Sony DSR-PD170 Camcorder Review
by Tony FonsecaPublished on Apr 13, 2004 12:00 AM
The DSR-PD150 has been an excellent performer since it came out years ago but it has matured over time. As other companies such a Panasonic introduced new cameras like the AG-DVX100 with features such as 24p recording, the DSR-PD150 began to loose its luster. Many people expected Sony to do something outrageous and cutting edge to steal the thunder from the AG-DVX100 and XL-1s, but Sony did the opposite. However, inspite of all this the DSR-PD170 (Review, Specs, $2579) proves that solid video performance is still the ticket to a great camera, even without many of the new features hyped by other camera makers.
When the DSR-PD170 was released many thought of it as an insignificant update as if Sony was simply going through the motions and not delivering a top notch product. Where was the 24p? Where was the true 16:9? Sony's future plans became clearer when they announced that a prototype of an HDV camcorder would be shown at Cebit in Germany. It seems that Sony's advanced technology will be going into the HDV camera, but their Don't fix it, make it better campaign holds some serious merit. 24p, 16:9, and interchangeable lenses are hot features, but they aren't for everyone. When the AG-DVX100 came out it was targeted squarely at indie filmmakers. 24p is a frame rate that is used to mimic the motion characteristics of film, but more importantly for film transfer so that a 1 to 1 match can be made. This feature was revolutionary at the time and has not yet been duplicated by a camera in this range. That having been said, the DSR-PD150 has always been used by independent filmmakers along with the XL-1. The DSR-PD170 is a well balanced camera that can be used for a variety of professional video applications from corporate video to news gathering. This model can also be used for filmmaking, but it doesn't emphasize this as much as the AG-DVX100 which is designed almost exclusively for digital cinema.
Video Performance (9.5)
The DSR-PD170 ($3,940 MSRP ) produces excellent video. Lately this camera has gotten a lot of acclaim for its improved low light performance but this should not over shadow its excellent performance under ideal lighting conditions. At 3000 lux the DSR-PD170 is phenomenal. Colors are vibrant and really bring a nice feel to the image. The three 1/3 inch CCDs all have 380,000 total pixels and 340,000 effective for video acquisition in the 4:3 aspect ratio.
The DSR-PD170 runs in a highly competitive crowd that includes the likes of the AG-DVX100 and the XL-1S. Both of these cameras have been praised for their excellent image quality and in particular the Canon is often considered to rule the throne when it comes to color reproduction.
At this light level color reproduction on the DSR-PD170 was more vivid than on the AG-DVC30 (Review, Specs, $1700.89) and is on par with the GL-2 and XL-1s. The XL-1S always seemed to the best camera when it comes to color reproduction, but the DSR-PD170 is better. Sony has not claimed that they improved anything from the previous model other than upping the minimum illumination rating from 2 lux to 1 lux. Whatever they did to improve the low light performance has also improved the overall image quality even at 3000 lux.
When compared to Panasonic’s AG-DVX100, the DSR-PD170 easily produces a more vibrant image. Good color saturation is often a matter of personal preference, but it is abundantly clear that the DSR-170 more fully represents the color palette whether the user likes muted colors or not. This is ultimately why the AG-DVX100 looses to the DSR-PD170 in terms of image quality.
When compared to the XL-1S the image is just as bright and the colors are more robust and vibrant. This may come as a shocker to some because the XL-1 has often been considered the champ when it comes to color reproduction. The Sony really delivers a rich image that is bright and defined. Doesn’t get much better than this.
The DSR-PD170 beats the DSR-PDX10 (Review, Specs, $1349) which also is very good at 3000 lux but doesn’t reproduce color as well. The AG-DVC30 which has a similar profile to the AG-DVX100, is not as rich as the DSR-PD170. Overall the DSR-PD170 has the best picture quality at 3000 lux of any 3CCD 1/3 inch camera currently available.
The Front (9.5)
Like most cameras the front of the camera primarily features the lens and the lens hood. Where Sony distinguishes itself is with the special features they include. The standard lens hood includes a built in lens cap that is activated by a toggle switch on the right hand side (when looking at the camera from the front.). This is an innovative feature and it means that there is now no excuse for leaving the lens unprotected between shots.
