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  • Performance

  • Format

  • Tour

  • Auto/Manual Controls

  • Still Features

  • Handling and Use

  • Audio/Playback/Connectivity

  • Other Features

  • Comparisons/Conclusion

  • Specs/Ratings

  • Performance
  • Format
  • Tour
  • Auto/Manual Controls
  • Still Features
  • Handling and Use
  • Audio/Playback/Connectivity
  • Other Features
  • Comparisons/Conclusion
  • Specs/Ratings

Performance

The Canon XL H1 features three 1/3" CCDs. Each CCD has a gross pixel count of 1.67MP. The effective pixel count during HDV recording is 1.56MP. In standard definition (DV) recording in 16:9 the effective pixel count in the same, 1.56MP per CCD. In DV in 4:3, the effective pixel count is 1.17MP. HDV is recorded at 1080i (60 interlaced frames per second). The XL H1 does not offer a 720p (30 progressive frames per second) or 1080p mode, the other scan rates in the HDV standard. The camcorder does have frame rates of 30F and 24F, both of which are interlaced (see Scan Rates/24p towards the end of this review).

HDV

We tested nearly all of the camcorder’s various shooting modes and features in an effort to corral this bad boy. Let’s begin with full auto. This is the setting that most run-and-gun shooters will use at least once in a while. At 3000 lux, the Canon XL H1’s HDV video looked incredible on our Panasonic HD pro monitor (courtesy of Boston Camera Rental Company). The colors were exceptionally well balanced, and had none of the oversaturation that you’ll find on non-professional camcorders. On areas of the chart where RGB channel levels should all be the same – black, white, and grey – the blue channel was always slightly boosted (2-4% higher).

Noise levels are low. Contrast also looks good. The resolution was outstanding. Even in the very fine detailed areas of the resolution trumpets, there was almost no moiré – none at all, in fact, in the vertical. The testing that Adam Wilt’s reported on for DVguru.com confirmed our positive analysis. In those resolution tests, the XL H1 nearly matched the Sony HDW-F900/3 CineAlta, which shoots at 1920 x 1080p and costs several times the price. It also beat out the Sony HVR-Z1, the JVC GY-HD100, and the Panasonic AG-HVX200 in their tests.

After a manual white balance, we were surprised to see that the color levels were statistically identical. Granted, this is under favorable conditions – even coverage of 3000 lux light from a tungsten bulb – but it points to a very good automatic white balance. All the same compliments apply here. For more information on performance in alternate frame rates, jump down a few paragraphs.

Standard Definition DV Mode

Of course, the Canon XL H1 doesn’t just shoot HDV. DV modes are available in both 4:3 and 16:9 aspect ratios. As the CCDs are native 16:9, we’ll start there. At 3000 lux in 16:9, 60i, the camcorder produced yet another great image. Even though the resolution is not as sharp as the HD footage, the colors benefit nearly as much from the three chips. We say nearly because the colors look slightly less strong in the DV footage. It’s a curious occurrence. The DV video is brighter (about 9% brighter than HD under the same conditions), but that brightness boost seems to adversely affect color strength. It still compares quite favorably to camcorders with similar DV capabilities.

In 4:3 DV, the Canon XL H1 looks pretty much indistinguishable, except for the reduced width, of course.

The Canon XL2, the DV predecessor, was enormously popular with indie filmmakers, students, and (for whatever reason) skate boarders. The XL2’s video was slightly more saturated. The brightness levels were about the same as the XL H1. The XL2 leaned a little heavier on the greens and reds; the blues did not register a little higher, as they did on the XL H1. Noise levels were similar.

The Panasonic PV-GS400, a popular and highly regarded consumer camcorder, produced a more saturated image. In-camera sharpening levels appeared higher, as well. This is something you’ll typically find in consumer-oriented camcorders. Pro-level creates an even-sharpening, so that you have the option to sharpen in post-production, if you so choose.

The alternate frame rates of 30F and 24F did not seem to make any noticeable difference in image color, sharpness, or noise. There was a sharp distinction in how it handles motion, which we describe below.

30F and 24F Frame Rates

As we’ve mentioned above, the alternate frame rates on the Canon XL H1, 30F and 24F, do not affect color, sharpness, or noise levels to any great degree. They do, however, have a huge effect on motion – either the movements of your subjects or the movement of the camcorder. When recording in either 30F or 24F, motion during playback on video monitors will appear slightly staggered without additional post work. During production, the staggering motion is exaggerated on the LCD screen which can be distracting, though the effect is not nearly as great when the footage is played back. Auto focus adjustments are hampered during 30F and 24F recording, and in low-contrast situations at full telephoto, this auto control is practically useless.

Video Resolution* (37.2)*

The Canon XL H1 was tested for its resolution in our standard methods. We shoot an ISO 12233 resolution chart under bright, even lighting, and then run stills of that footage through Imatest imaging software. In HDV, the camcorder produced 601.0 lines of horizontal resolution and 618.5 lines of vertical resolution, yielding an approximate resolution of 371718.5.

Shooting at standard definition in 4:3 aspect ratio, the Canon XL H1 produced 586.6 lines of horizontal resolution and 396.6 lines vertical resolution, making for an approximate resolution of 232645.56. In 16:9 DV, the camcorder produced 576.2 lines of horizontal resolution and 358.2 lines of vertical resolution, yielding an approximate resolution of 206394.84. The reduced resolution from 4:3 to 16:9 is puzzling, given that the effective pixel count is higher in 16:9. We’re not the first XL H1 testers to make this discovery, but we’ve yet to receive a satisfactory answer.

