Canon XL H1 Camcorder Reviewby David KenderPublished on Nov 7, 2006 10:00 AM 
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Picture & Manual Control
Automatic Control (8.0)
The XL H1 (Specs, Recent News, $7947.89) is a camcorder that most users will control manually, but there are those times in which only auto will get the job done. If you’re an ENG or a field documentary shooter, imagine a scenario where you’re following an event that’s unfolding in the moment. You are moving at an almost running pace, in and out of shadows, through buildings, back out into the pulsating street…and focusing as much on keeping yourself out of harm’s way as getting the shot. In a high-speed run-and-gun scenario like this, auto mode can save your butt. So how does the XL H1 do in auto mode?
In a word, adequately, with variations in adjustment response depending on which frame rate the camcorder is set to. Automatic iris adjustment worked well in all three frame rates (60i, 30F and 24P), and the camcorder compensated for a jump from bright sunlight to deep shadow with a second or so of lag time. It handled smaller exposure jumps almost imperceptibly. When shooting continuously while walking along a city street, the image remained solidly well-balanced. White balance also worked well, and like other manual controls, it can be easily overridden in auto mode.
The major auto control the camcorder had most trouble with was focus. Working in bright light, the XL H1 snapped to focus quickly with no surprises at medium to wide framings. With poorer contrast in the frame, or low light, the camcorder strained a bit to attain a crisp focus, even pumping for a few seconds under indoor office lighting conditions. The camcorder had an extremely tough time when the lens was at full zoom in combination with low contrast. While shooting out-of-doors at a distant building in shadows, i.e. relatively low contrast, the XL H1 required up to 15 seconds to attain sharp focus.
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As mentioned above, when shooting in auto mode, most manual controls can be adjusted on an à la carte basis, but this camcorder also features an easy recording or “green mode” in which the camcorder locks auto control of focus, shutter speed, aperture, gain, white balance and AE shift. This mode is analogous to Sony’s Easy Mode setting on its consumer camcorders. The other AE modes available are Shutter Priority, in which shutter speed is locked and aperture is adjusted automatically; Aperture Priority, in which aperture is locked and shutter speed is adjusted automatically; Spotlight, for shooting subjects lit by a concentrated light source; and Night, in which the camcorder compensates for reduced lighting by lowering its shutter speed. All of the above AE modes, as well as Manual mode are set using the Power/Mode dial on the camcorder’s left side.
Overall Manual Control (10.0)
The manual controls on the Canon XL H1 are those deserving of a professional camcorder. This is the real deal – the full suite: aperture, shutter speed, gain, AE shift, zoom, and focus. Canon distinguishes itself from the pack by button placement. Rather than burying controls behind panels or inside touch screen menus, the XL H1 places near-instant access to most controls on the left side of the body. Everything about this design is well thought-out and right where it needs to be. Additional controls on the right hand grip and on the upper handle (for low to the ground shooting) creates useful redundancies for the most frequently used controls – zoom, start/stop record, and photo shutter buttons.
The XL H1 has a number of shooting modes, all selected through the mode dial that ensconces the display on the left side. It’s a large dial with a good feel. You’ll have no problem making no-look switches between modes. The modes include External Control (which allows you to control the camcorder via a Firewire cable with a computer and the Canon Console software, which is not included), VCR mode, Automatic, Shutter Priority, Aperture Priority, Manual mode, Spotlight (an AE Program mode), Night (another AE Program mode), and Easy mode.
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| The menu, in animated gif form |
Menu
The menu is extensive, so we’re going to give the XL H1 its own menu section. There are 7 sub-menus. The illustrated gifs give you a brief look at what the structure of these menus looks like. We’ll just give you the highlights.
The Signal Setup menu controls most of the output flow, including controls for the GEN.LOCK and timecode systems. The Camera Setup menu has the zebra controls, Skin Detail set, and Clear Scan (which must first be initiated in the shutter speed controls).