Most cameras in this range have trouble with on camera mic placement but not the PD170. The built in XLR breakout box rests at the front of the top handle where the microphone would typically be on cameras such as the VX2100 (Review, Specs, $1980) and the GL-2. The included shotgun microphone is held up and out to the left by a rubber dampened holder. This is great because the mic is protected against many on camera noises produced by the tape mechanism and user manipulation. An IR window is on the tip of the breakout box.
Even more impressive than the built in shutter on the standard lens hood, is the inclusion of a wide angle lens adapter. Most cameras in this range have lenses that are permanently housed within the body of the camera. The exception to this is Canon's XL-1 which allows the user to actually remove the shooting lens and replace it with one that is more appropriate for the shooting circumstances. In order to get around the limitations of a built-in in lens Sony has included a lens adapter. The wide angle lens adapter screws onto a thread that runs around the standard lens. Once attached its significant heft is apparent and Sony includes a special lens hood to accommodate the extra girth. The wide angle lens hood is actually a two piece structure that must be broken down and rebuilt around the wide angle lens. Once attached and viewed from the front, the wide angle lens and hood are impressive. The adapter is so big that it seems more like an office window behind the hood rather than a lens. Unfortunately the wide angle lens hood doesn't include that same sort of built in lens cap as is featured on the standard lens hood, but it does come with a separate hood cap. Sony should be applauded for including so many great features and other companies should follow suit.
The Right Side (8.5)
The XLR breakout box and the microphone attachment are the first details that stand out when moving rearward from the lens hood. The XLR breakout box is built into the body unlike the AG-DVC30 and the PDX10 where the box is an add on piece. There are two inputs, a channel 1 and a channel 2. Both supply 48Volts of phantom power when needed. The Microphone holder sits on top of the box and protrudes away from the camera. It features a rubberized shock mount and a screw down holding clamp.
The two control rings sit just below the breakout box. Yes there are two rings. Serious users want two rings around the barrel and Sony does a great job on this model by including them. Both rings are rubberized and textured for better grip. The first ring is a dedicated focus ring and the second is a narrower ring that is dedicated to zoom.
Two body colored port flaps sit just aft of the zoom ring. An S-Video port and three full sized RCA connectors are located underneath the first port flap. The second is a bit smaller and conceals the headphone and Lanc controller jacks. A red dotted silver record button sits on top of the port flaps.
The tape mechanism and the hand strap are located just aft of the port flap. Sony excels in the hand strap department and the PD170 is no exception. The hand strap is made of a felt like material that is kind to the hand. The tape door and mechanism are completely isolated from the hand strap so the user may have to loosen it when taking the tape out depending on how tight the strap is adjusted. Interestingly, the Sony has an additional button on the exterior of the tape door labled push. This is similar to the VX2100 and the previous PD150, VX200. The reasoning is not clear, but it necessitates three steps to fully close the tape door. The tape mechanism must be pushed down, the door must be pushed closed, and the button on the outside must be pushed as well.
The zoom rocker switch, a photo, and the battery eject button sit atop the tape mechanism housing. The tape eject switch sits just aft of the tape housing. The VCR/OFF/ON/Camera/Memory selector is right at the back of the camera next to the battery compartment.
The Back (9.0)
The new and improved viewfinder is the most prominent feature when viewing the camera from the back. Sony has upgraded the eye piece from the PD150 and it now is wider and includes a deeper eye cup. It can be tilted up and includes a diopter for user customization.
The deeply recessed battery compartment is housed directly underneath the EVF. The VCR/OFF/ON/Camera/Memory selector is just to the right of the battery compartment.
Similar to the DSR-PDX10, A column of Program control buttons is located to the left of the battery compartment. Buttons for Gain, Shutter Speed, White Balance, AE Shift, and the push/ select scroll wheel are represented in descending order. The DSR-PD170 differs from the DSR-PDX10 by placing the Auto Lock/ Manual/ Hold switch and the Audio Level button in a separate column to the left. The DSR-PD170 is packed with controls all over the body, but the back of the camera really serves as the center for manual control.
