Canon XL2 First Impressions Camcorder Review
by Nathaniel HansenPublished on Dec 31, 2004 6:00 PM
The Canon XL2 was officially announced today at a Canon press event at the Westin Hotel in Times Square. The very popular XL1 and XL1S were groundbreaking digital video camcorders, offering ultimate control and outstanding optics with a modest price tag. The XL2 adds to this several important upgrades, notably its variable frame rate modes (60i, 30p, 24p), 20x optical zoom lens, improved audio functionality and quality, as well as a software developers kit allowing users to swap manual control program settings via FireWire. The XL2, like its two predecessors, is poised for top notch performance and for popularity, particularly among the independent filmmaking community, which demands high quality, optimal manual control, and affordable prices. The full kit, including the 20x optical lens and software developers kit lists for US$4,995, and will be available in August of 2004. For former XL owners, the body alone will be made available in August for US$3,995. The XL2 is a great camcorder designed for the prosumer or professional who is looking for a camcorder that can shoot 24 frames progressive scan, 16:9 aspect ratio video, as well as a multitude of other things. It offers many features over the competition, but those features come at a price.
Video Performance
The Canon XL2 is equipped with three 1/3.4-inch 680K pixel CCDs with different effective pixel counts depending on the shooting mode. When set to 4:3 aspect ratio, the XL2 captures 350K effective pixels per CCD, and when in 16:9 aspect ratio 460K effective pixels per CCD. This is nearly twice the effective pixel count per CCD of any other camcorder at the prosumer price point. During the press event, Canon showcased several short vignettes that had been produced with the XL2. It was also announced that no correction to color or image was done in post-production. This section, being a first impression review, merely touches on the XL2‘s perceived performance capability. Several of the new variable frame modes were used, with two shorts shot in 60i, and the others shot in the two available 24p modes. The films were displayed on Sony 16:9 production monitors scattered throughout the room. There was good detail, depth of field, and color representation in each of the short films. My overall impression of the XL2 is that if users know what they are doing, and learn to maximize the camera’s capabilities and in camera features, they can create excellent looking images that can be presented on a variety of popular mediums and formats. We can’t really give a thorough analysis of the video performance of the XL2 until we have a unit to test.
The Front
It’s sort of silly to talk about the “front” of the XL2 (or any XL camera for that matter) as the massive 20x optical zoom lens is the dominant feature. There are no buttons or features that are accessed from a definable “front.”
The Left Side
The right side of the Canon XL2 is the main control center. The focusing ring sits about halfway back on the lens barrel. Just behind is the manual zoom ring. Further back still, users can access more lens appropriate controls. Starting at the top and moving down, the different switches include: Stabilizer Switch, Position Preset Switch, ND Filter Switch, Auto/Manual Focus Switch.
Moving even further back, off the lens and onto the physical body, users can access several features. This section of the camera is all black, which sharply contrasts with the all-white section further back and towards the front. Exposure Lock button, with the Lens release switch directly beneath, are in the middle of the camera body. Placed directly below these is the main Menu button, with an Iris select dial beneath that doubles as a jog dial when the menu button is pushed.
Moving further back on the right side, two knobs are easily accessible. The first knob is the gain knob, and the second is a white balance selector knob. On plane with these is the manual white balance SET button, and further back is the standby button. Above the gain and white balance knobs are the variable frame rate switch and the aspect ratio switch. Immediately across from these switches, on a portion of the body that juts out, are record search buttons and a button that doubles as color bars and film grain select buttons.
Further back on the right side, the color of the body changes to white. In the center is a large circular power/mode dial. This dial is used to switch between the camcorder’s many modes: auto, manual, TV, A/V, Easy, and Spotlight. Above the mode dial is a small button from a light to illuminate the control settings. Below the mode dial is an audio monitor button. Angling upwards from the mode dial, the body of the Canon XL2 houses a hinged panel which reveals audio controls when lifted. These include for dials for each of the four audio channels' levels. Also included are input switches for channels one-two and three-four, respectively. Channels three and four switch between inputs from the shoe, audio 2 (RCA), and rear (XLR). Channels one and two switch between inputs from the front mic, audio 1 (RCA), and rear (XLR). There is an option to input channel one or channels one and two simultaneously to the rear inputs. There are also switches to alternate between automatic and manual recording levels, as well as an on/off switch for the front mic attachment.
Protruding outward towards the viewer from the left side of the camcorder is the Canon XL2’s mighty viewfinder/LCD. The viewfinder’s right-angled form breaks at the bend, revealing a 2-inch LCD screen, which is magnified when viewed through the eyepiece.
