Canon XL H1 Camcorder Review

Comparisons
Canon XL2
Comparing the XL H1 to the XL2 is as problematic as comparing any HD-capable camcorder to a SD camcorder that it resembles. When it comes to video performance, there is no comparison between the two. But the XL H1’s HDV capability isn’t the only add-on that more than doubles its MSRP over the XL2. Significantly, it adds the Professional Jack Pack as a standard feature, something that is an expensive optional accessory for its SD counterpart. In other ways, users of the XL2 will find migrating to the XL H1 very easy because the body shape and user interface of the two camcorders are nearly identical. The controls are in the same locations as on the XL2, and for the most part work the same way. But the H1 is an altogether different tool. The jack pack vaults it squarely into competition with higher-priced HD cameras that are also equipped to handle studio-based production scenarios. For XL2 users, who have no need for features like Genlock, and do not make extensive use of XL compatible lenses, the XH A1 may make more sense.

Canon XH G1
The difference between the XL H1 and the XH G1 can be summed up easily. As a Canon spokesperson told us, “they are exactly the same camcorder, but the XL H1 can use XL series lenses.” Indeed, the camcorder’s imaging systems and core specs are identical – and both are outfitted with the Professional Jack Pack. In terms of handling, the XH G1 is closer to the standard definition G2 camcorder that has similar dimensions. In the end, the decision of whether to spend roughly $2K more for the XL H1 over the XH G1 comes down primarily to whether you will need more than the stock Canon lens. Secondarily, the larger profile and weight of the XL H1 is a consideration, weighing in at 3.75kg (8.25lb) and measuring 226mm x 220mm x 496mm (8.9” x 8.7” x 19.5”) fully loaded. The relatively svelte XH G1 weighs only 2.33kg (5.14lb) with dimensions of 163mm x 189mm x 314mm (6.4” x 7.4” x 12.4”).

Sony HVR-Z1U
The Sony HVR-Z1U is significantly less expensive than the Canon XL H1and more comparable in terms of price to the XH G1 with a US retail price of $5946. Like the XH G1, it does not support an interchangeable lens system, has a more compact body than the XL H1 and is reminiscent of the well-known Sony PD170. Given these differences, it’s likely that the HVR-Z1U will appeal to shooters who are not looking for either the flexibility of the XL lens system or the Professional Jack Pack, and are dedicated Sony users. The HVR-Z1U has 3 x 1/3” CCD’s, each with an effective pixel count of 1070K pixels and a 12x Carl Zeiss Vario-Sonnar zoom lens with a 72mm filter diameter. In comparison the XL H1 has 3 x 1/3” CCDs with a higher 1560K pixel count and a somewhat expanded interface. With a large 3.5” LCD screen vs. the 2.4” combination viewfinder/LCD on the XL H1 and a simpler (and somewhat more limited) manual control interface, the Sony is a friendlier but still very capable HDV camcorder.

JVC GY-HD110U
In terms of heft, on-set gravitas, and lens interchangeability, the JVC GY-HD110U gives the XL H1 a run for its money. The JVC  costs much less, and the standard package including Fujinon 16x ProHD lens has an MSRP of $6295. The JVC also records video in true 720p - there are no interlaced options which some DP's won't miss. In terms of resolution the GY-HD110U punches above its weight, and it turned in resolution scores second only to the XL H1 among sub-$10K camcorders in Adam Wilt's HD shootout, written earlier this year. With more professional features than the comparably priced Sony HVR-Z1U and a multitude of lens options, it may be the most competitive camcorder in this bunch in a head to head with the XL H1, and is worth a serious look.

Panasonic AG-HVX200
The Panasonic AG-HVX200 is another camcorder that is not easily compared to the XL H1 or any HD camcorders on the prosumer market due to the fact that it employs a tape-less recording system. While it does record standard definition DVCPRO video to standard MiniDV tape stock, Panasonic has placed its HD bet with its proprietary solid state P2 memory card format (the AG-HVX200 is also compatible with HDD’s like the FireStore FS-100). There are certainly major benefits to tapeless and solid state video, including savings in media costs over the long term, and a reduced risk of media damage due to adverse conditions. P2 cards also reduce footage transfer time considerably when compared to tape, and theoretically allow non-stop recording with two onboard P2 slots. But, for the time being, P2 remains a format that has yet to deliver on its promise. The cards are expensive, with 8GB cards retailing for $1200 list, and this high cost per minute, in turn, places restrictions on workflow. To shoot 40 minutes of DVDPRO HD footage in the field, you would need five 8GB P2 cards. In terms of camcorder handling and features, the AG-HVX200 resembles the DVX100 series from Panasonic with a similar interface, shape, and size. P2 issues aside, the Panasonic performs exceptionally well, with true 24P (unlike the XL H1) and should appeal to non-broadcast shooters who are ready to make the jump to a tapeless system.