The Custom preset menu is detailed below in the Other Manual Control section. There are a ton of features here – real pro level. The Recording Setup Menu is the place to set image quality for video and stills. The Audio Setup, as you might guess, controls audio. The Display Setup controls all the screen elements, including guide markers, audio levels, zoom display (would you like that in feet or meters?), and the quality of the EVF, including brightness, contrast, color, and sharpness. Finally, the System menu controls the tally lamp, date/time set, and setting up the two custom keys located under the handle.
Zoom (10.0)
There are three zoom controls on the Canon Xl H1. The first and best is a ring found on the 20x HD lens. There are three rings on the lens barrel. The zoom is second, between the focus and the ND filter rings. It will probably take a little time to get accustomed to not mixing up the zoom and focus rings. By touch, your hand tends to fall on the focus ring first, because it’s twice as wide. If you manage to wrap your mind around this trick quickly, you’ll have no problem making changes without peeling your eye away from the EVF.
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The zoom ring on the lens is made of a soft rubber. Traversing the full zoom range takes about a quarter turn. You cannot, however, mark the lens barrel or ring with paint as a reference mark for performing repeatable, fixed zooms (e.g. 4x to 14x). The ring is not truly mechanical, but servo-operated. Your movements are interpreted; the ring is allowed to spin endlessly, making all external reference points moot. The zoom can be set to a single, fixed point as a preset, though, by using the Position Preset switch on the left side of the lens barrel.
The second zoom control is a large rocker (over 1.5” long) located on top of the right hand grip. It’s long enough that it requires you to use both your index and middle fingers to operate. You can only get about three zoom speeds going on the rocker, depending on finger pressure. Fortunately, on the back side of the right-hand grip, you’ll find a zoom speed controller. This control has two parts. There’s a switch to toggle between Variable and Constant speeds. Variable refers to finger-pressure variable. Constant allows you to dictate the zoom speed on the rocker regardless of pressure. If you select Constant, there is a small dial next to the switch that allows you to set the zoom speed from a killing crawl of 1 to a hopping 16. The manual indicates that speed 1 takes 60 seconds to mode from wide-angle to telephoto, while speed 16 takes 3.5 seconds.The third zoom control is a miniature version of the large zoom rocker, located on top of the handle. This is well-placed for the thumb when holding the camcorder from the top. This control responds the same way to the Variable / Constant speed controls as the full-size rocker does.
The zoom level can be displayed two ways, either as a numerical value from 0-99, or as a bar, ranging from T (telephoto) to W (wide). The numerical scale gives you a much better sense of where in the zoom you are.
Zoom Power/Ratio (20.0)
The Canon XL H1 features a 20x optical zoom lens, which provides considerable power in combination with the impressive imaging system. Because the lens is optimized by Canon for this particular camcorder, it yields telephoto shots that hold up very well in comparison to 20x optical zoom lenses on consumer camcorders. This camcorder does not offer any digital zoom.
Focus (10.0)
The focus on the Canon XL H1 is controlled by a focus ring around the lens barrel. The ring is made of an easily grippable rubber, almost 2” in diameter. There is a small switch located on the left side of the lens barrel labeled AF-M. It must be in “M” to make manual focus adjustments. The actual focal range depends on a number of things, including the lens used and the zoom level. Overall, focusing with the ring on the included 20x HD video lens is tricky. The ring is very sensitive. As high definition video is very sensitive to focus errors, you’ll want to check and double-check your focus if you decide to override the automatic settings.
The XL H1 has several tools to help you on your way. The EVF can display the focal distance to the subject in feet or meters, or you can turn the display off entirely. Like with the zoom control, a certain focal length can be memorized as a preset. The camcorder can return at any time to that setting, and you can set the speed at which it returns.
You also have access to Peaking and Magnifying tools to help you with focusing. Peaking creates overemphasized contrast along border lines, which makes focusing a little easier. Magnifying is a one-touch tool used to create a 2x digital zoom that takes place strictly on the EVF. The quick jump will help you with fine focusing; you can jump back out when you’re done. Both buttons appear as a pair on the left side of the camcorder just under the EVF input.