The Left Side (8.0)
The left side of the camera is packed with features. The two dedicated focus rings are the first features when beginning at the front of the camera and moving towards the back. The focus and zoom ring are worthy of note because they are virtually flawless. Both are impeccably textured and offer just the right amount of drag. It doesn't get much better than this.
The XLR breakout box rests just above the rings and is controlled from the left side. The box is labeled on the bottom with white lines indicating controls for input 1 and input 2. The box also allows the user to select what channels will be recorded; either channel 1 and 2 or channel 1 alone. Each of the two inputs gets its own manual control and the user can select input levels from LINE LEVEL, MIC LEVEL, or MIC ATT. When the user selects MIC LEVEL or MIC ATT 48 volts of phantom power is available on both inputs.
Moving down from the breakout box and aft of the focus and zoom rings, a cluster of control buttons is found. The ND (Neutral Density) Filter switch is a vertical slider with 3 stops. It can be set to off. ND1, or ND2. The index mark button and the Auto/Manual focus slider rest just aft of the ND slider. Focus can be set to Auto, Manual, and when pushed to its lowest position the slider rests at the IFINITY mark. The Push Auto button is just below the Focus slider.
The silver dedicated Iris dial sits just rearward of the focus slider on a metal half circle that marks the transition from the lens to the tape mechanism and rear of the camera. A silver button sits to the right of the Iris dial and activates the dial when desired. End Search and Edit Search buttons are located above the Iris dial further up on the body.
The Fader button, the Backlight button, and the Spot Light button are right next to each other laid out in a row underneath the Iris dial.
Moving on to the right the next feature is LCD housing. The casing features a small external LCD screen and prominently displays the DVCAM logo. Just beneath the LCD housing lay the back light, spot light, edit, search/ buttons and the auto lock/ SEl, Push Exec/ hold switch. Just to the right of the LCD door is the small menu button
Opening up the LCD panel reveals a high resolution 2.5 inch screen. A grouping of buttons rests on the back panel behind the LCD. Buttons for Display, Data Code, Title, and TC/U-Bit are in a column in descending order. A grouping of Memory buttons sits to the right of the Date Code and Display button. Memory buttons include Play, Index, Delete, -, +, and Memory Mix. A Digital Effect button and a Menu button sit just under the Memory section. The Zebra level selector is located at the bottom of the panel. Zebra can be set to 100 IRE, 70 IRE, or OFF.
The Top(6.0)
The top of this camera is loaded with features. Starting at the front, the first detail is the metal accessory shoe. Moving back on the top handle, the user will come across an additional record button and zoom rocker switch. The shotgun holder and microphone rests just off to the right. Continuing back along the top handle brings the user to the small zoom speed selector. The speed selector can be set to off, H (fast), or L (slow).
Going back to the front underneath the microphone holder and to the right of the top handle, brings the user to another record button. The primary zoom rocker, the photo button and the tape mechanism are situated towards the back of the camera and to the right of the zoom handle. The battery release and the tape eject button are also visible from the top.
The VCR buttons are located underneath the top handle but are not visible under normal camera operation. When VCR mode is selected the buttons underneath the top handle light up revealing themselves. Buttons include slow play, record, audio dub, stop, rewind, play, fast forward, and pause. An end search button and an Edit Search rocker are close to the VCR buttons but are not illuminated.
Picture & Manual Control
Automatic Control (5.0)
Make no mistakes about it; the DSR-PD170 is a professional camera. Automatic control was not the focus with this model so if you are looking for a point and shoot, look elsewhere. That having been said, the DSR-PD170 still offers many automatic features that will serve to enrich and expedite controlling the camera. Unlike the DSR-PDX10, the DSR-PD170 does not include a touch screen. This may be a problem for some users who are accustomed to navigating menus this way.
Auto exposure is very accurate and does not rely on heavy gain to brighten up the image. Unlike the PDX10 there is no Program Auto Exposure feature. Here the user simply gets an Auto Exposure Shift button (labeled AE SHIFT). AE SHIFT does not include pre programmed scene files like the Program Auto Exposure on the PDX10 which had built in adjustments for portrait, shooting sports, shooting in the snow and sand etc. AE SHIFT simply allows the user to stay at the same F-stop and raise of lower the gain to brighten or darken the exposure. Dedicated back light and spot light buttons are located right below the Iris wheel. These buttons allow the user to quickly obtain a better exposure in troublesome lighting situations.
