La nuova Canon XL2
Qualità broadcast per la nuova Canon XL2
Con questa videocamera, Canon fissa un nuovo standard nella ripresa professionale su nastro MiniDV. Oltre ad aver ulteriormente perfezionato la risoluzione e le prestazioni generali, è stata posta particolare enfasi alle possibilità d’intervento manuale e alla natura “cinematografica” del prodotto
La nuova videocamera siglata XL2, di qualità broadcast e con ottiche intercambiabili, sostituisce il precedente modello XL1s, uno dei prodotti di maggiore successo nella storia recente di Canon, e vanta 3 CCD progressive scan da 800 k pixel cadauno e il formato di registrazione 16:9 reale. Questa nuova ammiraglia, al top della produzione mondiale, costituisce un rilevante passo avanti rispetto a prodotti analoghi e vanta una risoluzione, una qualità d’immagine generale e una versatilità tali da renderla indispensabile per il professionista che esige qualità e maneggevolezza, prestazioni e possibilità d’intervento manuale. In altre parole, uno strumento su cui poter contare in ogni situazione di ripresa, anche la più estrema, come ben testimoniato dagli entusiasti operatori che hanno utilizzato il modello precedente dall’Antartide al Sahara. Ma più delle parole contano i fatti e i numeri, ecco quelli che la caratterizzano:
– 3 CCD da 1/3 di pollice e 800.000 pixel con progressive scan
– 50 o 25 immagini al secondo per applicazioni televisive o cine-fotografiche
– Registrazione 16:9 o 4:3
– Totale controllo manuale su un’ampia gamma di variabili relative alla ripresa
– Sistema di obiettivi intercambiabili XL
– Obiettivo di serie zoom 20x alla fluorite con stabilizzatore ottico d’immagine Super Range
– 2 filtri a densità neutra indipendenti
– 4 canali audio con 2 connettori XLR incorporati con alimentazione phantom a 48 V
– Time code SMPTE con opzioni timer Rec Run e Free Run
– Controllo videocamera IEEE1394 per registrazione diretta su HDD
– Telaio in lega di magnesio, robusto e leggero
“Con una risoluzione più che raddoppiata rispetto alla XL1s, la XL2 è il nuovo punto di riferimento qualitativo nello standard di registrazione broadcast MiniDV,” afferma Mogens Jensen, vicepresidente esecutivo dell’area Consumer Imaging di Canon Europa. “Canon si attende che questa nuova videocamera diventi immediatamente popolare presso i videomaker e presso le stazioni televisive.”
Immagini migliorate non solo nella risoluzione
Il sistema a 3 CCD offre la possibilità di registrare in formato 16:9 (960x576 pixel) o 4:3 (720x576 pixel). Il circuito integrato a larga scala (LSI) di terza generazione per l’elaborazione del segnale migliora il rapporto segnale/rumore per ottenere maggiore risoluzione, maggiore sensibilità e un più basso “smear” rispetto alla XL1s.
Cine-look…
Gli utenti possono selezionare la speciale modalità Cinema per texture e tonalità tipo film, ossia un video che sembri girato su pellicola. La regolazione dell’intervallo dinamico, selezionabile tra alta, media e bassa, può essere utilizzata per alterare la forma della curva gamma per evitare saturazioni di luminosità nella sovraesposizione. Il controllo del nero o delle luci basse è disponibile con tre modalità (Stretch, Middle e Press) che espandono o comprimono la parte bassa della curva gamma per mostrare o nascondere i dettagli in ombra. Per personalizzare ulteriormente il feeling cinematografico reso possibile dalla XL2, è anche previsto un controllo manuale per regolare Coring, Sharpness, Noise Reduction, Colour Gain e Hue.
…e Cine-feel
Nella XL2 è stata inclusa un’intera gamma di caratteristiche per trasmettere ulteriormente la sensazione di usare una vera macchina da presa a pellicola per il cinema professionale. La matrice di colori è selezionabile tra Video e Cinema. V Detail regola la risoluzione verticale, mentre Skin Detail consente di controllare le variazioni della tinta e la saturazione delle aree con le nuance della carnagione per ammorbidire i dettagli, ridurre le imperfezioni cutanee e scaldarne i toni, mentre la funzione Film Grain aggiunge l’effetto dei filmati cinematografici. XL2, inoltre, offre controlli manuali su Master RGB, Setup Level, Master Pedestal e Gain Settings.