Canon gives a note of caution, though. If a manual focus is made and the camcorder is left on for a long period of time, temperature changes can shift focus slightly. The basic rule: check, and then check again. The EVF is a good size, but not large enough to detect minor focus errors. Use a monitor, if you have one available, to make doubly sure of your focus.
Exposure (Aperture) (10.0)
The exposure on the Canon XL H1 is adjusted several ways. Aperture adjustments are made via a dial labeled Iris/Select on the little nubbin that protrudes from the lower left side of the body. Aperture values can only be changed when the camcorder is in Aperture Priority mode or full Manual mode. Each has differing levels of control. In Aperture Priority mode, the camcorder only offers values of F1.6, F2.2, F2.8, F4.0, F5.6, F8.0, F9.5, and Closed. In Aperture Priority mode, you set the aperture, and the camcorder will automatically adjust shutter speed to create a proper exposure.
In Manual mode, the range includes F1.6, F1.8, F2.0, F2.2, F2.4, F2.6, F2.8, F3.2, F3.4, F3.7, F4.0, F4.4, F4.8, F5.2, F5.6, F6.2, F6.7, F7.3, F8.0, F8.7, F9.8, and Closed. Here, aperture and shutter speed can be adjusted independently.
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If you like the auto exposure setting the way it is, you can lock it in place by pushing the Exposure Lock button, located on the left side (warning: it will not function in full Manual mode). An exposure scale appears at the top of the EVF, with an arrow in the middle indicating where the camcorder thinks proper exposure should be. You can freely adjust aperture and shutter speed after this, and the camcorder uses the scale to indicate how far off the mark you are (within +/-2 EV).
There is also an AE shift knob, tucked under the handle, for quick exposure adjustments. There are 13 settings in all: +2.0, +1.5, +0.75, +0.5, +0.25, 0, -0.25, -0.5, -0.75, -1.0, -1.5, and -2.0.
Included as a small, but kind amenity is the ability to adjust orientation of the aperture jog dial. You can have it spin up for a larger aperture and down for a smaller aperture, or vice versa.
Shutter Speed (10.0)
The shutter speed control on the Canon XL H1 is just as good as the aperture control. Adjustments can be made in Shutter Priority mode and Manual mode. And as with the aperture control, there are more settings available in Manual mode, except this time the number of options is compounded by multiple frame rates. Shutter speeds are as follow: in Shutter Priority, 60i and 30F – 1/4, 1/8, 1/15, 1/30, 1/60, 1/100, 1/250, 1/500, 1/1000, 1/2000, 1/4000, 1/8000, and 1/15000. In 24F
In Shutter Priority Mode, 24F: 1/3, 1/6, 1/12, 1/48, 1/60, 1/100, 1/250, 1/500, 1/1000, 1/2000, 1/4000, 1/8000, and 1/15000.
In Manual mode, 60i and 30F: 1/4, 1/8, 1/15, 1/30, 1/60, 1/75, 1/90, 1/100, 1/120, 1/150, 1/180, 1/210, 1/250, 1/300, 1/360, 1/420, 1/500, 1/600, 1/720, 1/840, 1/1000, 1/1200, 1/1400, 1/1700, 1/2000, 1/2300, 1/2600, 1/3000, 1/4000, 1/8000, and 1/15000.
And finally, in Manual mode, 24F: 1/3, 1/6, 1/12, 1/24, 1/48, 1/60, 1/75, 1/90, 1/100, 1/120, 1/150, 1/180, 1/210, 1/250, 1/300, 1/360, 1/420, 1/500, 1/600, 1/720, 1/840, 1/1000, 1/1200, 1/1400, 1/1700, 1/2000, 1/2300, 1/2600, 1/3000, 1/4000, 1/8000, and 1/15000.
