Sony HDR-SR7 First Impressions Reviewby Michael PerlmanPublished on May 23, 2007 1:55 PM 
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The Front
Up front on the DCR-SR7, you’ll be greeted by a colossal 10x Carl Zeiss Vario Sonnar T* lens with a filter diameter of 37mm. The lens bears threads for that fisheye or telephoto add-on, and has a focal length of 5.4mm-54mm with the following 35mm equivalent lengths: 40-400mm (16:9 Camera Mode), 49-490mm (4:3 Camera Mode), 40-400mm (Memory Mode), 37-370mm (4:3 Memory Mode). A digital still flash is embedded in the left side of the lens frame. We generally prefer a top-mounted flash like the one found on the Sony HDR-SR1 (Review, Specs, Recent News, $1119.99) because of its even light distribution and compact design. Below the lens to the right is the BLC or backlight compensation button, which is usually placed within the LCD cavity or top ridge of the camcorder’s left side. Mounted the BLC button on the front could add another hoop to jump through for those who look beyond Easy mode. The remote sensor lies to the bottom left of the lens and conforms to the SR7’s curvaceous geometry.
The Right Side
The right side of the HDR-SR7 is home to a dancing array of logical placements. While we gripe about certain camcorders and their lack of mic and headphone jacks or ill placement of the said coveted connections, Sony has included both on the SR7 and placed them side by side, behind their own personal port cover. Bravo! No fiddling within the LCD cavity or endangering the field of vision with rogue cables—the SR7 houses its mic and headphone jacks in a secluded zone. The only thing you’ll have to watch for is the hand strap’s tendency to pull up, creating strain on the headphone plug, so make sure you buckle up tight. Above the mic and headphone jacks is the HDMI terminal, housed by its own thin plastic cover. The hand strap itself is, well, not cheap, yet not expensive either. It’s the same hand strap you’d find on the Sony DCR-SR300 (Review, Specs, $761.95) and HDR-SR5, and you can expect the same level of rigid comfort and thin padding as the Canon HV20 (Review, Specs, Recent News, $903)’s. Glossing over Sony’s HDD case, you’ll see a small jack cover switch to the far left. When slid open, this mini plastic garage door reveals the component and A/V terminals. Again, Sony’s port placement rocks. Migrating as many cables as possible to the right side of the SR7 reduces the level of LCD and back end clutter. This is how a camcorder should be designed.
The Back
The back of the SR7 can be divided into two sections: the battery and the vertical control panel. Let’s take care of the battery first. Remember the cavernous chamber found on the Sony HDR-HC7 (Review, Specs, Recent News, $1128.56)? That’s not quite the case here. The SR7’s bulky battery juts out a good 1/3” past the edge of the viewfinder. If you want to upgrade to a larger battery, get ready for, you guessed it, a big old, hard plastic party in your face. Luckily, the color viewfinder extends upward, removing the shooter from the danger zone, but craning your neck for prolonged periods of time will not equate to an ergonomically sound shooting environment. The viewfinder unfortunately has a plastic eye cup and its dioptric adjuster is located on the bottom rim. Now on to the control panel. At the top is the horseshoe-shaped mode dial, resting in an easily accessible location in relation to the index finger. A round black flash button sits below the mode dial, followed by the movie and photo lamps. To the right, just above the end of the hand strap, is the record start/stop button, which is set within a raised plastic plateau, increasing the proximity to the thumb and allowing for easier button access. To the bottom right of the battery is a set of ports housed by two burly plastic port covers that sit flush with the SR7’s body—the remote jack and DC input.
The Left Side
So far, the HDR-SR7 is looking pretty damn fine, but its sexiness would be pumped to the max if it had an HDR-SR1-size LCD screen. Instead of a massive 3.5 inch screen, you get a standard 2.7” wide screen. Think of how badass the SR7 would have been with a whopping 3.5". Sony’s touch screen interface does not fare well with smaller screens because the buttons are smaller, increasing the dosage of vexation users will experience when they attempt to repeatedly press a button before a attaining a response. The LCD panel contains a horizontal strip of controls on the bottom consisting of record start/stop, zoom in/out and home buttons. There buttons are thin and resemble the same kind of interface as a mini Bose stereo remote control. You’ll notice a grooved cylindrical cam control dial embedded in the lens barrel. Yup, it’s the same one found on the HDR-HC7. A manual mode button is located directly below the dial and enables a quick shift right at your fingertips. The dial is a bit slippery and annoying to control, but it’s better than using the touch screen. Inside the LCD cavity, you’ll see five items (see Manual Control below for more info). Since all of the ports migrated to the right side of the SR7, the well is pretty dry over on the left side. A row of three small buttons span across the bottom and include display/battery info, media, and playback. The life raft of all camcorders sits above in the form of an Easy button, one of Sony’s claims to fame in the consumer realm. To the right of the Easy button is a slot for a MemoryStick PRO Duo, and that just about concludes the LCD cavity’s minimalistic interior.
Above, the left side of the HDR-SR7 in profile.
Below, a look inside the LCD cavity.
The Top
5.1 Channel Dolby Digital Surround Sound microphones are found on most higher-end Sony consumer camcorders. The SR7’s sports one, siting at the bough of the ship, above the lens. The placement is poor. Those with hands larger than an Oopma Loompa’s are likely to scrape against or muffle the mic. Why do manufacturers do this? To rebel against the conventional front-mounted mic? Is it a style choice? Or is Sony attempting to shave as much bulk as possible. Whatever the case, watch your finger placement. Behind the built-in mic is Sony’s proprietary AIS (Active Interface Shoe), or hot shoe. The downside is that the hot shoe is only compatible with Sony products, narrowing your scope of aftermarket components. The hot shoe’s rigid plastic cover sits flush with the lithe lines of the SR7’s top and remains secure when snapped into place. In the valley on the way to the zoom toggle is a NightShot switch, again, another primo placement by Sony—the action is immediately accessible. Toward the back right is the smooth, responsive, HC7-esque zoom toggle accompanied by a wide photo button.