Controlli creativi completi
Per la massima comodità d’uso, possono essere programmati pulsanti personalizzabili per richiamare una fra le tante regolazioni manuali presenti all’interno degli 8 menu principali. I pulsanti personalizzabili richiamano le funzioni indipendentemente dalle selezioni attive al momento, permettendo un’immediata correzione o l’impostazione di funzioni anche in modo autonomo rispetto alla voce di menu attiva. Sono inoltre disponibili tre configurazioni personalizzabili che permettono all’utilizzatore di memorizzare le proprie impostazioni preferite, in base ai gusti personali o al tipo di ripresa previsto.
Controllo del bilanciamento del bianco
Per consentire il massimo controllo sul bilanciamento del bianco, la XL2 permette di intervenire separatamente sul guadagno dei tre colori primari RGB, ideale per situazioni critiche. Il bilanciamento del bianco in ogni caso può anche essere impostato inquadrando una superficie bianca, oppure selezionando manualmente esterni (5600 K) o interni (3200 K). La regolazione della sensibilità dei CCD è stata estesa in 7 stadi, da –3 dB a +18 dB, per soddisfare ogni situazione di ripresa.
Obiettivo di precisione
Per offrire un obiettivo zoom con un’escursione focale pari a 20 ingrandimenti e con una notevole qualità, gli ingegneri Canon hanno incorporato un elemento alla fluorite, come negli obiettivi professionali broadcast TV e i prestigiosi obiettivi professionali EF della serie L. Ciò elimina l’insorgere dell’aberrazione cromatica che può condizionare gli obiettivi zoom alle lunghe focali. Inoltre, due elementi asferici contrastano l’aberrazione e assicurano immagini chiare e nitide da un angolo all’altro, passando per il centro. Il diaframma circolare di precisione dona allo sfondo sfocato una piacevole morbidezza e uniformità tonale, mentre i due filtri neutri ND incorporati consentono di aprire completamente il diaframma anche in presenza di forte illuminazione per ottenere particolari effetti. Il diaframma può essere controllato in 8 passi da f/1,6 a tutto chiuso. Infine, sia le posizioni di zoom che di messa a fuoco possono essere preselezionate e richiamate.
Riprese ultrastabili senza treppiede
Giroscopi rilevatori di movimento e sistema di lenti con prisma ad angolazione variabile costituiscono lo stabilizzatore ottico d’immagine incorporato nell’obiettivo 20x, che neutralizza le vibrazioni prima che raggiungano il sensore. Lo stabilizzatore è ulteriormente potenziato con Super Range, che esamina l’immagine anche dopo che è stata ricevuta dal sensore per compensare così i movimenti a bassa frequenza non corretti dal sistema ottico.
Oltre 60 obiettivi
XL2 utilizza lo stesso rinomato sistema di innesto XL della XL1s ed è compatibile con tutti gli obiettivi video XL sul mercato. Un adattatore opzionale EF consente di utilizzare la XL2 anche con gli oltre 60 obiettivi fotografici Canon EF, mantenendo molti automatismi.
Sincronizzazione e connettività
XL2 è dotata di sincronizzazione time code SMPTE per l’uso in abbinamento ad altri registratori o dispositivi video. Rec run aggiunge un codice temporale (time code) continuo al nastro, interrotto solo da Rec start/stop. Free run mantiene lo scorrere del contatore in real time indipendentemente dall’accensione/spegnimento dell’apparecchio o da Registrazione/Pausa: ideale negli scatti multicamera per l’ultima sincronizzazione di ripresa. L’unità include 2 jack XLR con alimentazione phantom a 48 V per microfoni e offre una registrazione audio a 4 canali con un adattatore microfonico opzionale. È supportata la registrazione digitale PCM, mentre un jack BNC consente di monitorare l’uscita. La connessione IEEE1394 permette di registrare direttamente su hard disk con il controllo dell’unità via PC.
Mirino
Il mirino della XL2, 2 pollici ad alta risoluzione con 200 k pixel, può essere utilizzato sia come schermo LCD sia come mirino elettronico tradizionale a traguardo. Il formato 16:9 è visualizzato come letterbox. Oltre alla regolazione destra/sinistra, la XL2 introduce il movimento avanti/indietro per un eccellente comfort dell’operatore durante le lunghe riprese.
