My Review of the Canon-XL1s for Camcorder Magazine...

**Alex** · November 26th, 2002, 11:22 PM

Imagine the "Girls Gone Wild" Announcer reading the following...

Start with music intro.....roll voice over.....ACTION!

(Announcer starts)
This topic was so controversial other forums could not handle it!
BANNED on some forums, but not here! Here it's an Exclusive.

Alex Gone Wild!

Alex reviews the Canon digital camcorder and in the process mentions Super-8 Filmmaking, and the Canon 1014XLS!!!

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So stunning are the photos and Alex's message that other forums BANNED this article AND BANNED Alex from posting there.

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See the Picture, Read the Article, cuz you never know when the banners among us will rear their heads and exhale.

http://www.ifstudio.org/article.html

**Alex** · December 9th, 2002, 03:39 PM

It just dawned on me that the above link looks like it might be a tempory one. So this article will probably expire anyday now, and a new article will appear in it's place, and it won't be about me! [img]graemlins/cry.gif[/img]

It's a conspiracy I tells ya, it's a conspiracy. [img]graemlins/present.gif[/img]

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Here is the article sans pictures.

CAMCORDER TESTS
Canon XL1S
the Pro's Choice

by TONY GOMEZ

(Featured article in Camcorder & Computer Video Magazine April 2002)

The Canon XL1 Mini DV Camcorder has been around for about four years now. It's been the camcorder of choice for many independent video productions and has even been used to produce some independent, low budget, video to film releases. With a camera that mature in the marketplace, you might think it was time for Canon to introduce an improved model. That's exactly what Canon did when it came out with the XL1S last year.

The XL1S is aimed directly toward advanced videographers, especially to those who want to make a film print from the Mini DV format. In fact, it was used last year in a major motion picture. (See Candy Cuenco's companion article on the XL1S and films in this issue.)

We gave you a preview of the new XL1S's features in C&CV's October 2001. Now this cam is in the spotlight as a Hollywood staple, we figured a more in-depth review covering it's movie making features is in order. So, here we go!

Not Your Typical Review

In setting up my goals for testing the Canon XL1S, I felt that the camcorder had so many professional features that I would forgo the standard camcorder evaluation. Instead, I wanted to see how it would perform in the hands of a seasoned professional videographer/filmmaker. I secured my longtime video associate Alex Machi of SlingShot Productions in West Hills, CA for the task.

Machi is a seasoned filmmaker, who actually began his filmmaking career with Super8 film while a student at Cal State Northridge. He has won numerous awards for his work in the SuperS format. About 10 years ago he started Slingshot Productions, a full-service video production and editing facility. It has grown significantly over the years, embracing all video formats, from S-VHS to Betacam SF, and now DV.

His pro camcorder consists of a 3chip JVC KY-19 camera head, dockable to either a Sony Betacam SP recorder (about a $25K package), S-VHS, and even a DVCAM back. Recently, Machi won a regional Emmy.

The Package

Canon sent us a terrific review package. It consisted of the basic XL1S body and 16X image-stabilized zoom lens ($4,699 MSRP), the new 16X Manual/Motorized Zoom lens ($1,799 MSRP), the 3X SuperWide-Angle lens ($1,599 MSRP), the MA-200 XLR audio adapter/shoulder pod ($499 MSRP), two batteries, a charger and a large instruction manual. Everything came nicely protected in a silver carrying case.
?Canon's Interchangeable Lens System gives the XL1S a formidable range and includes the 3D Imaqing Video Lens, Manual 16X Zoom Lens, an EF adapter to attach Canon EOS 35mm \ lenses, a 3X Extra Wide-Angle Zoom Lens, plus an Optical Image Stabilized 16X Zoom Lens.?

Note- The XL1S is available as a Body Kit (body, battery, and charger, but no lens or viewfinder) for $3,299 MSRP. A pro package would include the Body Kit with 16X Manual lens, color viewfinder and XLR adapter for about $6,000 MSRP.

Eagerly, we started unpacking the XL1S components as soon as I arrived at his studio. The zoom lens accessories, especially the optional Manual/Motorized Zoom lens, impressed us. This is the one Machi would use for most of his testing, because it is most like the $3,000 Fujinon lens on his JVC 3-chip camcorder.