Manually white balancing is always the best way to go but the auto white balance feature is very accurate. Like most cameras, the whit balance is confused by multiple light sources of varying color temperatures. The user should always take the time to white balance in any new shooting environment if possible.
The auto focus is very fast and exhibits very little hunting and seeking. This is really not the camera to buy if automatic features are the priority. The DSR-PDX10 is much better than the DSR-PD170 when it comes to automatic control.
Overall Manual Control (9.5)
The DSR-PD170 is a star when it comes to manual control. Similar to the DSR-PDX10 and the DCR-VX2100 (Review, Specs, $1980), manual control is initiated by moving the auto lock/select/hold switch to the middle position. Once this is done the user has the ability to access the manual controls through the row of buttons located on the back of the camera to the left of the battery.
Focus can be switched to manual control any time by moving the focus slider from AUTO to MAN. The user can re-engage auto focus at any time by pressing push auto button.
Zoom (9.0)
The DSR-PD170 features a 12x optical Zoom. The zoom can be controlled by either the zoom rocker, the top handle, or the zoom ring.. Unlike the AG-DVC30, there is no numerical zoom indicator available on the LCD display or in the EVF but there is a zoom meter that displays how close the lens is to full wide or full telephoto.
Controlling the zoom is excellent. As mentioned above, the feel of the zoom ring is top notch. The zoom rocker is better when a long zoom needs to be executed, but the ring is the best for minute zooms like zooming from a close up to an extreme close up. It is fairly easy to get a constant zoom speed with the rocker and the ring, but this can take practice. When zoom speed must stay constant, the zoom control on the top handle can be set to a constant fast or slow speed. Overall the zoom is great.
Focus (9.0)
The focus on the DSR-PD170 is controlled by the larger ring on the front of the camera. Sony got the feel of the focus ring just right. There is just enough drag so that movement of the ring is deliberate and noticed, but not so much that it frustrates the user. The DSR-PDX10 also had the perfect amount of drag but it lacked the superior texture of the DSR-PD170's larger rubber ring.
Unlike the DSR-PDX10, focal distance is not displayed on the bottom of the LCD or in the EVF. This is odd because the DSR-PD170 is a higher end camera. In the end it doesn't detract from a great user experience but it would be nice to see this feature added to the next version of the DSR-PD170.
Exposure (Aperture) (9.5)
Sony gives the user absolute control over exposure with this model. The DSR-PD170 gets it right where the DSR-PDX10 went wrong. The user controls the exposure by means of the dedicated Iris wheel and button located on the left side of the camera. Pushing the Iris button makes the scroll wheel active and enables the user to open or close the iris at will. The DSR-PD170 provides 12 distinct stops from fully closed (F11) to fully open (F1.6). The DSR-PDX10 did not give the exposure in F stops which may be a problem to professionals and seasoned users.
The dedicated Iris dial is very convenient. It allows the user to instantly adjust the exposure without going through menus. The exposure control on the AG-DVC30 is forced to split time to control the shutter as well as the gain, and the DSR-PDX10 doesn't allow the user to adjust both shutter and exposure at once. The DSR-PD170 brings first class exposure control to the user.
Shutter Speed (8.0)
Shutter speed on the DSR-PD170 can go from ¼ second to 1/10,000 of a second. Unfortunately, the DSR-PD170 does not include any kind of TV frame rate match mode as is featured on the AG-DVC30. Other than that shutter speed is handled very well. The dedicated shutter button is on the back of the camera to the left of the battery compartment. Once pushed in, the scroll wheel at the bottom can actively control the shutter speed. Dedicated buttons are great because they allow the user to immediately select an option without dealing with menus.
White Balance (9.0)
White balance also has a dedicated button that is located on the back of the camera to the left of the battery compartment and once pressed it allows the user to control the white balance from the select scroll wheel. Settings include daylight, tungsten, and manual. The automatic white balance is good but is confused when faced with multiple color temperatures. As always, the user should manually white balance whenever possible.