Modalità di scatto
Sono ben 7 le possibilità di scatto preselezionabili: Full Auto, Auto, Priorità dei tempi, Priorità dei diaframmi, Manuale, Spotlight e un nuovo Low Light mode. L’otturatore può essere regolato in 30 passi da 1/6 a 1/16.000 di secondo. Tempi di otturazione e diaframmi possono essere variati anche durante il blocco dell’esposizione (AE lock) mentre l’esposizione automatica può essere modificata in 13 passi da +2.0 a –2.0 stop.
Caratteristiche professionali
Oltre alle barre colori, può essere registrato su nastro un tono test di riferimento a 1 kHz (-12 dB o –20 dB) come ausilio per la sincronizzazione nei montaggi. Il look professionale e la sensazione di solidità che esprime la XL2, nonostante la sua particolare leggerezza, sono comprovate dalla robusta e rigida struttura in lega di magnesio che ne costituisce il telaio.
XL2 rappresenta il modello professionale Canon in formato MiniDV, ma dato il prezzo competitivo, interesserà anche molti appassionati videomaker che potranno così utilizzare una videocamera che non ha niente da invidiare a modelli ben più costosi e pesanti.
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With an increasing consumer shift towards widescreen TVs that deliver the
full width of film-based theatrical movies, plus the resulting need for
productions in the 16:9 aspect ratio, Canon's XL2 offers both the standard 4:3
aspect ratio and the 16:9 widescreen TV aspect ratio. Representing the ratio
of the screen width to its height, the 4:3 aspect ratio is that of the common
TV screen, and is the most commonly used aspect ratio in broadcasting
today.
The 16:9 aspect ratio is the more common aspect ratio for film-based
movies, and produces full screen playback on widescreen TVs. 16:9 also is the
world standard aspect ratio for HDTV.
By offering a camcorder that is able to be switched between the two aspect
ratios, Canon opens the door for multiple production options with the same
camera -- the XL2.
Variable frame rates: 60i / 30p / 24p (2:3 and 2:3:3:2 both with 1/48th second shutter speed)
frame rates are available in the XL2.
The demands being made on the video production community to be able to provide solutions under a multitude of different scenarios have been met with the Canon XL2. It delivers 60i, 30p, 24p (2:3 and 2:3:3:2) frame rates. 60i (interlaced) is the standard video frame rate that has been in use for decades; it's what you see on your home TV, and is captured by handheld consumer camcorders. Progressive (non-interlaced) scanning mimics a film camera's frame-by-frame image capture. 30p, or 30-frame progressive, a non-interlaced format, produces video at the rate of 30 frames per second, delivering spectacular clarity for high speed subjects. Shooting in 30P mode offers video with no interlace artifacts.
The 24p frame rate, for example, is now widely adopted by those planning on
transferring the video signal to film. But film/videomakers turn to 24p for
the "cine" look even if their productions are not going to be transferred to
film, simply because of the "look" of the frame rate. Also just as important
as 24p, is the shutter speed of 1/48th per second. This is the standard
shutter speed that movie cameras use. The combination of 24p frame rate and
1/48th perfectly mimic a motion film camera.
24p with 2:3 pulldown produces video with the look and motion of film.
(24p, used in conjunction with a cine gamma curve on the XL2, produces images
that have similar tonal characteristics as film. This mode is used when the
finished video will be shown on television. 24p with 2:3:3:2 pulldown, is used
when the video is going to be transferred to film. The 2:3:3:2 pulldown allows
to editing software to extract true 24 frames a second.
Customizable Cine Look
With "big name" and not so well known producers turning to digital video for their "films," increasing emphasis has been placed on delivering the cine look to video. The Canon XL2 offers its users the ability to customize their video recordings using a number of variables: color matrix, gamma, knee, black stretch, vertical detail, coring, sharpness, noise reduction, color gain, hue, and film grain. Each one of these can be adjusted independently, thereby giving you precise control over the "film-like" appearance of your video.
Total Image Control
Professional videographers need to have control over the set-up of their camcorder. From complete automatic setting to fine adjustments of Master RGB, Setup Level, Master Pedestal, Skin Tone Detail, Program AE, Gain, AE Shift and Lock, White Balance, Shutter Speeds, Aperture Control, Zebra Patterns Clear Scan and Interval Timer the XL2 has the total image control that professionals need.
XL Mount Interchangeable Lens System
A key feature of the Canon XL-series camcorders (and the only MiniDV format
camcorders with this feature), is the XL mount interchangeable lens system.