The Back
The back of the Canon XL2 is dominated by the shoulder rest, which is now officially part of the camcorder body. Above the shoulder rest is a battery mount, which can accommodate the optional CH-910 battery charger and BP-945 batteries. The addition of a battery pack may work to counteract the front-heavy nature of the XL2, which weighs almost 2 pounds more than the XL1S, with nearly all of the added weight from the lens. Above the shoulder rest and behind the battery mount, are two XLR inputs for audio, which can be coupled with two additional XLR mounts (available as an additional accessory) mounted on the accessory shoe on top of the XL2, for individual and independent use of all four audio channels. The XLR jacks are now powered by phantom power. Above the XLR jacks are microphone attenuation switches for channels one/three and two/four as well as in +48V. Above these switches is a port cover revealing the REMOTE/LANC ports. Further up are the headphones jack and its level dial.
The Right Side
The right side of the Canon XL2 houses many of the larger administrative contraptions of the XL2. To the right side of the camcorder's humongous lens is the hand grip for the shoulder position of handling. From this grip, the user can control the 20x zoom with a large zoom toggle and a zoom speed dial. The record button is also located on this grip. Behind the grip is a backup battery compartment, followed by the MiniDV tape mechanism, highlighted in white. The battery release button is located below the lower left of the mechanism. The battery is located in a slot which follows the angular curve of the XL2’s body towards the rear. On the far end of the right side of the camcorder is a port cover revealing the XL2’s S-video port, video terminal (BNC), RCA/BNC Selector, Video Terminal (RCA), Audio 2, and Audio 1 inputs/outputs.
Protruding towards the viewer from the top of the right side of the Canon XL2 is the camcorder’s short shotgun microphone, which also shoots horizontally past the lens.
The Top The top of the Canon XL2 contains the top sections of both the short shotgun microphone and the viewfinder. Following the axis of the camcorder backwards from these devices, you'll finda handle similar to that of the XL1S. On the top side of the handle is the accessory shoe, a second record button, a lock lever, and a second zoom toggle. Further back on the handle top is a panel covering playback control buttons.
Picture & Manual Control
Automatic Control
Automatic control is not what the XL2 is designed for, although it does have an easy recording mode. In easy recording mode, white balance, shutter speed, exposure, and focus are automated by the processor. These were not “tested” but it’s safe to assume that the XL2 performs these options quickly, and accurately.
Overall Manual Control
The XL2 was specifically designed with total control over image in mind. In addition to standard manual controls such as white balance, gain, exposure, iris, in-lens ND filter use, focus, and AE shift, the XL2 includes several other manual control settings.
Master RGB Gain – Includes 13 steps of adjustment to red, green and blue signals.
Set Up Level – 13 steps of IRE setup levels for fine tuning the image.
Master Pedestal – 13 steps of adjustment, affecting the gamma curve.
Skin Detail – used for adjusting hue, chroma, area, and Y levels in an image containing skin. The skin area being adjusted is highlighted by a zebra striped pattern.
Gain – Gain settings of -3, 0, +6 +12, +18.
Gamma – adjusts the gamma curve of the image to create distinctly different looks, ranging from video to film.
Knee – Highlight levels are adjustable with three settings of High, Middle, or Low.
Black – The depth of black in an image can be boosted to reveal otherwise hidden details. Contrast can be increased with the Stretch function, or deepened and enhanced with the Press feature.
Color Matrix – This changes the “look” of the color from video to film. Color management is different for film, hence the switch.
Vertical Detail – Includes two settings: Normal for optimizing vertical detail for playback on an interlaced monitor, and Low for progressive scan monitors (pc screens).
Sharpness – Allows for the sharpness of the image to be increased or decreased.
Coring – Reduces image noise by reducing detail that is not contributing to picture detail.
Noise Reduction – especially helpful for low-light shooting scenarios, noise reduction removes unwanted picture artifacts from the image.
Color Gain – 13 steps of saturation, allowing users to shoot a variety of saturated levels, including black and white.
Color Phase – Adjusts the color balance of the image towards either red or green.
Film Grain – Recreates the graininess often found on 16 mm and 35 mm film.
Zoom
The Canon XL2 has an impressive 20x optical zoom lens, with servo and manual zoom control available. The zoom settings can be preset, allowing users to define the automatic zoom speed by setting it manually. There is a zoom toggle on the right hand grip, as well as on the handle of the XL2. The manual zoom is easily engaged, and has the perfect amount of tension. It was quite something to hold the XL2 and manually crank through the 20x optical zoom, wondering when it would stop.
Focus
Manual focus control on the XL2 is controlled via the focus ring located on the lens barrel. It is easily controlled, and is accurate. In order for users to access the manual focus feature, the focus setting switch must be set to M.
Exposure (Aperture)
Manual exposure adjustment is controlled via the iris depressible dial on the left of the XL2 body. The same settings as on the previous XL camcorders are available.
Shutter Speed
The Canon XL2 has manual shutter speeds between 1/24 and 1/15,000.
White Balance
The Canon XL2 has several white balance options, aside from automatic. Preset modes of indoor and outdoor, as well as three settable white balance options, best for use in non-sequential filming. The white balance knob is located on the lower left side of the XL2 body.
Gain
The Canon XL2 has a gain dial/knob on the lower left side of the camcorder body. Gain settings of -3, 0, +6 +12, +18.
