed out and blurry. No feelings were hurt, though. It put in a stronger showing in still performance. The DCR-PC1000 certainly did well with color definition, but was more washed than the SDR-S100. Also, the sharpness was not quite as good.
The JVC GR-X5, the surprise performer this year, had a brighter image with more vivid colors overall, but again, it could not match the SDR-S100’s sharpness. Finally, Sony’s DCR-DVD403 simply overwhelmed the SDR-S100 for richness and depth of color. Looking at them side by side, it’s as if someone suddenly turned on the light in a dark room. The sharpness is not as good, but the colors are so enchanting you want to tip the scales in the DVD403's favor.
Video Resolution (14.5)
SDR-S100 captured video footage of a standard resolution chart, and its stills were exported to Imatest Imaging Software to calibrate the camcorder's best possible video resolution. This model was tested in 4:3 and 16:9 mode. In 4:3 mode the camcorder gave us approximately 540 lines of horizontal resolution and approximately 268.2 lines of vertical resolution at its best, yielding a true resolution of 144854.82 (0.145 MP). In widescreen mode, this model produced approximately 251.9 lines of vertical resolution, and approximately 412.3 line of horizontal resolution at its best, generating a true resolution of 1038583.7 (0.1 MP)
| JVC GZ-MC500 | 13.4 |
| DCR-PC1000 | 11.5 |
| JVC GR-X5 | 17.2 |
| Panasonic PV-GS250 | 13.9 |
| DCR-DVD403 | 8.8 |
The Front (9.0)
A revolution in size, this tiny wonder has been forced to strip away all but the most essential physical features (perhaps too many, we believe). Most apparent on the front of the SDR-S100 is the Leica Dicomar lens, with a 37mm filter diameter and built-in lens cover. It bulges out at the top before tapering back into the narrow frame. The lens hood can be removed to accommodate filters and conversion lenses. Below the lens is the remote sensor and tally lamp.
The body is just large enough to get a decent grip on, with your fingers curling under the lens. It’s an exceptionally crisp look, something BMW might have designed if they were in the camcorder market.
The Right Side (3.0)
The right side of the SDR-S100 is a model of clean design, a choice which has unfortunately put form before function. Firstly, Panasonic has chosen not to include a secure hand strap on the right side, unlike what's seen on nearly every other camcorder, including the similarly shaped DCR-PC1000. Instead, they include a strap dangling from the bottom that you may or may not remember to loop around your wrist.
Secondly, the lower half of the side constitutes the cover for the battery. Hidden battery slots only mean one thing – no expandable battery options. This means shorter recording times and more wires to carry around in your bag. Non-expandable batteries is a types of engineering flaw that kills a camcorder review, I’m sorry to say. If there’s one feature that every user needs, it’s a long battery life. If I’m on vacation, I don’t want to return to my hotel every 2 hours to recharge my camcorder battery. Some might argue that you can just pack multiple batteries. Yes, it’s possible, but this cuts down on portability. And at 90 minutes per battery, Panasonic should be shipping the camcorder with a Rambo-style ammunition belt to hold them. Count this as a red flag to anyone considering purchasing the SDR-S100.
The upper half of the body contains the mode dial. Above this (and this is the manual’s wording, not mine, mind you) is a black dot functioning as the white balance sensor. If this is a revolutionary new way to adjust white balance, more power to Panasonic. It may just be a typo in the manual. Also on the right is the playback speaker and Open switch for the flash.
The Back (6.0)
The rear of the SDR-S100 contains most of the user interface. At the top and curving down from the crown of the body is the On / Off switch, with a tally lamp that lights red when the power is on. Below this is the record button, surrounded by the zoom toggle, which also functions as the playback volume control. This choice to slim down the bumps comes at a rather high cost with the zoom toggle, which is quite difficult to get decent control over.
Below this is the navigation control, a four-way directional pad with a selection button in the middle. A number of manufacturers have adopted this sort of navigational design, but the SDR-S100 is the most comfortable so far. A Menu button sits below the navigation. Underneath that is a delete button, with a trash can icon. This is an unusual design feature for a camcorder, and one more traditionally found on still cameras. This is yet another signal of the shift towards video / still hybridism.
Underneath a hard plastic cover on the rear are all the ports the SDR-S100 has to offer, which is not saying much: a USB, composite A/V / S-Video / headphone jack, and the DC-power input. The other problem with these ports is placement. If you have a cable hanging out of any of them, where to place your hand becomes an issue.
The Left Side (9.0)
The left side of the SDR-S100 is almost entirely made up of the widescreen LCD screen, 2.8” and simply gargantuan in relation to the overall size of the camcorder. The LCD is almost completely bare. The Power LCD button turns on the LCD backlight, and a switch at the bottom of the LCD opens the SD card slot. I love the look of this camcorder. No unnecessary buttons and a cool, clean aesthetic. Yes, overall it might come at the cost of some features, but there’s no need to hide them under the LCD. A great looking left side.