Unlike other systems, the XL2 offers users the ability to change lenses,
whether from within the XL series of video lenses, third-party cine lenses, or
Canon's extensive range of photo lenses. This not only makes the XL2 a far
more versatile camera, it also opens up incredible opportunities for the XL2
user.
Within the Canon XL system alone there are four lenses: the new 20x OIS,
16x OIS, 16x Manual, and 3x Wide. Then, using an XL system adapter, the entire
range of Canon photo lenses is available -- a tremendous boon to those
producing wildlife and nature documentaries, for example. Other companies also
offer a variety of specialty cine lenses that can be used on the XL2.
Flourite Zoom Lens with Optical Image
Stabilization
Canon is known worldwide for its optics -- its broadcast and photo lenses,
for example. The new 20x Professional L-Series Fluorite optical zoom lens for
the XL2 is an outstanding lens, using fluorite to deliver outstanding
resolution, contrast and color reproduction. In addition, the lens features
Canon's superb optical stabilization system. This corrects camera shake
instantly and, with its SuperRange feedback system, even catches low-frequency
vibrations, refining the movement of the vari-angle prism, delivering the most
advanced optical image stabilization available today.
SMPTE time code
The Canon XL2 offers many on-camera enhancements to help capture
high-quality footage, including features commonly found on broadcast
camcorders. Among these is the placement of a SMPTE time code on the tape.
SMPTE (Society of Motion Picture and Television Engineers) time code is a
digital signal that assigns a number to every frame of video, representing
hours, minutes, seconds, frames, plus some additional information. The SMPTE
time code is used to identify a precise location on a video tape, a mainstay
of professional editing allowing all tape and equipment to work together for
precise editing.
You can choose Drop, Non-Drop, Rec Run and Free Run modes. Also provided is
User bit settings, allowing the inclusion of reel number or other user
data.
The XL2 also generates SMPTE color bars with 1 KHz tone (-12dB and -20dB).
SMPTE color bars with tone are the standard method of setting up video and
audio monitors and edit suites. By using industry standard color bars and
tone, the XL2 fits in with all production equipment.
Custom Presets
Three custom presets are provided on the XL2, and each can be assigned any
one of a number of functions, accessible at the touch of a button, for faster
and easier camera operation. Among the functions are: color gain, color phase,
sharpness, setup level, V detail, color matrix, gamma, knee, black stretch,
skin detail (hue, gain, area, Y level).
These custom presets can be transferred to another XL2, or to a computer
(3rd party software required), using the IEEE1394 connection.
Professional Audio Connections
The Canon XL2 offers in-camera features commonly found on more expensive
production and broadcast camcorders. Among them are professional audio and
video connections. The XL2 offers 4-channel audio through two built-in XLR
connectors with phantom power. These inputs are designed for use with
professional microphones. This balanced connection allows for the use of very
long cables without the introduction of outside noise.
Condenser microphones need "phantom power," with +48V power going to the
microphone along the same wires that carry the audio signals. The XL2 supplies
this through the XLR connectors.
BNC connectors are used in professional and broadcast video applications.
These connect a two-wire coaxial cable using a bayonet mount.
Open Architecture Design
You can customize the XL2 to fit your specific application and preferences through a full range of accessories. They include optional lenses, viewfinders, mounts and microphone adapters.
Additional Features
3CCD Progressive Scan
The XL2 features a 3 CCD system with a separate
progressive scan CCD (chargecoupled device) for each primary color (red, green
and blue). Each CCD contains 680,000 pixels.
Multi-functional Color EVF with 2" LCD Monitor
Having a fully adjustable
Viewfinder is critical for getting that perfect shot. The XL2 has an EVF that
is convertible between a standard eyepiece and a 2” high resolution LCD. The
image is shown in shown in 4:3 or 16:9 letterbox, depending on the shooting
aspect ratio. The overlay information that normally disrupts clear viewing of
the subject can be completely turned off, and a center crosshair can be turned
on to mark the center of the image to help with framing. Unlike other EVF
systems, viewfinder brightness, color, sharpness and contrast can be adjusted
to suit individual shooting taste.
For total shooting comfort, the EVF can be mechanically adjusted left to right and forwards and backwards.
Two Custom Keys
Two custom keys are available on the XL2, in both camera
mode and VCR mode. These custom keys allow you to save your own custom
settings so your common shooting modes can be readily duplicated.