We spent a couple of hours going over the XL1S features. The three different interchangeable lenses were simple enough to connect to the camera body with keyed red dots. We were especially interested in the layout of buttons and controls to see how well they could be used in real-world and real-time situations.

The Manual Zoom lens was the initial focus of our attention. It's all black and more slender than the 16X image-stabilized lens. But, it's every bit as versatile, with its switchable manual/motorized zoom control and manual focus. Yes, you will have to get used to focusing the lens again, but the technique comes back lo oneself pretty quickly if you haven't focused a lens in some time.

In The Black of the Night

I asked Machi how he was going to put the XL1S to task. And, he replied, "By shooting at night!"

For several years, he's been capturing the Newport Beach Boat Parade during the holidays. He normally uses his Betacam SP camcorder, and an array of Supers film cameras for shooting time-lapse/time-exposure films. (Yes, you can still get a variety of film stocks for these Supers film dinosaurs!).

But, Machi said that this time he wanted to take the Canon XL1S out to see how it would fare against the Betacam SP and his film cameras.

I informed him that the XL1S couldn't do real time-lapse, but it could expose as slowly as 1/8th of a second with its variable-speed shutter.

But, he said his goal here was proper MANUAL exposure. He said that to shoot the holiday lights on the boats in darkness, only manual exposure would do the trick. He added that you want the lights to show as real color, not as overexposed blobs of white light typically what happens in scenes that are predominantly dark and shot by automatic- exposure cameras.

He took the camera out one night and experimented with various manual-exposure settings. He matched the Gain, f-stop and framing between his Betacam SP camcorder and the Canon XL1S. He was extremely impressed by the color viewfinder, picture quality and the multiple shutter speed options that the XL IS offers.

Pro Video Features And Accessories

Machi considers certain XLI S accessories and features to be crucial for professional videography. The most important is the optional Manual/Motorized Zoom lens. It's just like the Fujinon motorized variable-zoom lens on his Betacam SP camcorder.

While not infinitely variable, the incremental f-stop range (in one-third f-stops) is easily adjustable through the Iris/Select switch and was quite acceptable. The optional 16X zoom lens also provides a real mechanical look and feel ? with mechanical focus, two built-in Neutral Density (ND) settings for when f-stop reduction is required, and a back focus adjustment.

The back focus adjustment is extremely important, because it allows for proper focus throughout the zoom range. The back focus adjustment is done after you zoom-in for a tight focus. You zoom wide for the back focus check. If it's slightly soft, you adjust the back focus control until everything is tack sharp, then you lock it down. Note: This feature is called FB and is located in a somewhat hidden position below the lens.

The Zebra Level setting (settable to either 80, 85, 90,95, and 100 IRE) is a very desirable pro feature. Machi's preference was 90 IRE. The Zebra pattern appears on the brightest part of the image in the viewfinder, warning that you are approaching the maximum acceptable brightness for best exposure. The video Gain is adjustable in steps (-3, 0, +6, +12, +18, +30DB). The -3DB setting produces an image even "cleaner" than ODB, but it needs more light than the normal position. Even the +6DB gain setting looks very good, with imperceptible video noise.

The Automatic Exposure (AE) lock can hold a preferred average setting for exposure while in the Auto-Exposure mode. The AE lock setting was also used in previous-era top-of-the-line Canon 814XLS and 1014XLS Supers Film cameras. These 20-year-old Supers cameras are still highly sought after by Supers film enthusiasts.

Custom Video Features

Like some professional camcorders, the Canon XLIS offers many customizable settings and features. A custom setting is a fast way to alter your camcorder's factory setting to your personal preference. You can create and compose three different camera looks via the Custom Preset function. Sharpness, Black Setup (Contrast), Hue, and Color Intensity are the adjustments that can be made for each of the three looks.

Once you have augmented all your settings for the three looks, the camera memorizes these looks as Custom Preset 1, 2, or 3. A red, retractable cover provides access to these Custom Presets via a button. Two additional buttons (Custom Keys) can have certain menu functions assigned to them such as Audio Input Select and Zebra Function.

There are numerous White Balance adjustments, including two preset White Balance settings (Tungsten and Outdoor), as well as Automatic, and three manual Memory settings that allow you the ability to memorize three unique lighting conditions.

