Canon have a habit of making cameras obsolete before their time.  Having set up the studio and also with a documentary due to start I had a need for a second camera that would complement the current XL-H1.  tried buying another one and found that it was obsolete!!  so bought the XL-H1S.  The ‘S’ I THINK stands for studio because it has teh additional SDI and Time Code BNC connectors (just like the original XL-H1).

One very good improvement is the usage of large firewire connectors.  The small ones (on most cameras) are a pain and downright expensive.  I have heard of a number of people who have blown their mother board by connecting/disconnecting this small fiddly connector (it happened to me with the XL-2 and cost the guts of 500 to fix – OUCH!).  The bigger 6-pin is a huge improvement.

A small gripe with Canon.  The rotary wheel is great for switching between shooting modes but why have they changed the position of ‘M’ (for full manual).

I will post up some studio videos in the near future to give an idea of quality.  Personally, I think this is the way to go to get broadcast/studio quality at an affordable price.  I run this camera (and the XL-1H), from the mains, without a tape (so no drum wear) and straight into a 4:4:4 video switcher for full quality HD broadcast at a tiny fraction of the cost of just one studio camera from other suppliers.

Sure does look the same as the XL-H1

This camera has moved on quite some way from the original XM-2.  While it looks and feels very much like the XL-2 it is a fair bit heavier and can be tiring when doing long hand-held shots.  So far I use it primarily for tripod shots.

Having worked with the SD cameras (XL-2 and XM-2) I found that moving to HD brings a totally different clarity and so it has become virtually impossible to mix and match in the same shoot.  No amount of tweaking at the camera level or later in post can bring footage from SD and HD cameras (even HD shot in SD) into anything near compatible – pity (

Recently I converted a bedroom into a chromakey studio and this is where the XL-H1 excels.  Using the SDI port, I have 4:2:2 broadcast quality and it is a snip to get good quality chromakey – phenomenally better than the XL-2 which gives a very poor result (in studio).

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This is the first prosumer camera that I ever bought and it is still a very good sturdy and dependable camcorder. In 2007 the CCD failed and I soon learned that there was a general failure reported in the US for the majority of the Sony camcorders (and JVC used the same CCD chip). In the US, these CCDs were replaced free of charge and in fairness to the company in Cork that did the repairs, they only charged for time.

As this is a single CCD unit, the colour depth is not as good as either the Canon XM2 or XL2 but it is still far superior to a standard consumer model. I have dome a number of shoots using this camera and the Canon XM2 and it was impossible when looking at the final production to say which scenes were shot with which camera.

The one major drawback that it has is the way that it handles 16:9 shooting. The footage is stored in an MPEG format which means that it cannot be easily handled by in line editors like Adobe Premier. You have to use the JVC software and then generate a standard AVI for import into Premier. If shooting in 4:3, then it is a great camera.

Features

This is a general workhorse for Professional/Consumer camcorders. The model I have is 2004 vintage and still going strong. Although it has a photo apability, the quality falls short of dedicated still digital cameras.

It operates exactly the same as the big brother XL2, the main difference being that virtually all functions have to be accessed via the menu system. Also, 16:9 shooting is not as easy since it can only be accessed when the easy-shoot system is disabled and the viewfinder shows the scene is 4:3 with everything stretched vertically.

¼” 470K pixel 3CCD with pixel shift Canon Professional L-Series Fluorite Lens 20x optical zoom/100x digital zoom F1.6 Optical image stabiliser with VAP Direction accurate stereo microphone Two-channel audio level manual control 2.5” 200K colour LCD/0.44’ 180K colour VF Three shooting modes: normal, photo, frame movie

The XM2′s advanced technology delivers unrivalled image quality in its class

The XM2 improves on the market leading and successful XM1 in a number of key areas. It comprises of a brand new 1/4″ 470,000-pixel 3CCD increasing image quality. Not forgetting a new manual control in picture adjustments and shooting adjustments even for professional users. Technology The XM2 includes a new high-sensitivity ¼” 470,000-pixel 3CCD for superb 540-line horizontal resolution and super low light performance. A new generation camera signalling processing LSI improves approximately 3dB in S/N ratio from the XM1. The result is an improvement in colour, low light performance, resolution and dynamic range. Pixel shift The XM2 is equipped with a pixel shift system that boosts both resolution and sensitivity and allows users to achieve superb picture quality results. Picture adjustments The following picture adjustments have been greatly improved in the XM2. · Colour gain adjustments, colour phase adjustments, sharpness adjustment and black level can be adjusted to desired value and up to 1 type of preset registration is possible. · Custom preset – after picture adjustments, settings can be stored as a custom · Slow shutter speed – XM2 can be set to slow shutter speeds to 1/6 of a second · Gain control – gain can now be increased up to a maximum of 18dB · Frame movie mode – frame mode can make progressive shooting at 25 fps. Footage with 1/50 slower shutter is very similar to fine cinema. · 16.9 guides – allows accurate 16.9 framing when shooting so that image can be cropped. Improved sound The XM2 supports a direction-accurate stereo microphone that includes two non-directional microphones to give more precise stereo reproduction. Users can choose three types of frequency characteristics for the built-in microphone: normal, voice and wide-screen mode. Additionally, a 2-channel manual audio level control where input level can be adjusted by a special dial and L/R level can be set for 2 channels. Audio-level meter with right-and-left independent 24-segment peak holder and the audio-level meter can be displayed in LCD and EVF. An optional MA -300 microphone adapter allows the simultaneous recording of 2 independent channels from microphones with XLR connections. A BNC picture Out Terminal is also present. PC connectivity The XM2 is equipped with a DV terminal for non-linear editing. By using a USB terminal, transmission of still images from a JPEG file to a PC is easy.