You select options from either the Camera Menu (Index Write, Zebra pattern, VCR stop, TV screen, Audio 1 in, Audio 2 in, Zoom grip speed, Zoom handle speed) or the VCR Menu (TV screen, Data code, Audio 1 in, Audio 2 in) and create up to two customized settings for each.
Advanced Accessory Shoe
When specific accessories compatible with the
Advanced Accessory Shoe are attached, the XL2 can exchange data with them and
supply power directly to them. These accessories include the VL-3 video light
and DM-50 directional microphone. Also working with the Advanced Accessory
Show is the MA-300 microphone adapter that lets you connect an additional two
professional XLR connector microphones to the XL2. Simply slide the optional
device into the accessory shoe; no external power or cables are required.
New Standard Lens
The XL2 introduces a new lens to the XL series, a 20x
Professional L-Series Fluorite f/1.6 - 3.5 optical zoom lens. Canon is known
worldwide for its high quality optics, and the new 20x lens is no exception.
The lens uses fluorite to deliver outstanding resolution, contrast and color
reproduction.
* Complete Feature List
Main Features
20x Optical zoom
Canon's 20x Professional L-Series
Fluorite lens for the XL2 is the equivalent, in 35mm format, of a 42.3 - 846mm
lens when the camera is recording in 16:9 widescreen format. When the 20x
Professional L-Series Fluorite lens for the XL2 is recording video in the
TV-standard 4:3 aspect ratio, it is the equivalent, in 35mm format, of a 51.8
- 1036mm lens.
Super Range OIS (VAP type)
Canon's superb optical stabilization system
corrects camera shake instantly so even hand held shots, at full telephoto,
and shots taken from a moving car, are smooth and steady. And since it is
optical, there is no loss of image quality inevitable with electronic image
stabilizers. It perfectly complements the high picture quality of the DV
format.
Previously, optical image stabilizers have used a gyro sensor to detect camcorder vibration (the data from which controls a vari-angle prism that continuously corrects the path of the incoming light). SuperRange goes one step further by examining the image after it is received by the CCD, and detecting any low-frequency vibrations missed by the gyro. This data is fed back to accelerate and refine the movement of the vari-angle prism. This greatly improves performance for low frequency vibration, resulting in the most advanced optical image stabilization available today.
f/1.6 - f/3.5
Canon's 20x Professional L-Series Fluorite lens features a
fast aperture of f/1.6, variable to f/3.5 at full telephoto. This maximum
aperture of f/1.6 aids in capturing quality video in low light conditions.
72mm filter thread
With a standard 72mm filter thread, the 20x
Professional L-Series Fluorite lens offers the availability of a wide variety
of filters from Canon and other suppliers.
Fluorite 'L' series lens
Canon has satisfied the demands of experienced
image makers for years through the power, design and quality of 35mm and
broadcast TV lenses. Canon's Professional L-Series lenses utilize fluorite, a
material that provides outstanding resolution, contrast, and color
reproduction - especially in lightweight, high-magnification lenses.
Incorporated into the XL2's 20x lens, fluorite delivers the ultimate in
clarity and image quality. The fluorite element inside the lens defeats color
aberration (an effect that causes a reduction in sharpness, contrast and
color). The fluorite lens precisely controls components of light providing an
excellent balance of these three critical ingredients of picture quality. This
is unobtainable with conventional optical glass.
6 blade iris diaphragm
A six-blade circular iris is used in the XL2 for
professional exposure control. This helps to deliver stunning video and still
photos.
2 independent ND filters
The 20x Professional L-Series Fluorite optical
zoom lens includes two neutral density filters to help control light -- for
example under bright, sunlit conditions, or when less depth of field is
desired. The two built-in filters, 1/6 ND and 1/32 ND, can be used
independently.
Electronic focus and zoom ring
The focus ring and the zoom ring are
independent controls on the 20x lens. They are servo controlled and the speed
can be changed by the speed of the rotation of the ring. There is also a zoom
control on the handgrip and one on the top handle.
Zoom preset position
This function allows memorization of a zoom point,
so that the lens can return to that framing by a push of the button. The speed
of the zoom can easily be controlled.
Focus preset position
This function allows memorization of a focus
point, so that the lens can return to that focus by a push of the button. A
'pull focus' can easily be accomplished. The speed of the focus can easily be
controlled.