**Low Light Performance ***(10.0)*
High Definition

In order to evaluate low light performance, we test our camcorders at two light levels, 60 lux and 15 lux. When a camcorder has some tricks up it sleeve that can improve performance, we evaluate those, too. As you might expect, the Canon XL H1 has a lot of tricks. Some of them, like the Night Program AE mode, are features that pros would almost never use. Anything that slows the shutter speed down below 1/30th in 60i will cause trailing to occur, so slow shutter speeds are out. Sure, it’s nice that they exist, but they’re not useful for most people. Gain, however, is a very useful tool, if you can keep noise in check. So that’s what we want to look at.

At 60 lux in 1080/60i, the picture is great. The 1/3" imagers are clearly working to the camcorder’s advantage, and the noise is quite low. The picture looked nearly as good as it did at 3000 lux, which is a remarkable feat. Noise was barely present, which was the most remarkable thing about the low light performance overall. It’s really amazing. The noise could not have been much higher than it is at 3000 lux. Colors appeared a touch more saturated, indicating that the processor may have begun to tinker with auto saturation levels. The fine detail remained excellent though, and resolution levels seemed to drop off only a little.

At the 30F frame rate under the same conditions the colors brightened slightly. Switching to 24F, the brightness increased even more, due to the slower shutter speed (1/48 versus 1/60). In both modes, those fantastically low noise levels remained.

*60 Lux Gain Boosts
*At 1080/60i (shutter speed 1/60th), with a manual setting of 0dB or +3dB gain, the picture was dark, and not something you’d really want to use, considering the low noise levels the camcorder produces at 60 lux in auto mode. +6dB is about where the camcorder sets the gain in auto mode. A bump up to +12dB suddenly makes the noise noticeable, which is a promising sign that the auto mode knows where to mark the cut-off point. Yes, colors are more vivid here, but the +6dB setting looks good enough. Why push it? +18dB is just unnecessarily noisy.

Shooting 24F (shutter speed 1/48th), the frame rate is slightly slower, so you can hold back on the gain and still get a nice, bright picture. Here, a +6dB boost is a little brighter than auto mode. Noise levels are a little noticeable, which follows a pattern that you’ll see in 15 lux testing. There, the 24F image was always noisier than the 60i image. For full resolution images of the color charts showing the gain range under multiple shutter speeds, click here.

At 15 lux, the XL H1’s auto mode at 1080/60i produced a pretty grainy image. The auto gain had clearly kicked up to about +16 or +17dB. The colors still look remarkable, though, and suffered no bleed or loss of differentiation. The noise did choke off some of the fine detail, as you can see in the trumpets.

At 1080/30F, the picture looked effectively the same. The 1080/24F image, however, was much noisier. Here, there was an almost palpable texture to the video that was manageably avoided in 60i and 30F.

15 Lux Gain Boosts

At 1080/60i, with the shutter speed fixed at 1/60th, the -3dB, the picture was exceptionally dark. 0, and +3, and +6dB were the same. It’s not until +12 that the image becomes usable. Here, the noise is as bad as it was in auto mode at 15 lux, 24F mode. Colors are certainly darkened, but you can differentiate without struggling. At +18dB, the image had picked up a good deal of noise. Comparatively, the full auto mode in this same light level was able to produce a brighter picture with less noise. How? Likely, the exposure levels were automatically boosted a little, something which we did not perform manually when testing that gain levels.

When shooting 24F, we fixed the shutter speed at 1/48th. The slower frame rate compared to 60i caused it to pick up light better. Here, a gain boost of +6dB wasn’t quite as bright as 60i +12dB, but it was close. And the 24F +18dB was noticeably brighter than the 60i +18dB. Considering the inevitable noise increase that accompanies gain boosting, the 24F image was preferable here. However, if the camcorder was left in auto, the 24F’s higher noise levels make it less preferable, despite the brighter picture.

Although you might not be inclined to use it, we also looked at the 24F mode at a shutter speed of 1/24. There would be noticeable trailing here, but if the camcorder was fixed on a tripod and there was little movement in the frame, it might be an option. With the shutter this slow, a gain boost as low as +3dB made for good looking color. Noise levels were low, too, which is the reward for being able to keep the gain down. Full res color charts of gain settings can be seen here.  *

Standard Definition DV Mode*

The standard definition is, of course, not as enviable a picture as the HD image, but the camcorder still has a large 1/3" chip and an excellent imaging processor. Also, we won’t break down the difference between 4:3 and 16:9 aspect ratios, as low light performance was indistinguishable.

At 60 lux, the colors do not quite match the vivacity of the HD image. Noise levels are about the same. The resolution is, of course, nowhere near that of the HD footage. However, comparing the 60 lux to the 3000 lux shows almost no difference in color levels or sharpness, which is truly amazing.

At 15 lux, 60i, the DV image was a little less bright than the HD image under the same conditions. Colors were also less saturated, particularly the reds. Noise levels were about the same – that is to say, there was a lot of noise. But that is the cost for such good all around color performance. If you don’t like it, you can dial in the gain yourself and try to reduce the noise. As in HD mode, the camcorder was able to produce a brighter picture with less noise in auto mode than it was when we fixed the shutter at 1/60th and dialed the gain up to 18dB.

30F was essentially the same as 60i in this light. So did 24F.

In conclusion, this camcorder is a low light powerhouse. Exceptionally low noise in moderately low light, with excellent color reproduction is what makes this a winner.

Wide Angle* (10.4)
*We tested the wide angle of the Canon XL H1 in order to see if it matched up with the printed specs. According to the manual, the camcorder should have a 51.36 wide angle degree in 16:9 and 39.51 degrees in 4:3. Our tests showed a wide angle of 52 degrees in 16:9 and 40 degrees in 4:3, both coinciding with the specs Canon gives. This is a pretty standard wide angle for a 16:9 camcorder.