The Top (7.0)
The features on the top of the SDR-S100 are minimal. Toward the rear sits the stereo microphone. Just behind the lens is a pop-up flash. An accessory shoe would have been nice, but unlikely. With a camcorder designed almost exclusively for portability, I believe Panasonic is correct in their guess that buyers would shy away from shotgun mics and the like.
Others may argue that options for all features must be included in order for a camcorder to be successful. Some camcorders, particularly the SDR-S100, should be taken on their own terms when possible. Certain missing features are indeed critical oversights; the accessory shoe is not one of them.
Picture & Manual Control
Automatic Control (5.0)
Automatic controls on the SDR-S100 are good. Very good. They are similar to the kind you would find on the PV-GS250. There is no easy mode, as Sony and Canon include on their consumer models. But a switch at the bottom rear of the camcorder allows you to select Auto mode. This shifts control of the exposure, focus, white balance, gain, and other image quality settings.
Most of the automatic controls are quick and accurate in their adjustments. The exposure and focus are excellent, even when moving quickly from bright light to lower light situations and in close zooms. The white balance can take a long time to color correct, but once it does, the picture looks gorgeous.
Scene modes (called “Program AE” on some camcorders) are a quasi-automatic control. To activate them, you switch over to Manual mode and find them on the menu. Once you have done so, the camcorder takes over. Scene modes on the SDR-S100 include Sports, Portrait, Low Light, Spotlight, and Surf & Snow.
Overall Manual Control (7.0)
Let me present you with a conundrum: a super-compact camcorder with the specs of a killer angel like the PV-GS250. The ideal response to this engineering quandary is, at heart, the very embodiment of the American consumer dream. We demand more, more, more, but we also want it so portable that we hardly know it’s in our pocket.
No, the SDR-S100 is not the ideal response. But it’s getting there, and seems to be leading the pack. There are more manual controls than you can find on similarly sized camcorders, but their accessibility is an issue. To the SDR-S100's credit, the four-way navigational control is the most comfortable of any of its competitors. JVC tried to manufacture a similar navigation on its GR-DF550 and GR-X5 with less successful results. Panasonic’s raised, curvilinear design allows for more error than the JVC's. Large-handed people everywhere breathe a sigh of relief.
Pushing the button in the middle of the navigation pad brings up options to activate the TeleMacro, Soft Skin, and Backlight Compensation features. If you’re in Manual mode, pressing this button again brings up a second menu with white balance, shutter speed, aperture, and gain control. This seems like a great manual feature set, on the surface. However, the engineers have developed the manual controls with a very strict order of operations. Independent adjustment of each control is tricky. The gain automatically adjusts with each change of the shutter speed unless you lock in a specific aperture. Like everything but the shutter speed, if you attempt to adjust it again, the camcorder erases all your locked settings and automatically adjusts the gain and aperture again. After playing around with the remarkably versatile GR-X5, I now find myself a strong advocate for an automatic gain “off” option.
Perhaps these drawbacks are a moot point for Panasonic. The root complaint that the SDR-S100 is sure to draw is that the small size makes it impossible to get a steady shot, or an expandable battery. Lacking this critical feature, Panasonic has chosen not to market to the Pro and Serious Hobbyist market, which is the biggest proponent for manual control (along with nit-picking review sites). At the very least, they are not marketing the SDR-S100 as the primary camcorder for this market. Vacationers and occasional users are the more likely target, users who are bound to be satisfied with the automatic controls. They are also far less demanding of features like a mic jack and accessory shoe. There is still no excuse for the non-expandable battery, however.
Zoom (4.0)
The biggest manual control feature to take a hit in the miniaturization process seems to be the zoom control. This tiny, circular toggle certainly lacks the fine control you would find on a larger model. Even the sliding switch type of zoom control (found on the PV-GS250, among others), which has drawn my ire in the past, would be a step up from this. On the plus side, you are able to achieve a very slow and controlled zoom from 1x to 5x. The speed increases from 5x to 10x. Digital zoom can be turned off or capped at 25x or 700x. Our recommendation it to leave it at 25x, or better yet, turn it off altogether.
Focus (5.0)
Focus on the SDR-S100 is passable. The feature is accessed easily enough. Simply pushing down on the Auto / Manual switch will draw up the focus icon on the LCD. Pushing the navigation pad left and right makes the adjustments. Unfortunately, there is no numerical system for demarcating the point of focus. There is not even so much as a sliding scale, as found on most Canons, which indicates the maximum distance you can adjust in either direction. Lacking a sense of scale, there was a tendency for the camcorder to shoot right past the point of focus when holding the button down in one direction, then to shoot past it again going the other way. All told, I found it easier to hand focus over to the automatic controls. There is no competition between this system and the GZ-MC500’s focus ring.
Exposure (Aperture) (6.0)
Exposure is located beneath white balance and shutter speed in the manual control menu. F-stop setting range from Open, f/2.0, f/2.4, f/2.8, f/3.4, f/4.0, f/4.8, f/5.6, f/6.8, f/8.0, f/9.6, f/11, f/14, and f/16. This is an enormous range of options, though pushing the navigation pad repeatedly to get from one end of the scale to the other is a tedious business. A scroll dial definitely would have been preferable here.