Gain (9.5)
Gain control is fabulous on this camera. Sony made a mistake on the DSR-PDX10 by not allowing the user to manually adjust the gain. Here Sony gets it right by following the established theme of giving dedicated buttons to important manual functions. Gain is the top button on the back of the camera near the batter compartment. Pressing the button activates gain control and allows the user to raise or lower the gain with the scroll wheel at the bottom. Gain control is more convenient here than on the AG-DVC30 or the DSR-PDX10.
Still Performance(4.5)
The DSR-PD170 has still performance which is very similar to the DCR-VX2100. Still images can be recorded to Memory Stick at 640 x 480 resolution. The Memory stick allows the user to transfer stills without using the camera provided the user has a memory stick adapter. Users looking for better still performance should consider the DSR-PDX10 which has Mega Pixel CCDs. The DSR-PD170 doesn't care about still performance because its simple not made for that. The DSR-PD170 is a serious video camera and users should not be looking for still performance on this model.
VCR Mode (9.5)
The PD170 sets itself apart with unique VCR controls. Most cameras place their VCR controls behind the LCD housing. The buttons are usually too small and very difficult to see in dim situations. The DSR-PD170 does it right by continuing the trend of putting backlit buttons underneath the top handle. This location is great because it sets them apart from other camera functions. The buttons light up with an orange glow making them very easy to access in dark places like as a dimly lit dub rooms or studios. Buttons are fairly small but very easy to differentiate because they are all backlit. Users with large hands may prefer the bigger buttons on the AG-DVC30.
Low Light Performance (9.5)
Low light performance on the DSR-PD170 is the best of any 1/3 inch chip camera. At 15 lux the image is still very clear and saturated.
The DSR-PD170 beats the DSR-PDX10, AG-DVC30, GL-2, XL-1s, and AG-DVX100 (although just by a hair) in low light performance. This camera beats the others by maintaining great image quality as the lights go down. Some cameras such as Sony’s own DSR-PDX10 look great at 3000 lux and are not far from the DSR-PD170 in terms of image quality at that level. When the lights are turned down to 60 the DSR-PDX10 stumbles and has to boost the gain. The AG-DVC30 can hang at 60 but croaks at 15. The venerable XL-1s just can’t reproduce the same brightness or image clarity as the DSR-PD170 can at 15lux. The AG-DVX100 is very close to the to the DSR-PD170 in low light performance, but it doesn’t produce reproduce vibrant colors as well as the DSR-PD170 especially in low light when the gain is turned up.
For the sake of comparison, all pro cameras are tested with auto and manual settings. This is done to make the tests objective by showing what the camera will shoot with all factory settings and also to show what the camera could shoot like when adjusted manually. Judging a low light image is difficult because there are many elements to consider. Some would favor overall brightness of image while others would place image clarity on top. We always provide a chart shot on auto so that an objective comparison can be made, but when it comes to manual settings things are harder. Manual adjustments are often done with the goal of eliminating gain and because of this our manual images may sometimes appear to be darker than the automatic images. This is done in part because we feel that gain detracts from an image and also so the reader can see what a clear image looks like without the gain. That having been said, there are certainly users who would prefer a brighter image with grain over a darker image without. In order to provide the most accurate account possible, these low light tests were done differently than previous reviews. Here each camera (DSR-PD170, XL1-S, AG-DVX100) was tested at 15 lux and 60 lux on certain specified manual settings. I chose to conduct all the low light tests at 1/60 shutter speed so the reader would know how the camera can function in low light while continuing to capture motion at normal speed. The following paragraphs are an account of the low light testing and why the DSR-PD170 is the overall winner.
15 lux Auto
The DSR-PD170 produces a brighter image than the XL-1S. Both cameras offer excellent color reproduction and the Canon is particularly good with greens. The DSR-PD170 is better with magenta, red and purple. Seems to reproduce the most accurate chart color wise, but its image was much darker than that of the DSR-PD170. Because this is an auto test, the cameras fall victim to their auto white balance capabilities. That having been said, the AG-DVX100 did not produce a good image on this test. The DSR-PD170 is the best at 15 lux auto.