Format

Compression* (7.0)*

The Canon XL H1 is capable of capturing compressed standard definition DV or HDV video to tape, or outputting uncompressed standard definition or high definition video via the HD/SD SDI port. When recording to standard DV tape, the data rate for both DV and HDV video is fixed at 25 Mbps despite their differing codecs (DV uses an intraframe scheme while HDV uses MPEG-2 encoding). Unlike most other prosumer HD camcorders, the XL H1 is also capable of outputting uncompressed HD video out of the box. Uncompressed DV video has a data rate of 210 Mbps while uncompressed 60i HD has a data rate of 932 Mbps or 410 GB/hour. Most pro-level editing software can handle uncompressed video, but data this big requires sizeable bus speeds and drive arrays.

Media* (7.5)*

The XL H1 uses standard 6.35mm DV tapes for recording DV and HDV video, and SD memory cards for capture of still images. Numerous high-throughput hard drive options are available for capture of uncompressed video, and can be purchased as either off-the-shelf drives or manually configured and striped. Another popular option for hard drive capture is a Firestore device, which attaches to the accessory bracket and connects via DV cable. Firestore is for DV/HDV only, and not a solution for uncompressed capture.

**

Editing*** (8.0)*

Editing compressed SD or HDV video is a cinch with the help of a professional-grade NLE like Adobe Premiere, AVID Xpress Pro or Apple Final Cut Pro HD. HD has been around long enough that nearly all elements of post-production have caught up and should have little trouble handling the large data streams. HDV editing does require a slightly faster system than SD editing, but systems like Dell’s Precision line or Apple’s Macbook Pro mated with sufficient HDD capacity and RAM will suffice. Editing uncompressed HD video requires additional throughput and higher bus speeds not typically found in off-the-shelf systems.

 

Tour

 

**The Front ***(13.0)*

The XL H1 is to the XL2 as Darth Vader is to a run-of-the-mill storm trooper. It's bigger, it's burlier, and in a departure for Canon, it's black. Its overall form resembles the popular standard definition camcorder, while most changes reflect the camcorder's ability to shoot in HDV as well as SD video. In this tour, I'll detail the camcorder's features with the stock lens and onboard mic mounted, as it appears in the basic package.

Viewed from the front the XL H1and XL2 are nearly identical, sharing the hallmark T-shaped appearance. The large removable plastic lens hood is the most prominent feature, and it extends several inches past the front of the lens. The Canon HD 20x L IS lens itself extends about 8 inches beyond the main camcorder body.

Just above the lens mount, a large handle extends up from the body. At its front is a tally lamp and remote sensor, both visible on a small plastic oblong patch. The EVF (electronic color viewfinder) unit makes up the horizontal bar of the XL H1's T shape, and attaches to the front side of the handle above the tally lamp. The viewfinder cable meets the EVF, at its center front side, and plugs into the body via a port on the left side. The right side of the EVF unit houses the LDC screen and eye cup, while the left side serves as a shock mount for the onboard microphone. The shock mount is adjustable, and easily accommodates many third party shotgun mics. The supplied microphone extends forward of the EVF unit by about six inches. The entire EVF/mic mount is adjustable both side-to-side and front-to-back about 2' - 2 1/2'.

Forward of the camcorder body is the standard Canon 20x lens with a minimum focal distance of 20mm to 1m, and aperture settings of F1.6, F2.0. F2.8, F5.6, F8.0, and F9.5. On top are a Stabilizer on/off switch, Position Preset switch (for set zoom positions), AF switch/Position Preset on/Set switch (for temporarily entering AF and setting zoom presets), and Focus Selector switch (Auto/Manual). Moving forward are the ND filter ring, the Zoom ring and the Focus ring. All three rings are distinguished from one another tactilely: the ND ring is plastic, and must be released by pressing a button on it top side; the Zoom ring is made of rubber; and the Focus ring, also rubber, flares slightly out and is wider than the Zoom ring.

The entire EVF unit is highly adjustable, shifting left and right along a 2.5' track, and can be removed from the body of the XL H1. Unfortunately, we found the screw that keep it in place inadequate. It comes loose after lugging the camcorder around, allowing the EVF to slosh back and forth.

**The Right Side ***(17.0)*

The right side of the XL H1 hosts many of the camcorder's ports, the tape compartment and the grip with its integrated controls. From the camcorder's top rear, the handle extends up and forward horizontally to rejoin the body above the lens mount. At the front of the handle is the jack for the supplied mic, and above and to the left of that is an on/off switch for the zoom toggle located on the top surface of the handle.

The camcorder's main grip extends out from the camcorder's body to provide comfortable hand placement. On the top surface of the grip is the camcorder's primary zoom controller. One of this camcorder's main assets is its considerable length, which allowed Canon to keep controls at an optimal size rather than miniaturizing them, which tends to happen on smaller prosumer models. The zoom rocker is a good example of full-sized controls, and is operated using both the middle and index fingers, providing better control than one-finger zoom toggles. Just behind the zoom rocker is a photo button, positioned in easy reach of a user's index finger.

On the rear surface of the grip are several controls. From top to bottom: the tape/card toggle switch, the variable/constant zoom speed switch, variable zoom speed dial, and Record start/stop button. Sensibly, the only controls that are accessible when this grip is used are the record button, zoom rocker, and photo button. This makes accidental engagement of the other grip-mounted controls while shooting nearly impossible. A large and well-padded hand strap runs along the outside of the grip, while the memory card slot is located on the inside bottom edge of the grip.

Moving towards the camcorder's back, the XL H1 body slants upward, giving it the distinctive XL look, and the tape compartment is positioned in the center of this angled section. The compartment hatch is opened via a switch above it, on the top surface of the camcorder, and loads from the top. The tape compartment hatch opens easily on a sturdy bottom hinge. To the left of the tape compartment is the recessed battery slot with a release at its lower right corner. The battery release button is conveniently placed, but reaching it is a tight squeeze when numerous ports are in use.