The GZ-MC500 and GR-X5 both provide Aperture Priority modes. This is sometimes a preferable system, depending on the skill level of the user. Priority modes allow you to change one category of control while the camcorder automatically adjusts the rest according to those changes. Sony camcorders are notoriously difficult to make independent adjustments with, and do not come with Priority modes of independent manual controls like these.
Shutter Speed (7.0)
Shutter speed options are 1/60, 1/100, 1/120, 1/180, 1/250, 1/350, 1/500, 1/750, 1/1000, 1/1500, 1/2000, 1/3000, 1/4000, and 1/8000 of a second. You can’t get much better than that in terms of range. Adjustments are made with the navigation pad, which, as noted in the Exposure section, is a tiresome process.
The GZ-MC500 and GR-X5 both provide Shutter Priority modes. See a description of Priority modes in the section above.
White Balance (7.0)
The white balance is the first item on the manual control menu. Options include Auto, Indoor, Outdoor, and Manual modes. Actually figuring out how to set the white balance took a few attempts, and we were almost forced to consult the manual (never a good sign for a basic manual control function). Also, the camcorder could not set a white balance at 15 lux, and we were forced to revert to Auto mode. Strangely, the white balance sensor is located above the mode dial on the rear right-hand side, so be careful not to cover it while making adjustments. Perhaps it’s just my pesky logic talking, but why would you place the white balance sensor in the spot most likely to be occupied by your hand?
Mode dial, with white balance sensor above
The manual states a feature we thought worth mentioning: black balance. Stated as a function of the 3 CCD system, the black is adjusted at the same time white balance is set. It cannot be set manually. Normally found on professional camcorders, this process is supposed to set the black to the correct point (just as white balance sets the white point) so that, among other things, absolute black does not change when the gain is varied.
Gain (7.0)
Manual gain control is always a nice feature to have available. Settings are available at 0dB, 3dB, 6dB, 9dB, 12dB, 15dB, and 18dB. Manual gain can only be achieved once the aperture is fully open. Adjustments are made by the navigation pad.
The inclusion of gain control is one of the features that separates this camcorder from the Sony DCR-PC1000, the JVC GZ-MC500, and the GR-X5. The Sony has absolutely no manual gain, while the JVCs provide the option of turning the automatic gain on or off. For people who really care about image quality, it’s vital that they be given the option to turn any feature on or off in order to isolate deficiencies. We applaud Panasonic for introducing yet another camcorder with manual gain.
Other Manual Control (0.0)
There are no other manual control features on the SDR-S100.
Ease of Use (7.0)
Panasonic knows its market. This is a remarkably easy to use piece of technology. It makes for a cohesive transition from form into function; the look of the camcorder says “Pick me up. Try me.” The built-in lens cover is a great feature, as I’ve long since grown tired of a lens cap smacking me in the hand through the duration of a shoot. The controls follow through with the promise that operating this little wonder will be naught but a joy. Well, this is only partly true. As mentioned earlier, the manual controls take a while to suss out, even if you’re familiar with Panasonic’s layout. It was a vexing process to isolate one manual control feature at a time, while leaving the rest to automatic control. The Aperture and Shutter Priority modes on the GR-X5 and the GR-DF550 are an advantage I would like to have seen repeated on the SDR-S100.
The Auto mode is clearly marked for those users too hesitant to venture into advanced options. As stated before, the automatic controls are so good that the inexperienced might even be emboldened enough to try some of the manual controls. And unlike other mini-cams (the GZ-MC500 comes to mind first) the navigation controls are not tailored exclusively to tiny, elven hands. This is not a JVC problem alone. Barring the SDR-S100, the entire Panasonic consumer line utilizes a very small joystick navigation. If you don’t like joysticks, your consideration of buying a Panasonic is a foregone conclusion. The navigation design on the SDR-S100 has turned a corner, and I hope to see something similar implemented in future models.
Still Features (7.0)
Panasonic’s SDR-S100 has 3.1 MP still picture recording capability. It is able to capture stills on an SD card at four resolutions: 2048 x 1512, 1280 x 960, 640 x 480, and 1920 x 1080 (Widescreen). Widescreen still options are not offered by most camcorders, even the more highly-touted JVC GZ-MC500. The Sony DCR-PC1000 offers a widescreen still option with the identical resolution of 1920 x 1080, but the Sony does not provide as many resolution options as either camcorder. The SDR-S100 does not offer any continuous shooting modes such as the bracketing (capturing 3 stills at varying exposures) and serial shooting (taking several stills with a single press of the shutter) found on the Everio and the GR-X5. As an added bonus, you can implement all of the manual control options found in video mode.
Panasonic has been eager to promote the SDR-S100’s new Quad-Density Pixel Distribution technology. This process offsets or shifts the CCDs, which increases by two-fold the number of pixels in the vertical and horizontal directions, resulting in four times as many pixels. The pixels' shifting will provide greater detail in the image. Frankly, we don’t understand the process. But it seems to work. As you’ll see below, the resolution score was rather low compared to camcorders in the same class, but the pictures look great. There is no denying that. I can’t explain it, other than to say that there exists a space between human perception and electronic certitude, and we’re in the thick of it.