Features

Bought this camcorder very early in 2007 and it has been the work-horse ever since. While it is a great camera, it’s one main drawback is sheer size and weight, especially for mountain trekking and that is the main reason that I now use an XM-2 as a ‘second’ camera.

3x 1/3” 800.000 pixel progressive scan CCDs 50i & 25p frame rate Total manual image control Pro Quality 16:9 and 4:3 recording XL interchangeable lens system 20x optical zoom “L-Series” lens with zoom and focus presets Super range Optical Image Stabilizer Flourite lens component and 2 Independent neutral density filters Professional audio and video connectivity – 4 audio channels with 2 built-in XLR connectors, phantonm power and BNC video output SMPTE time code with Rec Run, Free Run and preset settings IEEE1394 for remote camera control and direct recording to PC Fully adjustable EVF and shared 2″ LCD

Broadcast quality with total creative control

Professional’s choice With 3x 1/3” 800k progressive scan CCDs, the broadcast quality XL2 is the flagship of the Canon range, setting the standard in versatile, light-weight professional digital video. Revolutionising its class, the XL2 provides full manual control over a myriad of variables, allowing all the fine adjustments necessary to satisfy even the most demanding professional videographer. Both 16:9 (960 x 576 effective pixels) and 4:3 (720 x 576 effective pixels) formats are supported. A 3rd generation signal processing LSI delivers outstanding Signal/Noise ratio performance, with high sensibility and low smear. Cine feel Film-like texture, tone and expression are now routine, with 25p recording and a special Cine Look mode. Gamma curve controls include Knee adjustments to tame white clipping and Black controls bring out or suppress detail in the low brightness areas. Colour matrix is selectable from Video and Cinema, while V Detail allows flexible resolution in the vertical direction. Skin Detail allows control over phase and chroma for softer, warmer skin tones. A Film Grain setting adds the warmth and natural compression of film. Manual control is provided over Master RGB, Setup level, Master Pedestal, Gain, Coring, Sharpness, Noise Reduction, Colour Gain and Hue. Control Two custom keys instantly recall any chosen manual setting within the 8 main menu functions. Favourite settings can be saved to three custom presets. Independent control is provided over R Gain, G Gain and B Gain. White balance can be set to true white or adjusted manually. Lens Fluorite and aspheric elements in the 20x zoom lens eliminate both chromatic and spherical aberrations. A circular iris provides beautiful background blur and built-in neutral density (ND) filters allow the iris to open fully in harsh light conditions. The XL mount system is compatible with all XL video lenses, and over 60 Canon EF lenses via an optional adapter. Go steady Optical image stabilization (OIS) eliminates unwanted camera shake before the image reaches the sensor. SuperRange OIS extends IS by examining the image after it is received by the sensor and suppressing low frequency movements. In sync Both Rec Run and Free Run SMPTE time code is supported. 2 built-in phantom powered XLR jacks and a BNC jack for monitor output is provided. An IEEE1394 connection allows direct hard disk recording.

During the Autumn of 2007, a harp festival was held in Kilkenny (Ireland). One of the showpieces at the event was a recently constructed harp based on an ancient Irish harp design – namely the Trinity Harp. This video is an interview made by Oliver Leamy with the Harp Maker at the festival. Wish I knew his name

This video was started in Summer 2007. Unfortunately, while doing the aerial shots (using JVC GR-PD1 and an analogue bullet camera) the bullet camera developed a fault and the entire sequence was destroyed. Aircraft availability proved very difficult over subsequent weeks and so the project was temporarily shelved. It is hoped to re-shoot that sequence and finish off the project during the Summer of 2008.

Click to view the video

Prior to Christmas 2007, a flower festival was held in the local catholic church in Ballingeary. This was the first time that the church was ever used for a non-religious event. Sequence was shot over a very short period using a Canon XL-2 camera.

MFG held a careers night early in 2007. It was a very wet night and the hotel had decided to be embark on an energy conservation drive so lighting was extremely poor in the hall.