The camcorder's two main port compartments are to the left of, and below the battery slot respectively, both protected by hard plastic port covers.The first port compartment, along the XL H1's back edge, contains terminals for, from top to bottom, S-video, BNC video, RCA video, RCA audio 2, and RCA audio 1. Next to the video terminals is a BNC/RCA toggle switch.

The second port compartment below the battery slot is arranged horizontally, and it contains terminals for Time Code in, Time Code out, Gen Lock, and HD/SD SDI from left to right. These ports are on the right side of the shoulder rest, which comprises a distinct part of the XL H1's body. While the main body is angled, the shoulder rest fits like a wedge underneath the angled back of the XL H1's body.

**The Back ***(9.0)*

The back of the XL H1 body features a number of controls and ports, including the XLR audio inputs, located at the back end of the shoulder rest. This camcorder has two XLR inputs, for channel 1/3 and channel 2/4 (the camcorder can mix up to four balanced audio signals sans external mixer with the optional MA-300 adaptor). Below the XLR inputs is the component video out port, capable of 1080i output as well as sending a down-converted 480i signal to SD monitors. Above the XLR inputs, the body shape follows an arc that continues seamlessly onto the handle.

Concealed by a sturdy protective cover are a number of controls and terminals beginning with the headphone level dial on top. Like the XL2 phones level dial, this is a textured 'thumb dial' that is set flat against the body of the camcorder. I didn't care for this dial on previous XL models, and I would prefer a raised dial design to this one, or a pop-up button like the gain and white balance controls on the left. Just below is the mini headphone port, behind its own small cover, and below that is another port cover concealing the HDV/DV in/out terminal and the LANC jack.

Below these ports are five audio control switches. The first is a Line/Mic signal selector switch, and below that are two phantom power On/Off switches for channel 1/3 and channel 2/4. Rounding out this set of audio controls are two microphone attenuator on/off switches corresponding to channels 1/3 and 2/4. When set to Att., this switch knocks down the signal by 20dB and could be used to make one channel a safety in high-decibel environments.

**The Left Side ***(18.0)*

This is where the XL H1's features really shine. The left side is a smorgasbord of controls for image control and audio mixing, and Canon's interface is generally well-implemented. Shooters who are familiar with the XL2 will feel right at home, with most controls carried over directly to its HDV cousin, including the trademark Power/Mode Dial.

The Power/Mode Dial is the centerpiece of the XL H1's left-side, located midway between the back of the camcorder body and the lens mount. This is a unique control, with a small locking button that is pressed to move from one setting to another. As on the XL2, this dial is easy to operate, and places numerous operating modes and presets at your fingertips. Note that you'll need to memorize some of these because they are represented by an icon or letter on the dial to make space. Reading clockwise on the dial, the operating modes are External Control mode, VCR/Play mode, Power off and Auto. These basic modes are followed by presets for Shutter-Priority, Aperture-Priority, Manual, Spotlight, Night, and Easy Recording. While I like the Canon XL series Power/Mode Dial, I do wish the dial selection marker was back-facing rather than at the dial's top. In the case of XL camcorders, the marker doubles as a green LED power indicator.

A small LCD in the center of the Power/Mode Dial displays basic recording information, offering a backup method for monitoring data during a shoot since it also appears on the LCD screen. The data displayed on this panel includes video signal standard (SD/HDV), time code setting (non-drop frame...), time code sync setting (genlock), video output HD/SD SDI signal setting, end of tape indication, battery life, audio level bars, and audio setting (manual or auto).

Image controls are to the left of the Power/Mode Dial, both on the camcorder body and on the stock Canon HD lens. Closest to the dial are a Light button at about 11 o'clock, which illuminates the side panel for viewing in dark settings, and an Audio Monitor button at about 7 o'clock. This button is used to select audio channels for manual adjustment, and pressing the button repeatedly cycles through the options. Another set of controls are arranged horizontally along the base of the XL H1's body, and they are identical to those on the XL2. From left to right: the Gain Dial, White Balance Dial, manual white balance button, and Standby button. Pressing Standby puts the camcorder in Power Save mode, which shuts down the VCR while maintaining camera settings.

Above the four previous controls, you'll find a curious depression in the camcorder body that looks like the cavity in an apple when a slice has been removed. This dual-faced cavity provides additional surface area for a suite of image controls. On the face parallel to the left side of the camcorder are Frame Rate switch, (60i, 30F, 24F) and a Mode Select switch (HD, 16:9 SD, 4:3 SD). On the face pointing towards the camcorder's rear are four buttons, from the top: Record Review, Bars/Fade Select, Bars/Fade On/Off, and Menu. While I generally appreciate the way Canon has implemented the XL H1 interface, the Menu button placement is another personal pet peeve. It's a button that you'll need to access frequently - and I'd prefer its placement just around the corner with the Select button and Iris/Select dial, the other menu navigation controls. For its importance, I think it's undersized.

The other two menu controls, Iris/Select dial and Set button, are a little closer to the lens on a nubbin that protrudes out from the camcorder's body. This protrusion is one of many surface features of the camcorder body that help with the navigation of the left side interface, serving as tactile signposts. The Set button, used to choose a menu item, is above the Iris/Select dial, which is used to cycle through menu options. In camera mode, it serves as the Iris dial. Above the nubbin, on the camcorder body, are several more controls. Moving up is the Lens Release latch, an Exposure Lock button (used to lock a particular exposure when shooting in Auto), and two buttons that assist with focus: EVF Peaking and EVF Magnifying.