Who It’s For
Point-and-Shooters (0.0)
Clearly this is not a camcorder that’s suitable for point-and-shooters given its many professional features. In a pinch, you could hand the camcorder to an assistant with little shooting experience: In green mode, you need to know little more than the location of the Record button and the zoom toggle to operate the XL H1.

Budget Consumers (0.0)
Budget consumers will find the XL H1’s $8999 MSRP astronomical. Professionals on a budget looking for an HDV camcorder for TV may find that this camcorder makes a compelling case for itself. For under $10k, no other camcorder combines 1080i recording, interchangeable lenses, and terminals that are vital for multicam studio production.

Still Photo / Video Camera Hybrid (0.0)
For grabbing the odd production still, the XL H1 does the job, but it’s no replacement for a decent compact digital camera.

Gadget Freaks (0.0)
The XL H1 has a high coolness quotient given its capabilities and trademark XL-series look. As a gadget, this camcorder is very expensive – but for pros who want to give their shoots the extra flava’ that comes with a larger camcorder, this Canon holds some appeal. It may also be a camcorder that appeals to shooters who want to make themselves more marketable, and the Professional Jack Pack is an add-on that could yield an extra gig here and there, when Genlock or HD SDI are requisite. The ability to access other XL lenses is another plus that may bring make-or-break value to a shoot when a simple lens adaptor won’t do. In this sense, the XL H1’s gadgetry buys flexibility that competing HDV cams can’t match.

Manual Control Freaks (0.0)
This is a camcorder built for experienced users who have the knowledge required to make the XL H1 perform. It’s also a camcorder that should hold great appeal to XL1 and XL2 fans who have invested significant time getting to know those camcorders. Transitioning to the XL H1 from its SD predecessors is easy given numerous shared controls and a similar body. The ability to utilize other XL-series lenses is an added benefit for this group. Shooters who want an HDV camcorder that’s easier to use would be advised to look at smaller-bodied models like the XL A1, the Sony Z1U, or the Panasonic AG-HVX200.

Pros/ Serious Hobbyists (0.0)
This is a great camcorder for pros and very serious hobbyists who need an HDV camcorder with interchangeable lenses or the Professional Jack Pack or both. For users who don’t need either of these options, there are numerous camcorders selling for thousands less, including Canon’s own XH A1 slated for release in October. The XL H1 is also a camcorder that is best suited to TV-style shooting given that it does not offer true 24p. Even though Canon claims that 24F is nearly indistinguishable from 24p when transferred to film, you’re better off originating in progressive HDV. The JVC GY-HD110 and Panasonic AG-HVX200 are two camcorders that shoot 24p, although both of those camcorders lack Professional Jack Pack features and the Panasonic lens can’t be swapped out.

Conclusion
The Canon XL H1 is among the biggest investment in the under-$10K market, but it’s money well-spent, in our opinion. To stay true to our natural skepticism, let us consider the downsides first.

The first and possibly most substantial negative is the lack of 24P. People want the film look, you can’t deny that. Canon claims that their 24F shooting mode looks indistinguishable from 24P, but we’re sure that objections will made by an angry public. So much of the argument to the contrary is on a very technical scale, involving pull-down methods and so on. On a strictly aesthetic level, we did not see much difference. 24F video looks just as blurry as 24P, and neither of them actually look like film – not without serious processing.

The second potential downside is size. If interchangeable lenses are not necessary, the forthcoming Canon XH G1 and XH A1 are much smaller. Of course, they offer less stability, so you have to know your shooting needs ahead of time.

Thirdly, the EVF is on the small side – only 2.4”. The Panasonic AG-HVX200 has a 3.5” EVF, as does the Sony HVR-Z1 and JVC GY-HD110. Seeing what you’re shooting, especially with HD, is crucial. Maybe Canon assumes that the real pros will have a monitor on hand, but not everyone has the budget or the people-power to haul a monitor around.

The plus side is… well, everything else. Video quality was excellent, and the resolution was superior to other camcorders in its class. Auto focus issues were a problem at times, particularly in 24F, but the variety of manual controls, as well as their accessibility, provided solutions to most problems, actual or potential. The Canon XL H1 was clearly in development for a long time, and was not released until Canon was good and ready. We’re glad they waited, because the final product is outstanding.