Sony DCR-PC105, DCR-TRV22
REVIEW DATE: 10.01.03
Editor Rating:
Editor Rating:
Despite excellent construction and feel, neither Sony camera stood out in our testing. The Sony DCR-TRV22 ($700 direct) had below-average video quality. And we were unable to perform comparative studio testing on the Sony DCR-PC105 ($1,000), because we received multiple defective units. While informal testing shows that the latter camera has great promise, we can't wholeheartedly recommend it.
The DCR-PC105 has that ineffable characteristic that makes you want to own it at first sight. Unlike the others we tested, the brushed chrome case screams solid, with a range of lovely features like a pop-up light for still shots and a manual focus ring around the lens. Very similar in looks to the Canon Elura 50, the DCR-PC105 operates in much the same way: You hold it upright and peer through the extendable viewfinder on top or preview videos on the crisp 2.5-inch LCD panel on the left. The zoom control is located comfortably near the front, and though the switch is tiny, with practice you can access multiple zoom magnifications fairly easily.
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You configure both cameras via remarkably smudge-resistant touch-screen LCDs. This works well for manual focus (you can touch the screen at the desired focal point) as well as manual exposure control (you can touch an area of the picture for optimum exposure). Playback icons obscure the bottom portion of the video while you're viewing movies, which can get irritating. When playing back on a television, we missed the no-look operation that physical buttons provide. One bonus with either model is that you can reverse the LCD panel and fold it conveniently into the camera, though both cameras are bottom-tape loaders—not good for tripod use.
Both cameras use Sony's infrared night-shot system, which produces easily viewable but greenish videos. Keep your index finger off the infrared transmitter, though; covering it ruined our first test run with the DCR-PC105. Super NightShot and color modes add light and color but slow the shutter speed significantly, producing severe blurriness with even faint motion.
In talking-head trials, the DCR-TRV22's video was a bit too dark, which obscured some portions of the picture, and there were some random colors around the image. Visual background noise, however, was minimal. On our motion tests, yellow artifacts appeared across black text and even a brown shirt. Images looked as though someone had randomly annotated them with a yellow highlighter. Detail was not as finely preserved as it was with other cameras we tested, especially the Canon Optura 20. The audio signal picked up by the DCR-TRV22 was loudest of the group; the camera recorded very clear voice but also the most noise during quiet periods.
The DCR-TRV22 fared better outside of our studio. It was one of the better performers in low light and proved very adept with facial tones, though outdoor shots were about average. Outdoor videographers, take note: This is one of the few cameras without a mic windscreen.
Unfortunately, we couldn't run studio trials on the DCR-PC105. Our first test unit broke during testing, and the second one had a faulty gain control. Normally this control boosts weak signals, but on the DCR-PC105 it produced overly bright video that was unusable. Our third try was a charm, though too late for studio testing. On informal tests, images were very strong, with exceptionally crisp and noise-free performance in low light, though videos were slightly darker than those taken with the DCR-TRV22. Facial tones and details were very well preserved, with striking images and very clear, totally noise-free backgrounds. Without studio results, however, we can't fairly compare this camera's video quality against that of the others.