Still Resolution (6.0)
Stills were taken of a standard resolution chart with the SDR-S100. Those stills were exported to Imatest Imaging Software in order to calibrate the camcorder’s best possible still resolution. The camcorder can capture stills on an SD card at several resolutions: 2048 x 1512, 1280 x 960, 640 x 480, and 1920 x 1080 (Widescreen). At its best the camcorder yielded a true resolution of 601467.95 (0.6 MP)
| JVC GZ-MC500 | 9.9 |
| Sony DCR-PC1000 | 7.21 |
| JVC GR-X5 | 12.3 |
| Panasonic PV-GS250 | 5.9 |
| Sony DCR-DVD403 | 9.12 |
Still Performance (8.5)
With a reported 3.1 MP still recording capability, this model produced somewhat impressive looking stills; impressive almost entirely due to the sharpness and clarity I saw, despite their relatively low scores in the resolution test. The color representation, while good, was not nearly as notable. It produced better looking images than the more expensive JVC GZ-MC500 and the celebrated Sony HD camcorder, the HDR-HC1. More rich and potent colors, however, are found on these competitors. In fact, lower-level camcorders from the Panasonic family, such as the PV-GS150 and PV-GS65 (Review, Specs, $899), also showed better color potency.
The PV-GS250 produced comparable still images to the SDR-S100. The SDR-S100 had slightly sharper images, but they shared identical color vibrancy. Sony’s high-end DVD camcorder, the DCR-DVD403, had stronger yellows and blues while the SDR-S100 exhibited deeper and richer red and blues. The mysterious Quad-Density Pixel Distribution capability seems to have paid off, endowing its stills with great definition and sharpness. Again, this is my interpretation, concurred by other members of the CamcorderInfo.com staff. Imatest differs in opinion, and you are welcome to form your own judgment. That’s what the posting boards are for. The Quad-Density process does nothing for color improvement, however, as color quality was virtually the same between the SDR-S100 and the PV-GS150 and PV-GS250.
Low Light Performance (3.5)
Low light performance is a vital statistic for any camcorder, one often overlooked. The reason is simple. The definition of a “low light environment” is far different to a camcorder than it is to a human eye. Camcorders see things differently, and what you might be able to discern quite clearly at dusk will appear to the imager as a great, black ink. Therefore, we test all our camcorders at 60 lux and 15 lux, the equivalent of a softly lit room and a dimly lit room, approximately. Special cases, like the SDR-S100, also get tested at points in between, or with certain features activated, just for kicks. You can view the photos for yourself
At 60 lux, in auto mode, the SDR-S100 had a good deal of noise, something better camcorders can usually fend off until lower light ratings. The grain was equally distributed across the spectrum, which is a small grace. Sony camcorders have a tendency to get noisy in the blues first. Still, saying the noise was distributed duly throughout the picture is about as good as saying that everyone at the office smelled equally bad after the AC went out. It’s interesting, but it stinks.
The PV-GS250, surprisingly, performed better, despite having similar specs. This seems to point to differences under the hood that are not related solely to imager size. The DCR-PC1000 performed just about equally to the SDR-S100, with the same noise problems and color dullness. Both JVCs, the GR-X5 and the GZ-MC500, were remarkably bright once their automatic gain controls were engaged. The process washed out much of their color, but there was virtually no grain to speak of. The hands-down winner was the DCR-DVD403. We can’t figure out how they did it, but the results speak for themselves, and no other camcorder can come close to this DVD cam.
At 15 lux, the SDR-S100 was just plain bad. Only the DCR-PC1000 did as poorly, with the PV-GS250 in a close second. The grain is so bad that it overwhelms the image. The GZ-MC500 (with automatic gain control) had just as much grain but managed to produce a slightly more vivid image. The GR-X5 had a much sharper picture with better colors, and the grain was finer, which made the noise a bit more tolerable. Once again, the DCR-DVD403 bested them all by a long shot.
15 lux with 3dB gain
Zoom Power/Ratio (10.0)
The SDR-S100 comes equipped with a 10x optical zoom and 700x digital zoom. The digital zoom can be capped at 25x, which is still within the range of credibility. Any digital zoom is, of course, a digital manipulation of the pixels, and therefore reduces image quality.
It’s surprising that Panasonic would limit the zoom to only 10x. Typically, camcorders intended for the weekend-shooter crowd boost the zoom (a cheap upgrade for the manufacturers) and hold back on manual control and image quality. This is yet another indication that Panasonic wants the SDR-S100 to be taken seriously.
Wide Angle (9.0)
The SDR-S100’s widest angle was measured in both 4:3 and 16:9 mode. In 4:3 mode the camcorder had a measurement of 45 degrees, while the model’s wide mode had a wide angle measurement of 47 degrees.