Focal Lengths using the XL2
Lens
4:3 aspect ratio
16:9 aspect ratio
New 20x Lens
51.8 ~ 1036
42.3 ~ 846
16x OIS
52.8 ~
844.8
43.1 ~ 689.6
16x Manual
52.8 ~ 844.8
43.1 ~
689.6
3x Wide
32.6 ~ 97.8
26.6 ~ 79.8
CCD's Aspect Ratios and Shooting Modes
3 CCDs, 1/3 inch, gross 680K
(each) progressive scan, horizontal pixel shift
16:9: 960x480 effective pixels (460,800 pixels per CCD, total 1,382,400)
4:3: 720x480 effective pixels (345,600 pixels per CCD, total
1,036,800)
Building on the superior image quality associated with its
industry-leading XL1 and XL1S camcorders, Canon has made a major step forward
with the XL2. The XL2 continues to feature a three CCD (charge-coupled device)
system with a separate CCD for each primary color (red, green, blue). But the
system now features even higher resolution, delivering outstanding picture
quality, highly accurate color reproduction and a wide dynamic range with
virtually no color noise. The three CCD image sensors are specifically
designed to capture as much image detail as possible and for shooting under
extremely low light conditions. In super low light, the XL2 captures crisp and
clear digital data. Under extremely bright conditions, the XL2 greatly reduces
vertical white streaks and smears, making it a consummate field recording
device for all conditions.
With the XL2, a beam-splitting prism separates
light passing through the lens into individual color components and each is
sent to its own CCD. Compared to a single CCD, the three CCD system achieves
outstanding detail with highly accurate color reproduction suitable for the
demands of high-end video production: wide dynamic range, low color noise,
high-contrast detail, natural color resolution and low-aliasing.
16:9 and 4:3 shooting formats
In the XL2, Canon offers both the standard
4:3 aspect ratio and the 16:9 widescreen TV aspect ratio (the ratio of the
screen width to its height). The 4:3 aspect ratio is that of the common TV
screen, and is the most frequently used aspect ratio in broadcasting today.
The 16:9 aspect ratio is the more common aspect ratio for film-based movies,
and produces full screen playback on widescreen TVs. This aspect ratio is menu
selectable on the XL2.
60i, 30p and 24p (NTSC format)
The XL2 delivers 60i, 30p and 24p frame
rates. 60i is the standard video frame rate used in television today, as
viewed on your home TV, whether from a broadcast signal, rented DVD or home
camcorder. 30p, or 30-frame progressive, is a non interlaced format, the same
as Canon's Frame Movie Mode, producing video at 30 frames per second,
delivering spectacular clarity and a cinematic-like appearance. 24p, also
non-interlaced, produces video with the look and motion of film; its capture
rate is the same as that of movie film for theatrical viewing.
24p - both 2:3 and 2:3:3:2 with 1/48th second shutter speed
Both
variations of the 24p frame rate -- 24p, 2:3 and 24p, 2:3:3:2 -- are supported
by the XL2. The 2:3 pulldown is the conversion method to convert 24p to 60i so
that video shot in either 24p frame rates can be viewed on a television. The
2:3:3:2 pull down is used when the footage is to be transferred to movie
film.
Customizable Cine Look
Gamma (Video/Cine)
Gamma controls the general
brightness (luminance) of the picture and the contrast of the picture.
Adjusting gamma allows you to control the way the camera reproduces various
tones. Video shot on the XL2 can be gamma corrected to allow for the final
usage of the video -- where it will be shown. The display medium can distort
the brightness, therefore if the gamma is corrected for the display medium
when the video is shot, the display will show the correct brightness level. By
switching to the Cine curve, the tonal qualities of the images produced have
shading and coloration similar to that of film.
Color Matrix (Video/Cine)
The XL2's Color Matrix function manages the
hue and saturation of the video to reproduce the most accurate color. The
color matrix defines the camera's color output; the matrix lets you define the
amount of primary and secondary colors that are produced. The primary colors
are red, green and blue, with the secondary colors (cyan, magenta, yellow)
made from the combinations of two primary colors. With the XL2's Color Matrix,
you can change from a video to a cine "look" for the end product.
Knee (H/M/L)
Among the XL2's picture-enhancing circuits is the knee
circuit. Setting the control to high, medium or low manages the highlight
compression of the video signal.