To the rear of the Power/Mode Dial are the XL H1's onboard audio controls, located behind a large plastic protective hatch. Opening the hatch by its rear hinge reveals six selector switches and four audio level dials divided into two sections for Audio 1 (lower) and Audio 2 (upper). In the lower Audio 1 section, at left top, is an input selection switch with options for Front Mic (onboard), Audio 1 (RCA 1 line level in), and Rear (XLR) inputs. Below the Input Select switch is a recording level selection switch for either auto or manual. To the right are two switches, one for recording channel selection and an on/off switch for the front mic's 20dB attenuator. Level dials for channel 1 and channel 2 are below.

Above the Audio 1 section is the Audio 2 section, used when recording audio channels 3 and 4. Recording to channels 3 and 4 must be enabled in the menu. On the top left side of the Audio 2 is an input selection switch with options for the Shoe, Audio 2 (RCA line level in) and Rear (XLR). The Shoe on the XL H1 is hot, and used with the MA-300 XLR adaptor enables the camcorder to record from four balanced mic inputs. Below the input selection switch is a recording level switch for auto or manual modes, and to the right are audio level adjustment dials for channels 3 and 4. Holes in the audio controls hatch allow access to all four audio dials when the cover is closed.

The Top* (9.0)*

The top of the XL H1 body has a number of important controls, including the onboard VCR interface, centrally located on top of the handle. From left to right, the VCR controls are Record, Fast Forward, Play, Rewind, Stop and Pause. The buttons are covered by a hard plastic cover that swings open. Several of these buttons have secondary functions. When playing back stills, Rewind and Fast Forward enable you to move between images, while Play starts and stops a slide show. The Pause button serves as a Drive Mode selector for still capture, enabling Continuous Shooting, High-Speed Continuous, Auto Exposure Bracketing, and Single shot modes. The Stop button also acts as a metering method selector in still modes other than the presets (Auto, Aperture Priority, Shutter Priority or Manual). Each press of the Stop button moves through metering options, including Evaluative, Center Weight Average, and Spot.

Auto/Manual Controls

Picture & Manual Control
Automatic Control (8.0)

The XL H1 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.

Another consideration that plays into auto focus time is frame rate. Unsurprisingly, the camcorder was able to find focus more quickly shooting in 60i than 30F or 24F, but under adverse conditions, the gap widened. Shooting the same shadowed building, the XL H1 was able to focus in roughly 5 seconds in 60i while in 24F it took an average of 15 seconds. This particular situation may be an unfair test of the XL H1’s auto focus since if you’re going to take the time to set up a telephoto shot, you’re also going to focus manually. Still, it was disappointing to see a camcorder at this price point fall apart under difficult conditions that most consumer palmcorders would handle better.

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.

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.

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.

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.

Gain (6.0)

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.

 

Still Features

Still Features* (7.5)*

Thankfully, Canon made no attempts to make the XL H1 a competitive hybrid camcorder / still camera. Yes, it takes stills, but to a simpler end. Stills can be taken in four resolutions – two widescreen (1920 x 1080, 848 x 480) and two 4:3 (1440 x 1080, 640 x 480) – mainly for the purposes of ensuring continuity on a shoot. You can set the image quality to normal, fine, and superfine. Stills are saved to SD card, which loads in an almost hidden card slot along the inside-bottom of the hand grip on the right side of the camcorder. A 16MD card ships in the box.

There is a still mode that you switch to from video mode via a tiny switch on the right hand grip. There are also a few standard features that you’ll find on virtually every Canon camcorder. There is a Focus Priority, which can be turned on and off. Focus Priority can create a shutter lag of up to 2 seconds. There is also a continuous shooting mode (3fps), a high-speed continuous shooting mode (5 fps), and an auto exposure bracketing (-1/2EV, 0EV, +1/2EV). The XL H1 has multiple metering modes, as well. The Evaluative mode measures several zones across the frame. The Center Weight Average looks at the entire frame, but gives more weight to the center. Spot metering creates a small target box in the center of the frame, from which the exposure is measured.

There is one very powerful tool that pros should love. First, the camcorder must be in tape mode, not card mode. Next, find the option in the Recording Setup menu labeled Still I. Rec., and then choose ON+CP DATA. We’re drawing this description out because we want everyone to try it. It’s a great idea. When shooting video, this feature actually ties all your custom preset data to a still when you hit the shutter button. You can then access the still at a later date, and import all of your custom presets to keep the look of a project continuous. I guess this means you can scratch that Camera Assistant from your budget.

The Canon XL H1 can also accept E-TTL II compatible Canon Speedlite flashes, the same kind which are used on Canon SLR cameras. Flashes attach to the camcorder on the hot accessory shoe located at the front crest of the handle.

Still playback is accessed by the putting the card/tape switch in card mode and the mode dial in VCR playback mode. The VCR controls located along the top of the handle move you through the images. Forward moves forwards, backwards… backwards, and the play button initiates a slideshow.

Still Resolution* (5.74)*

The stills of the Canon XL H1 were tested for their resolution by shooting a standard ISO 12233 resolution chart and running those stills through Imatest imaging software. We tested the largest still, 1920 x 1080, and found it to produce an approximate resolution of 646166.43.

This score is right on target for a 1920 x 1080 still. As we state in the Still Performance section below, the stills look very sharp. Our resolution tests seem to confirm that.

Still Performance* (4.5)*

Most experienced users may already be aware of this, but it never hurts to cite the fact that video and still photos handle color differently. That means that a machine designed to perform one service will likely not perform the other with equal adeptness. Take, for instance, a camcorder… any camcorder. Camcorders are designed to shoot video. Yes, most of them can take stills now, but they are "still cameras" only in the most nominal sense.

The Canon XL H1 is no different. It can take stills, and it even has a few still camera tricks up its sleeve (Canon was a camera company first, after all). But the stills do not approach the quality of the video. We found the stills to have a duller look to them than the video, with a bluer cast, even after white balancing. The reds and greens look like they took a sick day and called out. Like the video, there was a definite lack of sharpening, which is preferable for anyone working in post. That’s the time to play with the image, not the moment the shutter clicks. There’s a lot less noise in the stills than in the video, though the brightness levels were about the same. The pictures looked very sharp at the maximum resolution of 1920 x 1080.