15 lux Manual Gain 0dB
When compared to the Canon, the Sony clearly has the better image and beats the XL-1S. Overall the DSR-PD170 delivers a brighter cleaner image. Notice on the screen shots how the Canon has trouble differentiating between the two darkest rectangles on the black and white section of the chart.
The Panasonic comes back to life when manually adjusted. The DSR-PD170 and the AG-DVX100 are incredibly close but the Sony wins by a hair because of the excellent color reproduction in the magenta tile, the purple tile, and the brown tile. On this test the AG-DVX10 is slightly better with green, but on the whole it presents an image that seems washed out when compared to the Sony and the Canon.
The DSR-PD170 beats the XL-1S easily and the AG-DVX100 by a hair.
15 lux Manual Gain 6dB
The AG-DVX100 and the DSR-PD170 run very close. The Panasonic is brighter at 6 dB of gain but not as saturated as the DSR-PD170. As mentioned above, the Panasonic presents a much stronger green but is seems muted across the board.
Once again the Sony easily beats the Canon XL-1S which was just too dark to run with the Sony.
15 lux Manual Gain 12 dB
The DSR-PD170 really begins to shine here. At 12 dB of Gain, the color separation on the AG-DVX100 begins to falter. When looking at the chart, the light green squares on the left hand side appear to run into each other. Once again, the Sony beats the Panasonic.
The Canon was just too dark although it had nice color saturation.
60 lux Manual Gain 0 dB
The image produced by the DSR-PD170 is richer and more vibrant. The color palette is reproduced wonderfully when compared to the AG-DVX100 which appears muted but a touch brighter.
Compared to the XL-1S the image is brighter and a bit more vibrant. The Xl-1S has a slight edge with green and generally has the best representation of green in the lower left portion of the chart.
Overall the DSR-PD170 has the best image.
60 lux Gain 6 dB
At 60 lux with 6 dB of gain the DSR-PD170 looks like its shooting the chart at 3000 lux. Color is very rich and the overall image is excellent Even with 6 dB of gain, the Canon XL-1 is too dark. The AG-DVX100 is right with the DSR-PD170 in terms of brightness, but it really looks washed out when compared to the Sony at this setting.
When it comes down to it, the DSR-PD170 is the king of low light performance in this category. The AG-DVX100 comes in at a very close second losing only because of a tendency to produce a muted color palette. This point should be made clear because the AG-DVX100 and the DSR-170 are neck and neck in a lot of these tests. Often times the Panasonic is slightly brighter, but it never matches the DSR-PD170 for color representation. Interestingly, Panasonic states that the minimum illumination of the AG-DVX100 is 3 lux while the Sony lists the DSR-PD170 at 1 lux leading many to believe that the Sony is head and shoulders above the Panasonic for low light performance. If the Panasonic had the same color reproduction as the Sony, the AG-DVX100 would win. As for the much lauded XL-1, its beginning to show its age and has a tough time keeping up with the newer cameras.
LCD/ Viewfinder (8.0)
The 2.5 inch Hybrid LCD screen is sharp and crisp although a little on the small side. With a resolution of 211,200 pixels, it has 11,200 more pixels than the screen on the AG-DVC30 for a screen that is a fill inch smaller. The high pixel count and the small screen size translate into a screen that has a very high resolution and accurately depicts the action on screen.
As mentioned above, the LCD on the DSR-PD170 is a hybrid. The hybrid screen embodies characteristics of both transmissive and reflective screens. The transmissive later is designed for use in dark areas where ambient light is scarce. The reflective layer is designed for use outdoors or in areas where ambient light is abundant. The combination of these two elements helps to make the screen viewable in a variety of environments.
The 180,000 dot black and white viewfinder is razor sharp making manual focus a breeze. Like most cameras in this range, the EVF includes a diopter for viewer customization.
Audio (9.5)
The DSR-PD170 has excellent audio features. The most obvious features are the built in XLR breakout box and included shotgun microphone. Audio levels are easily accessible by pressing a dedicated audio level button on the back of the camera.