Pro Audio Features

The Canon XL1S is unique among Mini DV camcorders, because it features four independent audio inputs. To access these four inputs, you will need the MA-200 XLR adapter. A very clever Audio Mix Dial allows you to either separate two of the channels or vary the mix amount while recording. The advantage of this Mix feature is that you can do a mix while on location on two channels, and keep the other two audio channels completely independent! This is like having an instant Do and an Undo function for Audio, built-in.

Note: Four simultaneous audio inputs were offered on a very professional and expensive Betacam SP broadcast dockable video recorder (the Sony BW-5, at a cool $18K!). But, even that Betacam SP back did not have the built in Variable Mix feature that the XL1S has. Unfortunately, we were not able to test these audio features because of an audio defect in our review model.

Ergonomics

Canon engineers should get a gold medal for their ergonomic design of the XL1S. The camera is a true masterpiece in that regard. Here are several cases in point:

* The audiometer is lilted toward you so it can be read easily, or it can be backlit in darkness.

* The gain and white balance controls are selectable through detectable rotating controls. You click them on to release outwards, rotate them to the position desired, then push them safely back in.

* The Menu select switch is placed in the most ideal location where you would balance the camera with your left hand and use your thumb to make the selections.

* The Exposure Lock is perfectly located to activate at only a thumb's reach away.

* The viewfinder is movable to accommodate just about everybody's style in shooting.

* The top panel reveals the VCR controls and an auxiliary Start/Stop button. So, it's a piece of cake to have the XL1S positioned at a low angle below your eyes and get a shot monitoring through the eyepiece.

More Field-Test Results

Manual mode operation was very easy to use. Even with little knowledge of camera operation, you get good-quality video without much futzing around arcane menu selections. Most high-end professional cameras come with B&W-only viewfinders. The color viewfinder on the Canon XL1S was very comfortable, accurate and very easy to use.

Although we did wonder if the color viewfinder would ever produce a color picture different from what we were actually recording, our initial studio playback tests verified the WYSIWYG concept - What You See Is What You Get - on tape. The 270 degree rotating viewfinder is also very helpful, because you can place the camera in a variety of positions and still see the image by rotating the viewfinder.

The viewfinder graphics were exceptional for a camcorder in this class. Machi thought they gave excellent camera status information. He especially liked the Auto Exposure Tracker that compares the chosen manual exposure setting with one that automatic exposure would have selected. And, the graphic logo that warns you there is no tape in the camera (flashing red cassette logo) was easy to spot.

Each Canon lens we tested had a two-stage ND filter. This is extremely important when taking a professional camcorder out in daylight. On the Manual/Motorized lens this feature was offered as a very accessible external ring, right next to the FB adjustment.

In bright venues, the two-stage ND filter reduces the available light, resulting in a larger aperture. Most professional cinematographers prefer to use apertures around the sweet spot of around f5.6. Without an ND filter, the camera lens iris may be operating around fl6-f22, which is not the ideal sweet spot. The ND Filter can also be used in darker areas to create moody, low depth-of-field shots. We do not recommend the ND filter be used when shooting indoors for weddings and school plays, because of poor focus.

Accessibility to the Mini DV cassette chamber is easy. Unlike some poorly designed video cameras, you can easily change out the videotape, even when the camera is attached to a tripod! And, speaking of tripods, the XL1S appears to have a different center of gravity than the larger Betacam SP camera.

Machi found it problematic lo properly center the Canon XL1S on his professional Sachtler Caddy tripod. Only one of the two camera plate screws could be used with the Canon XL1S, and as a result, the plate continually loosened up no matter how hard we initially tightened the tripod plate. There needs to be a special adapter plate or second screw for the XL1S to snugly fit on a pro tripod.

Other Cool Features

There were some functions that required menu control (like setting the motorized zoom speed). But menu maneuvering was relatively easy and a bit quicker than on his JVC KY-19 3chip camera. Select the Menu button, and using the rotating Iris/Select switch, select a menu item. then click on the rotating button to get into a submenu, etc.

The variable electronic shutterspeed control works very well, adjustable from 1/8th of a second in increments all the way up to 1/15000th of a second. The 1/30th second shutter speed tends to be less stroboscopic than 1/60th to 1/100th standard shutter speed cameras. It gives a more filmlike effect, similar to the 24-frames-per-second rate found on film cameras.