If your primary intention for shooting stills with this camcorder is digital documentation of your shoot, you should find this a satisfying feature. The stills do not match the videos in every regard, but for the purposes of recording the costumes, makeup, prop placement, location of light sources, and other continuity issues they suffice.

 

Handling and Use

Ease of Use* (9.0)
*In order to help us determine the Canon XL H1’s ease of use, we ask ourselves this question: how easily could a person of the intended market pick up this camcorder and quickly make a series of standard adjustments – white balance, exposure, focus, audio levels, etc. – to set up a shot? We believe that person, even if they had never seen a Canon XL camcorder, would have absolutely no trouble. The design of the XL H1 leaves everything out in the open. Buttons are smartly placed and well-labeled.

Run-and-gun shooters like news gatherers are always looking for short cuts and easy access on a camcorder, and the Canon XL H1 will certainly please that crowd. There are two simple operating modes, both accessible via the mode dial. Automatic mode puts the controls in the camcorder’s hands. You’re not cut off entirely from image control, though. You can still adjust gain, white balance, AE shift, audio levels, frame rates – basically all the controls except aperture and shutter speed. Almost all of the menu options are still available.

For the really on-the-go shooter, there is also an Easy mode. It’s hard to believe that that there is an Easy mode on a $9000 camcorder, but there it is, right on the mode dial. In Easy mode, none of the exterior image quality controls – white balance, AE shift, etc. – respond to adjustments. You can still play with audio levels, presumably because they are hidden behind a plastic cover. So it seems that Easy mode is the setting that you’d want when your grabby, little nieces and nephews are on set. They can touch the camcorder, and chances are they won’t screw anything up too bad. Also, when in Easy mode, many of the menu options disappear. You still get the Signal Setup, the Recording Setup, the Audio Setup, and Display and System options. But you cannot use custom presets and the Camera Setup menu is curtailed.

Handling* (8.5)*

Handling the Canon XL H1 is not a simple 'it's great' or 'it's terrible,' and its predecessors, the XL1 and XL2 both had ardent fans as well as strident detractors. We do like the way this camcorder handles, for the most part. But a camcorder with as much going on as this one will inevitably have some downsides.

The primary obstacle may be weight. Fully loaded, the XL H1 weighs 3750 g (8.3 lbs.). That makes the XL H1 much heavier than most sub-$10,000 camcorders, but much lighter than the full-sized Digibeta and Varicam units many pros are accustomed to shooting with. DPs accustomed to working with a full-sized unit will likely find the XL H1 to feel feather light; those accustomed to smaller prosumer units, like the Sony HVR-Z1U may find that it feels cumbersome. Others may find the XL H1 to be just right, and that it is a rare "mid-sized" camcorder with its own strengths and weaknesses.

On the other hand, handling is also one of the great strengths of the XL H1. The camcorder borrows the "open architecture" of its standard definition predecessors in the XL series, the XL1 and XL2. "Open-architecture" is a Canon buzz-term which seems to refer to the camcorder’s ability to take on a variety of accessories. We think that marketing terms are pliant by design, and that the term might also be a good way to describe the bevy of external controls that dot the body. Everything the ENG or run-and-gun shooter could need is right there for the pushing, spinning, and switching (we’ve run down the list in the Manual Control section above). Of course, not everything can go on the outside as there isn’t enough room. The very fine controls – the gamma levels, the RGB channel levels, knee, etc. – are located in the menu. And that’s okay with us. Run-and-gunners generally do not need these controls at hand. If you have color preferences and don’t feel like setting them up each time you pick up a new XL H1, Canon makes it possible for you to export your shooting preferences to an SD card (attached to a JPEG) and import them into other XL H1s, or the same XL H1 at a later date. How’s that for handling convenience?

One criticism often leveled at this camcorder and its DV sibling is that out of the box, it’s awkwardly balanced, and I agree with this assessment. It is heavy enough to hold steady on your shoulder, but it leans left and pulls on your right hand because of the weighty lens.  Unlike a fullsize camcorder that keeps most of the weight over your shoulder, the XL H1 will put a good deal of strain on your right hand. Short of purchasing a shoulder mount, the remedy is to brace the camcorder with your left hand on the lens. The weight of the lens also makes the top handgrip problematic, creating a tendency to tip forward. While you can easily grip the handle further forward to remedy the balance, it becomes more difficult to operate the zoom control placed there. Sony’s HVR-V1U, among others, has a superior overall balance.

Aside from this concern, we love the Canon XL H1 design. It’s smart, it’s designed for the professional, and you can build on it with any number of accessories.

Portability* (6.0)*

The Canon XL H1 weighs 2435 g (5.4 lb.) for just the body, and 3750 g (8.3 lbs.) when fully loaded. With the lens and viewfinder, the camcorder measures 226 x 220 x 496 mm (8.9" x 8.7" x 19.5"). Without the lens and viewfinder, the body of the XL H1 measures approximately a much slimmer 160 x 197.5 x 375 mm (6.25" x 7.75" 14.25").

For a professional camcorder, this is smaller than most, and some will find its middle of the road size appealing. Others will find the balance issues to be annoying, and either peruse the constellation of custom brace options on the market or opt for a unit that gives them the feel they want. For prosumers looking to branch out into the upper reaches of their checking account, a shoulder-mounted camcorder, particularly this one, is not as light as what you’re used to. It will not fit in any little tote bag, or even most camera bags that you can find at your local photo lab. Buying a camcorder like this one comes with a whole fleet of new expenses. Safe carriage is only one of them. Expect to pay upwards of $200 – $250.