This camera really doesn't have an on camera microphone in the traditional sense because all the audio is fed into the camera via the two XLR inputs. That having been said, the position of the shotgun mike is great. It is held at a 45 degree angle to the lens barrel and is held by a rubber dampened arm. The placement of this microphone makes it less susceptible to on random on camera noises such as tape noise and focusing.
Manual audio controls are easily accessed by pressing the audio button located on the back of the camera. Level meters for channel 1 and 2 are viewable on the foldout LCD and the EVF.
Handling (9.0)
The DSR-PD170 does a good job of distributing its numerous features throughout the body of the camera. Whereas the DSR-PDX10 and AG-DVC30 are shaped like cubes, the DSR-PD170 is shaped like a tube. There are many disadvantages of the ultra compact body style demonstrated by the DSR-PDX10 and the AG-DVC30 such as cramped button placement and insufficient mass to support professional accessories. Camera balance is one area where the mini cams have an edge. Because the DSR-PDX10 is so small it doesn't have to worry about overhangs and various weight issues that effect larger camera. Smaller cameras tend to have their center of gravity well centered. The DSR-PD170 has a slight problem with weight distribution. The users hand is off center when using the hand strap. Because of this, the DSR-PD170 needs to be balanced with a hefty battery in the back. All by itself the PD-170 is a front heavy camera. This is greatly exacerbated with the addition of the wide angle lens adapter.
The DSR-PD170 lacks the programmable user buttons that the AG-DVC30 has. This is unfortunate because a few well placed buttons would allow the user to keep frequently used functions close at hand. Fortunately the DSR-PD170 has so many dedicated buttons in one central location that finding the desired function is never a problem.
It's important to remember that this is a professional camera. Consumer cameras need to be very light and compact because video isn't always the priority of the user. Video is the priority when shooting with the DSR-PD170 and it makes no apologies for having a multitude of buttons and switched. As mentioned above, a heavy battery pack will more or less balance the camera out. This camera may not be a one hand camera for some people but fortunately the great focus and zoom rings allow the user to get both hands on the camera in a good position.
Ports (10.0)
The DSR-PD170 has every port a user could want. An S-Video in/out, a fire wire port, and FULL SIZED RCA CONNECTORS are located underneath the first body colored flap on the right side of the camera. A headphone jack and a Lanc control port are underneath the second body flap. As mentioned above, the DSR-PD170 includes XLR inputs that are built into the body.
Other Features (9.0)
DVCAM - one highlight of the DSR-PD170 and the DSR-PDX10 is its ability to record in the professional DVCAM format. DVCAM is a proprietary Sony format that is considered more stable for editing and archival purposes. The main difference between DVCAM and regular DV is that DVCAM records to a 15 micron track pitch where as DV records to a 10 micron track pitch. Basically this means that DVCAM provides more physical space for recording data to tape and in doing provides less recording time than normal DV. DVCAM also includes an audio lock function which is useful for audio editors. DVCAM is not important to everyone, but those involved with news production, sound editing, archival, and professional video in general will be pleased.
ND Filters - The DSR-PD170 allows the user to select from two levels of ND. As mentioned above, having built in ND filters is a huge convenience because it allows the user to instantly adjust to difficult shooting situations such as shooting at the beach or on the ski slopes. ND filters are also great for reducing light so the Iris can be opened wider and a shallower depth of field can be achieved.
16:9 - The DSR-PD170 features a 16:9 mode, but it is not the same as the superior 16:9 mode on the DSR-PDX10. Users are often confused by this because the DSR-PD170 is the higher end camera and should have the better 16:9 option. The reason why the DSR-PDX10 has a superior 16:9 mode is due to its Mega Pixel CCDs which have 1,070.000 total pixels (690,000 effective for video). The CCDs on the DSR-PD170 only have 380,000 pixels (340,000 effective for video) and because of this it cannot maintain a 480 line vertical resolution when its native 4:3 CCDs crop down to make the 16:9 image.
Optical SuperSteady Shot - Every company has a tag for their brand of image stabilization and this is Sony's. It is often hard to tell how much motion is being removed from the image but it can't hurt to leave it on just incase it is doing something positive.
Zebra - Zebra is one of the most useful functions on any camera. It allows the user to easily identify over exposed areas within the frame. Here Sony gives the user the option to set the zebra for 70 or 100 IRE.