4:3 Standard Aspect LCD View
16:9 Aspect LCD View
VCR Mode (8.0)
The SDR-S100 can play back video and stills with a variety of options. Video playback automatically generates thumbnails for each clip, sixteen to a page. Creating too many clips will making sorting a chore, as the processor has to create each page of thumbs as you scroll through. Pushing the Set button pays back the clip, with options for slow motion and frame-by-frame viewing. A simple but stellar playback feature is the enhanced usability of the navigation pad. When the LCD is turned 180 and pushed back into the body for playback, the navigation pad re-orients itself; “left” is now “up,” “up” is now “right,” etc. This is a small but thoughtful feature, and it’s good to know the engineers are trying to think of everything.
Still playback also creates thumbnails and can expand them to full screen. A slide show feature is available. Digital Print Order Format (DPOF) and PictBridge are available for saving and printing.
Surprisingly, no wipes or other cheesy effects seem to be available, obligatory inclusions on almost every other camcorder. The GZ-MC500 has some, as well as more useful feature like the Voice Recording playback mode. This function uses audio levels to aid in the search for footage across the Microdrive.
LCD/Viewfinder (6.5)
The 2.8” widescreen LCD is decent, but the features it lacks are seriously detrimental, considering that the SDR-S100 lacks a viewfinder. First, the screen should be non-solarizing. In the glare of the sun, you’ll have to struggle to view your shot. Sony has already fixed this foolproofing feature into their camcorders. It’s time everybody else stepped up. The second problem, and granted, this may be more of a personal issue, is that the turning radii make no sense. On every other camcorder, you flip the LCD upwards and over to have it face the subject. This is the same direction you turn to flip it and push it back into the body to face out for playback. On the SDR-S100, you have to flip upwards to push it back in, and downwards to spin it towards the subject. Again, it could be a personal preference, but some conventions are better left untouched.
No viewfinder also means that battery life will take a big hit, and if you’re planning on even a small amount of shooting, you’re going to want to pack the power supply.
Audio (2.0)
Audio features are relatively slim for a camcorder meant to compare with the PV-GS250. First and foremost, there is no microphone input. Right away, your audio options have been limited. This loss comes as a great disappointment to us.
The on-board mic is located at the rear of the top. On a horizontal camcorder, this would be a poor choice, as it would pick up the user’s breathing. The SDR-S100 is unlikely to be held that close. Fortunately, the camcorder is virtually silent while recording, which is a lot more than we can say about the GR-X5, which records to MiniDV and has a particularly noisy motor to deal with. Both the SDR-S100 and the GZ-MC500 are non-tape media recorders, ushering in a new silent age of recording. Hurray!
The bottom line for Panasonic is that we don’t rate camcorders on their on-board microphones; generally, they all are bad. Our consideration is reserved for audio options, which are virtually nil. Throughout this review, we’ve made comparisons to the Sony DCR-PC1000, which is of a similar shape and design. We slammed the Sony for its poor audio options and non-expandable battery. Our disappointment can only be extended, perhaps even heightened, now that Panasonic has followed in such abysmal footsteps.
Panasonic is marketing the SDR-S100 as a revolution in flash media camcorders, a camcorder that finally legitimizes this market. There goal, seemingly, is to escape the orbit of association with the “toy cam” market. A camcorder that gives you no audio options outside of the on–board microphone, however much we regret it, has not escaped that association, and will cause it to remain a toy cam in many people’s minds. Add this to the battery issues, and the camcorder becomes a rather undesirable property.
Handling (6.0)
The engineers at Panasonic have taken an enormous leap in one very particular area of handling, one that has likely vexed 10 percent of the population for years – the sinister left-handers. The SDR-S100 has been designed as a camcorder for ambidextrous use. We at CamcorderInfo.com were unable to test the usability among southpaws; not a single staff member was qualified. Once this hits the market, though, we’d love some feedback in the comments section.
From my own right-handed perspective, handling was fairly good. The main drawback, and this is a substantial one, is that camcorders of this size are usually too small to hold steady. Even if you were to lean against a wall and position your arms in a steady position, the camcorder is still going to shake more than one with a horizontally shaped body. It’s the tragic fact of the mini-mini-cam market. Of course, the optical image stabilization helps immensely. Panasonic showed us a side-by-side of the SDR-S100 and Sony’s DCR-DVD403, which has digital image stabilization. The results were a blowout in Panasonic’s favor. For truly level shots, though, you should rely on a tripod. But considering that the portability of the SDR-S100 is one of its biggest selling points, users are unlikely to lug a tripod around with them.
The quick start-up mode allows you to be ready for action in 1.5 seconds, the fastest start-up of any camcorder on the market.
The SDR-S100 is approximately 51 percent smaller than the PV-GS250.
Portability (9.8)
They don’t get more portable than this, folks. Anything camcorder that gets lost in my hand is definitely going to fall under the ultra-portable category. And unlike the DCR-PC1000, there’s no docking station. The only thing you’ll have to pack is the power supply. The battery is small, and the LCD will surely drain power quickly. Fortunately, even the power supply is small and well-designed.