LCD/Viewfinder* (9.0)*

On an HDV camcorder that is clearly made for professional shooters, it’s a disappointment to find an LCD/viewfinder combo that measures a mere 2.4" across, leading us to wonder why Canon opted to skimp on this feature. Perhaps the XL H1’s designers assumed most shooters will use a monitor when the screen is inadequate, but that’s not an option during run-and-gun shooting. Competing camcorders like the Sony HDR-FX7 boast 3.5" screens, and the added size is particularly helpful when it comes to focusing an HDV image. In its favor, the eyecup on this camcorder is large and very comfortable, making the XL H1 a great choice for prolonged viewfinder shooting. Despite its size, the screen is also bright and sharp, with a resolution of 215,000 pixels. Controls over the display are accessed via Menu>Display Setup>EVF Setup, and include options for brightness, contrast, color, and sharpness.

Battery Life* (22.2)***
The Canon XL H1 ships with the BP-950G battery, measuring 38.2 x 40.3 x 70.5 mm (1.5" x 1.6" x 2.8") and weighs 210g (7.4 oz.). It loads in a semi-recessed cavity on the rear right side. The battery release button is tucked in below so you don’t accidentally hit it during shooting or when hauling it around.

We tested the battery for its duration during continuous shooting. The camcorder was set for 1080/60i shooting in Auto mode. No manual controls were engaged during shooting. When a tape reached capacity, we plugged in the DC power, removed the battery, changed or rewound the tape, then reinserted the battery, removed the DC power, and started it running again. In total, the battery lasted an impressive 222 minutes and 16 seconds (3 hours, 42 minutes, and 16 seconds). This is excellent, considering that the EVF is on continuously during normal shooting. Of course, for an all day shoot you’ll want to pick up an Anton-Bauer or other 3rd party battery pack.**

Audio/Playback/Connectivity

Audio* (10.0)*

The XL H1 has an excellent suite of audio controls and enough inputs to bring in audio from practically any source. While the onboard audio capabilities of the XL H1 are no replacement for a dedicated mixer, they do provide enough control for one-man-band style shooting. It’s difficult to imagine fine-tuning the camcorder’s onboard audio controls on the run, but it is relatively easy to set up two external mics that need only basic monitoring such as a camera-mounted shotgun and a wireless lav on the talent.

The onboard microphone is an electret stereo condenser with a wide pickup pattern that Canon reports as 120 degrees, though in our informal tests, the mic picked up audio at even 180 with little drop-off. A switch on the mic itself toggles between mono and stereo signals. We found the onboard mic’s sound quality to be quite tinny, and barely usable for anything other than ambient sound recording. Even at very close quarters, the mic’s wide pickup pattern made it a poor choice for picking up dialogue. Luckily the on-camera shock mount has a wide enough diameter to accommodate most third-party mics like the Audio Technica AT-4073 or Sanken CS-1 with a little customization, and is isolated from the camcorder by rubber feet. The shoe serves as a second option if you prefer to use your own shock mount.

The camcorder’s audio controls are clustered in two locations: to the rear of the Power/Mode dial on the left side, and on the back of the camcorder body above the XLR inputs. The XLR inputs are well-placed just above the shoulder mount to allow cables to trail over your shoulder as you shoot hand-held. Moving up the body are on/off 20dB attenuator switches for channels 1/3 and channels 2/4, labeled MIC ATT. The 20dB attenuator pads the audio signal considerably, and could be used to create a safety channel in highly dynamic sound environments like air shows…or war zones. Just above the attenuator switches are on/off +48V phantom power switches corresponding to channels 1/3 and 2/4. This switch enables you to power mics requiring 48V power directly from the XL H1. The Line/Mic selector switch is directly above the phantom power switches. Move up the camcorder’s rear a little further and you’ll find the headphone output, protected by a small rubber port cover and a phones level dial with a curious design carried over from the XL2. This could best be described as a thumb-pad dial, as it's set flat against the body of the camcorder, and has a textured surface. While I’m not a big fan of this particular control since it requires an awkward twisting motion to adjust, it’s not something you are likely to use often and is effective.

Audio input selection and mixing happens on the left side of the XL H1, where these controls are protected by a large hatch that opens on a hinge at the rear. When the hatch is closed, the audio level dials are still accessible through round portholes, but the rest of the left-side controls are hidden. When you open the hatch, you’ll find that the controls are divided into two sections with the bottom half labeled Audio 1 for channels 1 and 2, and the top half labeled Audio 2 for channels 3 and 4. Audio 2 is only used when you are recording four channel audio.

On the left side of the Audio 1 section are two switches for Input Select and Recording Level. The Input Select switch includes options for Front Mic (the onboard Canon mic), Audio 1 (for the bottom two RCA ports on the camcorder’s right side, also labeled Audio 1) and Rear (for the XLR inputs). The Recording Level switch toggles between Auto and Manual level control.

Above the level dials, to the right, are two additional switches. The first, labeled REC CH SELECT corresponds to the XLR inputs with options for CH1 and CH1-CH 2. CH 1 sends the left signal to channel 1 and the right input to channel 2, while CH 1-CH 2 sends a single XLR signal to both channels. The second switch labeled FRONT MIC ATT is an on/off control for the onboard mic 20dB attenuator. As mentioned previously, the attenuator switches for external mics are located on the camcorder’s rear.

The manual audio level control dials for channels 1 and 2 are on the bottom left of the Audio 1 section and simply allow you to turn the signal up or down with no corresponding measure of absolute audio signal level. The levels are represented in the LCD by two horizontal bars with a green dot indicating a safe peak level, and red markers at the right side of each bar indicating signal clipping. Along with the 20dB attenuator, it is possible to boost your XLR signals by 12dB in the Audio Setup Menu. It’s not an interface that gives you much information about the quality of your audio signal, but it is adequate for run-and-gun shooting.