Auto Exposure Shift (AE Shift) is manually adjustable from +2 to -2 in one-quarter increments. This is like having a fine tweak on your auto exposure, and it's in a very practical location. This AE Shift function is not menu driven!

Proof In The Playback Pudding

Being on location is one thing, but video playback in the studio is where the real truth is revealed. So, we later met in Machi's editing studio and played the recoiled Mini DV cassette in a pro Sony DSR-40 DV tape deck. We also monitored the video on a VideoTek waveform and vector scope and a professional high-resolution Panasonic video monitor. Here, we discovered some interesting technical glitches.

The XL1S's preset setup black level was around 2 to 3 IRE units instead of the standard 7.5 IRE. This crushed black condition makes the picture look more pleasing, more like film, but unfortunately some detail in the dark areas is lost.

Note: The Black Setup can be preset to a higher level (7.5 IRE) with the Custom Preset feature. Machi also felt the factory setting for sharpness was a bit too soft, but again, both the Black Setup Level and Sharpness can easily be overridden in the Custom Preset mode.

The internal Color Bars were accurate with respect to chroma phase, brightness and chroma level. The XL1S color bars include the P.L.U.G.E. (Picture Line Up and Generation Equipment) bars. P.L.U.G.E. consists of three small dark bars of slightly different shades of black.

We discovered an error in the Camera Color Bars P.L.U.G.E. level settings. The darkest of the three P.L.U.G.E. bars was crushed to an unacceptable IRE setting of below 0. This P.L.U.G.E. error that we detected can adversely affect one's ability to accurately calibrate a professional color video monitor.

To really appreciate the XL1S, you should also invest in a professional waveform monitor and vectorscope, because they allow you to see what your camera is really capturing. And, of course, the all-important professional video monitor, complete with underscan and cross-pulse feature, is a must for any serious videographer.

Pro Quibbles

For every camcorder made, professional and prosumer, there is no perfect system. Here are some of the technical gotchas found in the XL1S. They won't affect the quality of the video captured, but they may make it a bit more annoying to use.
The cable that powers the viewfinder is not in the handiest spot ? it obstructs one's fingers from passing through the lens/viewfinder space for gaining access to the motorized zoom lever controls. A right-angled connector could solve this problem.

While the XL1S has an optional MA-200 XLR adapter, you have to use the unbalanced stereo cables that are part of the adapter to feed the XLR audio into the camera's left and right audio inputs. A better approach would have been to use a floating audio hotshoe plug that would accept the XLR adapter and feed audio directly into the camera without converting it to the RCA-type jacks.

We had a bug in the audio metering system. Nothing would record through the built-in mike. We even plugged in an external mike to all available channels. Still, nothing at all was registering on the audio level meters.
A call to Canon Technical Support revealed that we had a defective unit. This does happen occasionally with preliminary review units, but I don't think Canon would let this escape into production models.

Final Words

Machi said he was very pleased with the XL1S, since it can effectively be used just like a professional video camera - with interchangeable lenses and complete control of exposure, zooming, focus and sound. He liked the manual accessibility of all controls, particularly of the more important ones, like exposure, zoom, focus, etc.

The playback picture quality was exceptional, rivaling that of his 5-yearold analog Betacam SP camcorder. But, he had some concerns that the Mini DV format may not be as robust as the other professional digital video formats, such as Sony's DVCAM, Panasonic's DVCPro, JVC's Digital-S, and Sony's Digital Betacam. However, these pro digital formats use larger tape cassettes, larger camcorders, and cost substantially more; for example, a Digital Betacam camcorder lists for about $40K!

Because the XL1S doesn't offer SMPTE time code, Machi mentioned he would hesitate replacing his BetaCam SP and S-VHS jobs with Mini DV. Settable SMPTE time-code is available on his BetaCam and S-VHS camcorders, and offers great flexibility in his video productions. While he agreed that the potential for doing four-channel on-location sound recording is very enticing, he would like to see Canon change the way it defines the audio input channels and simply number them I through 4.

Nevertheless, with its pro feature set, the Canon XL1S seems to be the logical next purchase for serious digital videographers. It's probably the most professional and affordable ?bang-for-the-buck" DV camcorder made to date, and it can easily fit into independent productions where BOTH professional performance and affordability are important requirements.

For more information about the XL1S, contact Canon at 800-OKCANON or on the Web at www.canon.dv.com.

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