The only camcorder that can compete in the portability section is Sony’s DCR-P1000. For all this model’s faults (and there are quite a few), it is more preferable than Sony's other super-portable model, the DCR-PC55 (Specs, $549.99). And the SDR-S100? The manual control, the video performance, and the whole package, really, makes this a very good portable camcorder, if you’re only considering portable camcorders. The DCR-PC1000 weighs 470 grams. The DCR-PC55 weighs almost half that. And the SDR-S100 weighs even less that that, a tidy 243 grams without battery. It also has smaller dimensions, and is even considering entering the Miss Mississippi contest this fall.
Battery Life (9.0)
The SDR-S100 was tested for battery life by continuously recording in its highest mode, XP, with the LCD open and none of manual controls touched. It lasted 90 minutes and 20 seconds (1.5 hours). Because the XP mode takes up so much memory (only 25 minutes of recording on the 2GB SD card), we plugged the DC power in to erase the footage at each 25 minute mark, then immediately unplugged it and continued recording.
Compression (7.0)
The Panasonic SDR-S100 records video in MPEG2 files. Panasonic (and they’re probably not alone) is banking on the prediction that the memory card recording format is going to dominate the camcorder market in the next few years. Trying to get ahead of the curve, their engineers have been developing new encoding engines to increase speed and quality. The speed of the SD card itself is limited to 5MB per second right now, but 10 and 20MB per second are on their way.
The MPEG2 engine on the SDR-S100 is a totally new design from previous engines that were used on Panasonic DVD camcorders. Two features, a wide-range motion search engine and variable bit rate, mark the difference. MPEG2 compression operates by predicting the motion of the subject and matching against the motion that actually took place. The difference between those two, the predicted and the actual motions, get compressed. When the prediction is accurate, less data need to be recorded, resulting in a better image quality. Panasonic has worked to reduce the amount of prediction error.
The second factor, the wide-range motion search engine, has also been reworked to increase accuracy. Conventional compression systems only search a small portion of the frame for motion. Anything fast moving that moves out of that portion becomes blurry. The SDR-S100 features a search area four times larger than the conventional system.
All MPEG2 encoding also features a variable bit rate system, which adjusts the rate of recording based on the complexity of movement within the scene.
The SDR-S100 offers three recording qualities: XP, SP, and LP. SP (slow play) and LP (long play) are familiar to anyone with a VCR. XP is only available on digital media. Quality this good comes at a high cost. The included 2GB card can only hold 25 minutes of XP footage. SP mode extends to 50 minutes, and LP to 100 minutes
Media (5.5)
A 2GB SD card, capable of recording at 5 mbps, comes included with the SDR-S100. It can record to any SD/MM card. Two gigs only allows for 25 minutes of video at the highest setting (XP), but Panasonic promises that larger SD cards are on their way. Market trends confirm this prediction, as SD cards have become a de facto standard across platforms, ranging from camcorders to computers and pocket computers to MP3 players.
In still mode, the 2GB card can hold up to 1,280 photos in Fine Mode at its highest resolution, 2048 x 1512. We gave the SD card a media a score of 5.5, slightly higher than the JVC Everio score (5.0) because SD media are slightly more affordable and accessible than CompactFlash media. The bottom line is that while there are advantages to SD and CF over tape, they are still far more expensive than MiniDV.
Editing (4.0)
Editing the SD footage is one of the growing pains of this burgeoning medium. The SDR-S100 ships with MotionSD Studio, a rudimentary editing system. When importing clips onto a Windows computer, the file extension .MOV is not a valid file format for importing into the major consumer editing programs (Premier and Final Cut Pro). There is a simple solution to this problem: manually change the .MOV extension to .MPG. This seems to be a wholly unnecessary step, and one that users are not likely to stumble upon themselves.
MotionSD is among the better editing programs that we have seen packaged with a camcorder. It specializes in converting clips into MPEG4 for email and outputting clips directly onto a DVD. If you’re a fan of incredibly cheesy special effects, like inserting clip art animation into your video, you’ll be in for a pleasant surprise. Files can be sent to your computer via USB or by simply inserting the SD card into a media slot.
Widescreen/16:9 Mode (4.0)
The SDR-S100’s widescreen LCD makes for a beautiful picture. When shooting in 4:3, the screen creates letterboxes on the left and right, truncating the width. Your tendency, then, is to want to utilize the entire screen. But is the widescreen mode true 16:9? It does not appear to be so. Our wide angle tests revealed that the switch from 4:3 to 16:9 only added about 2 degrees of information on the sides. Considerable picture was cropped from the top and bottom, which is a camcorder’s cheap way to then push out the sides and fill a 16:9 frame. This is similar to the Squeeze mode found on some JVCs.
4:3 Standard Aspect Ratio
Widescreen Aspect Ratio
Scan Rates/24P (0.0)
There are no other scan rates available on the SDR-S100.
Ports (3.0)
Because the primary recording medium of the SDR-S100 is an SD card, which can be readily removed and inserted into a computer (and now some TVs), the ports are sparse. All are located under a hard plastic cover in the rear. They include a USB, a DC power in, and a “Multi” port. The multi-port can be used for A/V or S-Video, both of which are included in a single set of cables. Panasonic also ships an adapter which converts the multi-port into an 1/8th” stereo jack for headphones.