If that’s not an exhausting degree of shutter control, I don’t know what is. As with the aperture, you can lock exposure (EXP. LOCK button) to get an onscreen reading of what the camcorder believes is the ideal exposure. Shutter speeds can then be adjusted, and you’ll get a reading of how far off the mark you are from the ideal. Because this feature does not work in Manual mode, you will only get the abbreviated list of shutter speeds.
Actually making the adjustments is only slightly more difficult than making aperture settings. While the aperture gets a dial to scroll through values, the shutter speeds are adjusted via two buttons on the rear of the little nubbin on the left side. Why does the aperture get a dial and the shutter speed get a pair of buttons? Canon is banking that aperture is more likely to be used than shutter speed.
White Balance (10.0)
The white balance is adjusted via a small dial on the lower left side of the camcorder. The dial pops in and out, so you don’t accidentally bump it. There are six settings in all for the white balance dial. Automatic, 2 programmable manual settings, K value, Indoor (3200 degrees Kelvin), and Outdoor (5600 degrees Kelvin).
The programmable manual settings are created by turning the dial to that setting and pushing the white balance set button (indicated by that enigmatic icon of a square hovering over two triangles). Once a manual white balance is made, the camcorder will remember it until it is overwritten or the lithium battery dies. Note: manual white balance adjustments range from 3200 to 5600 degrees Kelvin only.
The most robust white balance setting is manual adjustment of the K range. Here, you can dial in the exact color temperature you want, from 2800 to 12000 degrees Kelvin, in 100 degree increments. The Iris/Select dial is used to make these adjustments. This is an incredibly powerful tool if you know the temperature you need. If not, the auto levels will probably suffice.
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The gain on the XL H1 is controlled like the white balance. On the lower left side of the body is a pop-out knob. There are 7 gain settings in all. Automatic is the default setting. One turn counter-clockwise will dial up -3 dB, which creates the lowest possible amount of gain. This is useful for indoor and low light settings when low noise levels are your priority. To the right of the setting are the +gain settings: 0 dB, +3 dB, +6 dB, +12 dB, and +18 dB. Unfortunately, this is not a smooth dial with incremental adjustments. Each setting is a fixed point. The gain level is also displayed on the EVF.
This sort of gain control is standard for higher-end camcorders. Panasonic consumer camcorders actually give you 0-18 dB gain control in 1 dB increments, which is nice, but we’ll take the trade up to the Canon XL H1, thank you.
Other Manual Control (10.0)
Neutral Density Filter - The neutral density control is the third and final ring on the lens barrel, closest to the user, just behind the zoom ring. Neutral density filters, at least the best ones, reduce all light equally (that is, they do not favor any portion of the spectrum). They can be very useful when you want tight control of the aperture and shutter speed, but the image is still too bright. The filter factor determines a rough f-stop reduction value. There are two neutral density filter settings, 1/6 and 1/32. While Canon does not give you the values, we’ve seen estimates of the 1/6 ND filter reducing the light by 2 stops and the 1/32 filter reducing by 5 stops.
Zebra - The Canon XL H1 can create zebra stripes (on the viewfinder only) that warn of overexposed areas in the image. The zebra stripes can be set at 70, 75, 80, 85, 90, 95, and 100. These numbers correspond to your tolerance of overexposure levels.
Skin Detail Set - This control, found on so many camcorders, helps conceal skin blemishes by detecting skin tones. We find these controls to be of questionable technical and moral merit on most consumer camcorders, as the range of skin tones it is meant to correct typically favors lighter skin tones. The controls on the XL H1, however, are far more powerful than anything you’ll find on any consumer camcorder. The Skin Detail detection is composed of 4 distinct settings: Hue, Chroma, Area, and Y Level. Hue control is a scale to set the detection for skin area, from the greenish to the reddish. Chroma adjusts the color saturation for detection of skin areas, from the more vivid skin tones (+) to the less vivid (-). Area controls the color range. Y Level adjusts the brightness for detection of skin. And rather than a simple on/off control, once the skin areas have been detected, the level of correction can be set to high, middle, and low. When engaged, zebra stripes are created on skin areas.