Comparisons
It’s hard to beat the DSR-PD170 at what it does well. In a car at night or in a dim room there really isn’t a match for the DSR-PD170
When compared to the ¼ inch cameras, the DSR-PD170 is better in every way. When it comes to low light, Panasonic’s AG-DVC30 is the only ¼ inch camera that even comes close. As mentioned above, the 1/3 inch competitors aren’t quite on the same level as the DSR-PD170 either except for the DCR-VX1200 which uses the same CCDs and so it has the same performance characteristics. Inevitably the comparison must be made between the DCR-VX2100 ($2,999 MSRP) and the DSR-PD170 ($3,940). The DCR-VX2100 is simply not as professional as the DSR-PD170. The DSR-PD170 has a dedicated manual gain button on the back and the DCR-VX2100 doesn’t, the DSR-PD170 has built in XLR inputs and the DCR-VX2100 doesn’t. The other big distinction is that the DSR-PD170 can record in DVCAM mode which is something its consumer sibling cannot do. All in all both cameras are excellent buys. Having XLRs on the body is a big plus for pros because otherwise they would need to buy an add on adapter such as those manufactured by beachtek. If XLRs, DVCAM and gain control are not on the top of the user’s list, than it may be a better buy to go with the DCR-VX2100. Professionals should pay the additional money and get the extra features.
Panasonic’s AG-DVX100 gives the DSR-PD170 a run for its money and even beats it in some ways. As mentioned above, the AG-DVX100 is first and foremost a filmmaker’s camera. With its 24p shooting capability and its “Cine Like Gamma” curve that emulates the dynamic range of film, the Panasonic is the better choice for shooting a film. It also includes some key features not found on the DSR-PD170 such as the ability to control the zoom lens mechanically without engaging the servo motor. The AG-DVX100 is also more balanced and easier to maneuver with one hand. It’s a tough call to make between these cameras. In the end its all about color and movies. If the user is planning on shooting cinematic content this is the camera. Those who don’t mind the washed out color palette will find that the AG-DVX100 is certainly no slouch when it comes to low light and delivers features that filmmakers need.
Canon’s XL-1S is a great camera but it trails behind the DSR-PD170 in too many test to be a low light competitor. At 3000 lux under ideal conditions, the XL-1S is right there with the DSR-PD170 but that’s the only time. That having been said, the XL-1S has a lot of things going in its favor. Hands down it features the most comprehensive manual control of any camera in this range. Every thing gets a dedicated dial and there are so many that its almost overwhelming. This camera also features the ability to swap lenses in different shooting situations which can be very handy when the standard lens just isn’t cutting it. The Xl-1 was a stunning camera and continues to remain popular with indie filmmakers and video journalists alike. Hopefully Canon will soon introduce the XL-1S successor and seriously improve the low light performance. Until then, pass on the XL-1s unless interchangeable lenses are a must.
The DSR-PD170 is the best 1/3 inch camera for overall shooting. Poorly lit situations are so common that the low light performance of the DSR-PD170 is very valuable. The built in XLR inputs give the user professional audio right on the body which the XL-1s lacks. This camera is a low light stunner that can outperform most others in terms of image quality and features.
Conclusion
The DSR-PD170 is a very solid camera that will excel in almost any environment. Sony should be commended for improving on the DSR-PD150 which was already a great camera. This is a great camera for ENG (Electronic News Gathering) and NTSC broadcast documentaries. Sony includes so many great features such as the built in XLR breakout box, the included wide angle adapter, and the excellent low light performance. This camera is great for most applications and presents a great value but filmmakers may want to look elsewhere.
Sony has yet to offer 24p in any of their prosumer cameras and does not even offer a 30p mode as is featured on the Canon XL-1, GL-2, and the Panasonic AG-DVC30. Shooting in progressive scan gives video a more cinematic quality and this is very important to some users. Canon has cornered a niche of the market with their XL-1s because it is the only prosumer camera that offers the ability to change lenses. If interchangeable lenses or progressive shooting modes are important to the user, he or she may want to look elsewhere. Otherwise, the DSR-PD170 is a winner in every way.