The SDR-S100 receives such a low score in the ports section because it lacks a microphone jack, a shoe, and a control jack. FireWire was not expected in a flash memory camcorder. We should note that the GZ-MC500 does not include a mic input either. The GR-X5 does have a mic input, as well as separate ports for the composite A/V / S-Video and headphones. This is a useful feature for doing professional-style shoots when you want to display the video-feed on a monitor while using headphones to check sound.
Other Features (4.0)
Closed Battery System-- We’ve already mentioned this, but the other features section is where we are forced to lower the SDR-S100’s score because of this careless engineering move. People want a long battery life. It is one of the consumers’ highest priorities.
Quick Start – Closing the LCD will shift the SDR-S100 into a sleep mode. The Quick Start feature brings the camcorder into a state of readiness to record within 1.5 seconds of opening the LCD.
Optical Image Stabilization (OIS) – This stabilization process is superior to the digital image stabilization system found on many other camcorders.
Wind Cut – The Wind Cut feature reduces high-end noise in the audio, which is often caused by the wind.
MagicPix – In dark environments, the MagicPix mode will automatically slow down the shutter to increase the light intake. This feature will cause blurring. You’re better off turning on a light.
Tele-macro – This feature allows you to take closeups of your subject within 50 cm. It is denoted by a flower icon in the manual control menu.
Soft Skin Mode – Your subject demands a closeup, but you’re afraid the lens might crack. No problem. Soft Skin Mode softens the focus to make even the ugliest step-sister a little more palatable.
Backlight Compensation – If a strong backlight is causing your subject to appear too dark, this feature brightens the entire image.
Zoom Mic – This feature works in tandem with the zoom in an attempt to match audio.
Web Cam – The SDR-S100 can be used as a webcam when the proper driver is downloaded from the included CD-ROM.
Comparison
JVC GZ-MC500
The main competitor in the category of Hot New Recording Medium for a Camcorder, the GZ-MC500 utilizes a 4GB Microdrive that can fit into CF card slots. Like the SDR-S100, it captures video to MPEG2. The differences in file sizes and qualities are best explored by reading the Compression sections of each review. In short, the Panasonic promises to deliver higher quality video, thanks to its new compression techniques, but it will take less footage overall. Handling is a draw. The GZ-MC500 welcomes a two-handed operation, which should make for a steadier picture, but the digital image stabilization is not quite as good as the SDR-S100’s optical system. Video performance in the GZ-MC500 was not as sharp or distinguishing in its colors. This JVC model did rule the still performance category, though, with a just-under-5 MP count and better stills than any consumer camcorder. Both camcorders have great manual control feature sets, but the joystick on the MC500 is simply too small to want to bother with.
Sony DCR-PC1000
The Sony DCR-PC1000 is the apparent prototype to the design of the SDR-S100. The bodies are almost identical, from the snub-nose look to the built-in lens cap to the widescreen LCD as the sole viewing device. Panasonic has definitely improved on form and function. Their camcorder is both sleeker and easier to use. The manual control contrast is remarkable. Sony offers virtually nothing, while Panasonic has included nearly all the controls from the PV-GS250. Sony does outrank the SDR-S100 in automatic controls. Also, editing MiniDV footage is going to be much easier than the MPEG2 files. The DCR-PC1000 has a hot shoe on top, but no mic input either. Both of these camcorders also have the unfortunate burden of a closed battery port, curbing your options of upgrading to a longer-life battery. The DCR-PC1000 and the SDR-S100 were on equal footing for video performance, but the better manual controls and navigation put the SDR-S100 over the top.
JVC GR-X5
The GR-X5 surprised all of us by putting out stellar results in all the performance categories. Handling is somewhat of a problem, but certainly no more than the SDR-S100 is going to present. The GR-X5 has the benefits of more ports, including a mic input, and an accessory shoe (though cold) on top. Both were excellent performers. In bright light, the GR-X5 had more vivid colors, but was not quite as sharp as the SDR-S100. Which is the better tradeoff is something that you’ll have to decide for yourself if you’ve narrowed it down to these two camcorders. The GR-X5 also has all the benefits that MiniDV offers, including easy editing. It is, however, twice the size of the SDR-S100.
Panasonic PV-GS250
Cousin to the SDR-S100, the PV-GS250 has almost all of the same specs and features, and then some, in a traditional horizontal shape. Added benefits to the PV-GS250 include a focus ring, a mic input, and an accessory shoe (hot). Minus these, the SDR-S100 has the same basic features in a highly portable package. The other primary difference is the recording medium. The PV-GS250 uses MiniDV. If you’re serious about video, the PV-GS250 is the better choice. The larger shape assures a steadier shot, and, let’s face it, are your subjects going to take you seriously if you're holding the SDR-S100?