The Audio 2 section lies above Audio 1, and should only be used when you are recording 4 channel audio, an option selected in the Audio Setup Menu. The Input Select switch selects your audio source for channels 3 and 4, with options for SHOE (corresponding to accessories connected to the hot accessory shoe such as the MA-300 adaptor which adds two more XLR inputs), while the REC LEVEL switch selects auto or manual level control. The dials allow manual control over channels 3 and 4. Just below and to the left of the Power/Mode dial is an Audio Monitor button that allows you to select which channels you are monitoring when recording 4-channel audio. It is not possible to monitor all four channels at once as the LCD and side panel only display two level bars at a time, but you can toggle between 1/2, 3/4 and a mix of 1/2 and 3/4 with each channel pair represented by one of the bars. When audio is recorded to four channels in HDV mode, sound quality will be compromised because the total audio transfer rate of 384 kbps is split four ways.

VCR Mode* (9.0)*

The VCR feature on the XL H1 is extremely easy to use because the camcorder includes a complete button-based playback interface. VCR buttons are located on top of the handle behind a protective plastic cover, and include familiar controls for Pause, Stop, Rewind, Play, Fast Forward, and Record. The only drawback to the VCR interface is that the vertical alignment makes reading the buttons upside down tough, but this is a minor complaint.

Ports* (18.0)*

The XL H1 is replete with ports and terminals, mostly clustered on the back and right sides of the camcorder body. On the right side of the camcorder, near the back edge of the body, is a large plastic port cover that protects a number of video and audio terminals. At the top of this cluster is an S-Video in/out, followed by a BNC video in/out terminal and an RCA video in/out terminal. A toggle switch selects BNC or RCA video. Below the video terminals are two sets of RCA in/out terminals, corresponding to Audio 1 (channels 1/3 and 2/4 during two channel audio recording) and Audio 2 (channels 3/4 during four channel audio recording.)

The Professional Jack Pack terminals are aligned horizontally on the right side of the shoulder rest and include from left to right: timecode-in, timecode-out, GEN-Lock and HD/SD-SDI. Also on the right side of the camcorder, near the microphone shock mount is the terminal for the XL H1’s stock mic.

On the back of the camcorder is another cluster of terminals, beginning from the top with a headphone-out port protected by a small port cover. Below this port is a larger port cover that conceals DV and LANC terminals. At the base of the camcorder’s back are two XLR ports, and a component out terminal is located on the rear of the shoulder mount.

On the left side of the camcorder is a socket for the stock color viewfinder, and below that is a socket for the optional high-resolution FU-1000 monochrome viewfinder.

Other Features

**

Widescreen/16:9 Mode* (10.0)*

The Canon XL H1’s three CCD chips are all native 16:9, meaning that the picture quality is optimal when shooting 16:9. Of course, you only get the choice between 4:3 and 16:9 when you’re shooting standard definition. HDV is, by definition, a 16:9 aspect ratio.

Scan Rates/24p* (8.0)*

The fact that the XL H1 cannot record video in true 24p may be this camcorder’s most oft-mentioned shortcoming, but this is an indication that Canon sees the primary market for the XL H1 as television shooters. In either DV or HDV modes, the camcorder records footage in 60i, 30F, or 24F. Switching between modes is exceptionally easy, via the large frame rate selection toggle on the camcorder’s right side, and the XL H1 manages the transition from one frame rate to another in just a few seconds. 24F or "24 Frame" differs from 24p in that it is an interlaced format, but is easily converted to 24p because the frame rate is identical.

Other Features* (10.0)*
Optical Image Stabilization  - We found Canon’s Optical Image Stabilization system to be exceptionally good. When shooting hand-held, it reduces image shake considerably, especially when shooting telephoto shots. I was able to hold a usable framing on distant subjects with relative ease, even when the lens was zoomed to 20 x. When you consider its relative heft compared to most other sub-$10,000 camcorders, and very good OIS, the XL H1 is a highly capable unit for hand-held shooting. Be aware that if the camcorder is mounted on a tripod, OIS will result in some unwanted camera drift as it compensates for "phantom" movements, so be sure to turn this option off for stationary shots.

Level and Center Marks - This feature creates either a horizontal line through the center of the EVF (Level mark) or a plus sign in the center of the EVF (Center Mark) to help you create level shots.

Aspect Ratio Guides - This creates thin white border lines conforming to the variety of aspect ratios that you might have in mind for your final project. Shoot in the lines and you’ll be in the clear. Aspect ratios include: 4:3, 13:9, 14:9, 1.66:1, 1.75.1, 1.85:1, and 2.35:1 (Cinemascope).

Safety Zone Guides - You can set a safety zone of 80% or 90% with a white border around the EVF.

Color Bars - The XL H1 can display SMPTE color bars, accessed by pressing the Bars/Fade Select button to cycle through options.

White / Black Fade - White and black fader effects are accessed by pressing the Bars/Fade Select button. Pressing this button repeatedly, cycles through options for Color Bars, White Fade and Black Fade.

Standby Mode - When the camcorder is placed in standby mode, a number of settings are retained that are typically lost when the camcorder is powered down including Exposure Lock on/off, aperture and shutter speed settings during exposure lock, color bars setting, color bars on/off, and faders setting. However, EVF display settings and the side panel light are lost in Standby Mode.

Comparisons/Conclusion

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.

 

 

Specs/Ratings

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Meet the tester

David Kender

David Kender

Editor in Chief

@davekender

David Kender oversees content at Reviewed as the Editor in Chief. He served as managing editor and editor in chief of Reviewed's ancestor, CamcorderInfo.com, helping to grow the company from a tiny staff to one of the most influential online review resources. In his time at Reviewed, David has helped to launch over 100 product categories and written too many articles to count.

See all of David Kender's reviews

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