Low-Light Performance
It is neither possible nor feasible to give a low light performance breakdown at this time. We will give one as soon as we get an XL2 for testing.
LCD/ Viewfinder
The Canon XL2 combines the viewfinder and LCD into one unique feature set. The viewfinder can be flipped up and back to reveal a 2 inch 200K LCD screen. The LCD itself was small, and appeared to solarize quite badly. It was slightly disappointing.
Audio
Like the Canon XL1S, the Canon XL2 is equipped with four audio channels. There are manual and automatic settings for these channels as well as many different input and attenuation options available. These include RCA input/output ports for 1/3 & 2/4 channels (AUDIO 1) and ¾ (AUDIO 2), for 2 channel and four channel in/output There are also corresponding XLR inputs located on the back of the camcorder: one for 1/3 and the other for 2/4. This is an improved placement of the XLR ports to the XL1S. Furthermore, Canon is offering an attachment fitting on the camcorder’s accessory shoe which adds two additional XLR port, presumably giving the user one XLR port for each channel. The XLR ports conveniently now run on phantom power.
Switches for microphone attenuation are available on the back of the XL2 for channels 1&3 and 2&4; nearby are similar switches for +48V. The XL2 ships with a short shotgun microphone, the same stereo electret condenser microphone. Audio recording is available, as on the XL1S at 16 bit (48kHz) for 2 channels and at 12 bit (32 kHz) for 4 channels. There is an accessory shoe for additional mic attachment, as well as a headphone jack for convenient monitoring. Visual monitors exist on built-in VU meters as well as part of the viewfinder display.
Handling
The Canon XL2 is almost pounds heavier than its predecessor, the XL1S. Weighing in at 7.8 pounds (battery included), the XL2 is extremely front heavy, but will most likely balance out with the additional weight of a battery pack in the back. On a positive note, the XL2 operates similarly to the XL1 and the XL1S, with focal and zoom control as smooth as butter. All in all, the XL2 handles superbly and is a pleasure to touch.
Ports
The Canon XL2 contains a S-video in/out, a video terminal (BNC) in/out, two XLR inputs, a video terminal (RCA) in/out, and two RCA input/outputs for channels 3&4 and channels 1/3 & 2/4. There is a headphone port along with LANC/REMOTE and FireWire ports.
Other Features
Variable Frame Rates: The Canon XL2 offers recording at 60i, 30p, 24p (2:3), and 24p (2:3:3:2). By all appearances, these are the same 24p options that Panasonic has been offering on the AG-DVX100. The 2:3 option is meant for the cinematic look of film, while the 2:3:3:2 looks similar to the 2:3 option but is meant for video to film transfer. These options, especially the 30p option that offers tremendous video quality in its own right, are nice improvements over the XLS.
Software Developer’s Kit: The XL2 ships with a kit which allows the camcorder’s settings to be stored on, as well as changed from, a computer; these settings can be transferred nearly anywhere from computer to computer, allowing setting swapping for particular looks.
16:9 widescreen mode
The Canon XL2 includes three oversized chips. 350K effective pixels at a 4:3 aspect ratio and an excellent 460K effective pixels in 16:9 mode offer a superb resolution of 962 x 480 in 16:9 mode and 720 x 480 in 4:3 mode. Canon’s new method for producing a decent 16:9 image from 4:3 sized chips is quite something. While it must be understood that the XL2 doesn’t have 16:9 chips, its oversized chips do produce a good 16:9 image. The XL2 takes oversized three 4:3 chips, with 680K gross pixels per chip, and cuts off the side pixels yielding 350K effective at a resolution of 720 x 480, which is average. The magic takes place when the XL2 frees these pixels yielding a 16:9 image of 460K pixels and a resolution of 962 x 480. Other methods stretch the 4:3 image to achieve a 16:9 effect, while the XL2 merely bares its teeth, full and sparkling white.
Analog-to-Digital Pass Through
The Canon XL2 is equipped for Analog-to-Digital Pass Through.
Conclusion
The Canon XL2 is poised to potentially take back the 24p market from the immensely popular Panasonic AG-DVX100. Canon continues to offer lens interchangeability with the XL2’s new and impressive 20x optical zoom lens, as well as ultimate manual control and new variable frame rate modes of 60i, 30p, 24p (2:3), and 24p (2:3:3:2). The Canon XL2 also includes better placed buttons and XLR ports, with the option of two additional XLR ports, one per audio channel.
The bottom line with the Canon XL2:
With the Canon XL2 you’re paying for four premiums over nearly any other camcorder on the market:
1. interchangeable lens compatibility
2. increased effective pixel count on each CCD
3. variable frame rates
4. improved and unique 16:9 mode
If these features are worth the $1500 difference over the AG-DVX100, then the XL2 may be for you. With tremendous manual control and so many other improved features, the Canon XL2 very well could be the independent filmmaker's camera of choice.
Matt Culler contributed to this article.
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