Sony DCR-DVD403
The DCR-DVD403 is the current king of DVD camcorders. That may not be saying a lot, but it’s so far above its kinfolk that we have lauded it as one of the best camcorders this year. DVD camcorders are founded on their simplicity. Record to a DVD, pop it out, and pop it back into your player. SD is vying for that same market, and catching up quickly. The improved compression techniques of the SDR-S100 are superior to DVD, and the medium can hold more information (2GB vs. a typical DVD’s 1.4GB). Performance was a tougher call. The DVD403 is remarkably brilliant, with colors that simply burst off the screen. The results from the SDR-S100 were more subdued, but also much sharper. If you’re serious about editing, remember that you can always color correct, but you can’t make a shot any sharper. The final battle is controls. Automatic controls are excellent on the DCR-DVD403, while manual controls are bare bones. On the SDR-S100, manual controls are great, and automatic controls are passable. The DVD403 is the better choice for a point-and-shooter, but if you want to experiment, try a Panasonic.
Who It’s For
Point-and-Shooters (4.0)
This is an awfully big expense for a point-and-shoot camcorder. If you’re set on non-tape media, it may be a while until the price comes down. The Sony MicroMVs and the lower-end JVC Everio, the GZ-MC100, are all more affordable, though they may not offer the same level of quality.
Budget Consumers (2.0)
At around $1200 (retail), the SDR-S100 is an expensive proposition. So for you, the budget-minded techy, I recommend the PV-GS35 (Review, Specs, $359.95) (Review, Specs, $283.25), which offers a bundle of manual controls and features for a steal – under $500. You can also wait a year or two for SD recording technology to drop in price.
Still Photo / Video Camera Hybrid (4.0)
At 3.1 MP, the SDR-S100 produces exceptionally sharp stills. It lacks many of the features, however, that made the GZ-MC500 and GR-X5 so outstanding as hybrids: bracketing, a wide range of resolutions, time-lapse, ISO settings, etc. Also, the colors of the SDR-S100 were not as bright as some on much cheaper camcorders, like the PV-GS150.
Gadget Freaks (9.0)
The SDR-S100 is certainly a technological achievement. For its size, a camcorder can’t do better. You’re sure to draw envious stares at the yacht club or rodeo when you whip out this sleek, silver wonder.
Manual Control Freaks (7.0)
The manual controls on the SDR-S100 are excellent, as they are with most Panasonics. They suffer from the drawback of design; it’s hard to single out one particular control and change it without the camcorder automatically adjusting all the other features to compensate. This is a problem of Panasonics in general, but they still offer much more control than models you’ll get from other manufacturers.
Pros / Serious Hobbyists (6.0)
Don’t be surprised to find out that excellent picture quality is being integrated into smaller and smaller packages. The SDR-S100 is just about equal to the PV-GS250; it just looks different. Yes, the matchbook style presents some handling issues, but it fits to a tripod, no problem. Think of this as your highly portable, still respectable backup. Plus, it hardly takes up any room in your XL2 bag.
Conclusion
You think you can trust a manufacturer, and then, wham, they come out with a huge disappointment like the SDR-S100. We thought we knew you Panasonic, why did you betray us so?
The SDR-S100 has hints of Panasonic’s stellar MiniDV line: the great normal light performance from 3 CCDs, the great manual control. But the similarities end there. The first warning sign that this isn’t a camcorder like a Panasonic 3 CCD MiniDV model comes with the non expandable battery. No camcorder user, I don’t care if they are point and shoot, or an expert videographer for NBC Nightly News, is going to seriously consider a camcorder with a non expandable battery. When you add that with no audio input at all this becomes a camcorder with a completely closed system that is a huge mistake.
We hated Sony’s DCR-PC1000 for its closed system design, but at least it had a shoe that could take proprietary microphones. The pathetic thing is though that on the DCR-PC1000 the move at least seemed intentional, but here, it just seems like a careless engineering misstep. If you are spending $1,000 on a camcorder, why in the world would you buy something that you can’t get a battery longer than an hour or two for, and that you can’t get any decent audio out of, even if you want to?
On top of these major engineering flaws, the SDR-S100 hurts in the low light performance category badly and the stills were really not that good either. We will say, that size wise, this camcorder is pretty cool, and if you’re going for quality per cubic inch, this is probably the best model out there. Though the models that are trying to compete aren’t superstars themselves. I know some of you point-and-shoot users you might be reading this harsh conclusion and saying, “I don’t know, it looks so cute, I mean, I can buy a couple extra batteries and I don’t think I’ll ever use an external mic.” Stop, please, do us a favor, trust us, you should always buy camcorders that give you options. That’s always been our creed here and it’s why we’ve loved Panasonic Superstars of the past like the PV-DV953 (Review, Specs, Recent News, $899.88), PV-GS400 (Review, Specs, $1099), PV-GS250 and PV-GS65. Chances are, at some point, your going to need a big battery or an external microphone and you will regret this purchase. Trust us.
There is likely a small market for the SDR-S100 among existing camcorder users who already have a primary camcorder with the all the audio and battery bells and whistles, and want a fun, on-the-town camcorder. I don’t know you, but I don’t have $1,200 to spend on my second camcorder. But hey, plenty of people do. The rich get richer, and the rich get SDR-S100s. Maybe when this technology drops to $400, the plebeians might get a chance. As for now, we’re afraid we cannot recommend this camcorder. It’s a good start, but it needs time to mature.