Clear Scan - There’s nothing more annoying than watching an interview with a computer screen, in the background, flickering away or displaying black bands. This phenomenon is caused by a screen’s refresh rate too closely matching the scan rate of your camcorder. To avoid this, the XL H1 offers Clear Scan, which allows you to manually adjust the frequency from 60.1 Hz to 203.9 Hz.
In the Custom Preset menu, you’ll find an enormous range of image quality control settings – 23 in all - which can be saved in up to 6 grouped presets. The settings include:
Gamma Curve - In its most basic sense, gamma involves the relationship between light intensity input and output. The gamma curve is a corrective measure done in-camera to make sure that your video stays looking good. It’s pre-set to a Normal gamma curve. You can also change it to Cine 1 and Cine 2, which more closely matches that of film.
Knee Point Adjustments -Knee adjustments control the dynamic range of the upper end of the exposure scale and how it works to prevent overexposure. It can be set to Auto, High, Middle, or Low. The Low setting gives you more dynamic range in the brighter areas; the high setting creates less dynamic range. This is a very subtle corrective measure.
Black Stretch / Black Press - These are essentially knee adjustments on the dark end of the scale. The Stretch setting emphasizes contrast and creates a wider dynamic range; the Press setting darkens the darker regions, decreasing dynamic range. Middle is, you guessed it, in the middle. This is also a very subtle control.
Master Pedestal - This controls the start point of the gamma curve, and affects the darker regions of an image. It can be set from -9 to +9.
Setup Level - This control sets the standard black point, which varies from region to region. Officially, it’s measured in IRE levels. Canon states that professional camcorders use a black level of 3 IRE, which is the default. This can be adjusted from -9 to +9. Depending on how you have adjusted the Master Pedal, the Setup Level may not be able to take a negative value.
Sharpness - The sharpness level can be set between -9 and +9. In our experience, we found the XL H1 to undersharpen a little, as opposed to most consumer camcorders, which oversharpen to appear as if they have a higher resolution. When shooting in HD, the resolution is so good that you probably won’t need to boost the sharpness. But it’s there if you need it.
Horizontal Detail Frequency - H detail can be used to adjust the center frequency of horizontal detail. The choices available are High for high range, Middle for middle range, or Low for low range.
Horizontal / Vertical Detail Balance - This control allows you to shift the balance of detail between the horizontal, on the – side, and the vertical, on the + side. The scale ranges from -9 to +9.
Coring - Coring removes detail from the image that, from the camcorder’s perspective, is adding noise rather than useful detail. It can be adjusted from -9 to +9.
Noise Reduction - There are 2 NR settings. NR1 can be set at Off, High, Middle, and Low. When set to High, moving objects may leave trails. NR2, Canon describes, is similar to applying the Skin Detail feature to the entire image. No trailing will occur. It can also be set to Off, High, Middle, and Low.
Color Matrix - Color Matrix adjusts the overall color for the recorded image based on the final delivery format of the project. The Normal setting is used for images that will be viewed primarily on television monitors with a conventional video look, while Cine 1 gives images viewed on television a film-like look. The Cine 2 setting optimizes color for images that will be transferred to film.
Color Gain - The Color Gain controls overall saturation levels, and ranges from -9 to +9.
Color Phase - Color Phase shifting moves the color range towards the red or green, in a scale of -9 to +9.
R Gain, G Gain, and B Gain - Gains can be adjusted from -9 to +9 in each of the channels.
2-Channel Matrices - You can also control the relationship between any two channels (R-G, R-B, G-R, G-B, B-R, and R-B Matrices) from -9 to +9.
Flange Back - There are both automatic and manual flange back controls, which allow the camcorder to adjust focus for different lenses. The manual gives exact instructions, suffice it to say that it’s a relatively painless process, and completely necessary to master if you plan on switching lenses frequently.