Black (Stretch/Normal/Press)
The XL2 gives the user control of the depth
of black in dark areas of an image. To emphasize contrast in the video's dark
areas, "Stretch" is selected. To deepen or enhance the dark area, "Press"
(compress) is selected.
Vertical Detail (Normal/Low)
There are 2 settings: "Normal" for vertical
detail optimized for playback on an interlaced monitor, "Low" for vertical
detail optimized for a progressive scan monitor like a PC.
Coring (-6 to +6)
The Coring function on the XL2 is useful in helping to
remove image "noise." Coring removes fine detail information that is not a
major contributor to the picture detail but which adds noise to the image. You
can adjust just how much detail information is removed - just enough coring to
reduce picture noise, but not enough to hurt the detail in the image.
Sharpness (-6 to +6)
The XL2 is capable of changing the degree of
sharpness in the picture. By using this feature, pictures that do not require
a lot of detail can be softened. This feature also can be used to hide
imperfections during close-ups, for example. Increasing video sharpness can
increase the video noise slightly.
Noise Reduction (OFF/H/N/L)
Noise Reduction removes video noise --
non-picture artifacts such as those commonly found in low-light images --
without hurting image detail or creating motion artifacts. This is important
for two reasons. The first is that we have become used to viewing high quality
video. The second is that video noise makes compression -- to DVD, for example
-- less efficient.
Color Gain (-6 to +6)
The XL2 can deliver 13 steps of color gain, from
off to oversaturated. This adjustment allows you to shoot in black and
white.
Color Phase (-6 to +6)
Adjust the Color Phase towards red or green for
exact control.
Film Grain (one setting)
The XL2 has one setting to add 'film grain' to
the image. This simulates the effect of shooting on film.
Total Image Control
Master RGB (R: -6 to +6, G: -6 to +6, B: -6 to
+6)
The Master RGB control offers 13 steps of adjustment each to the red,
green and blue components of the video signal.
Setup Level (-6 to +6)
Setup level adjusts the standard point of the
black level of video signal. In USA (NTSC) the black level is set for 7.5 IRE,
in Japan (NTSC) the black level is set at 0 IRE, for PAL and SECAM systems the
black level is set for 0 IRE. Professional cameras use 3 IRE for the black
level. The XL2 has a 13 step adjustment, with the default mid level being 3
IRE.
Master Pedestal (-6 to +6)
The Master Pedal controls the starting point
of the gamma curve. This will change the dark areas of the picture.
Skin Tone Detail
Hue, gain, area, Y level (+/- 6 steps). During setup
EVF shows a zebra pattern over masking area flashes between picture and
white-mask. During setup EE and IEE1394 out flashes between picture and zebra
pattern, enabling you to easily smooth out skin blemishes and wrinkles with
total control.
Program AE (Auto, TV, AV, Manual, Spotlight, Low Light, Green)
Gain (-3 / A / 0 / +3 / +6 / +12 / +18 dB)
Control the amount of gain to balance between quality and getting the shot.
AE Shift
With the XL2, you may want to make slight adjustments to the
image brightness to compensate for backlighting or for scenes that are being
rendered slightly overexposed. When in Auto, Tv or Av Modes, you can engage AE
Shift in the camera menu, then turn the menu dial to add or subtract a bit of
exposure. There are 13 steps available for creative control.
AE Lock
You can hold the exposure at a particular setting by engaging AE
Lock on the XL2. This prevents unplanned exposure changes with a moving
subject, for instance.
White Balance (Indoor, Outdoor presets and 3 user
settings) The XL2 uses an electronic white balance process to calibrate the
picture for accurate color display in different lighting conditions (i.e.
sunlight versus indoor incandescent). Automated white balance settings include
a fully automated mode, an indoor mode and an outdoor mode. (When the XL2 is
set to Green Mode, white balance is fully automated and cannot be adjusted.)
In addition to these set standards, the XL2 lets you set the white balance
manually by selecting manual select, then pointing the camera at a white
object (such as a sheet of paper) that fills the field of view. The XL2 gives
you the option of setting and saving as many as three white balance presets
that can be reused for non-sequential shooting. Manual white balance works
best for dominant color or monochromatic scenes and close-ups, in rapidly
changing lighting conditions and in places lit by certain fluorescent or
mercury vapor lights. White balancing should be performed prior to any
recording.
Shutter Speeds
In 60i and 30p modes there are 30 shutter speeds as well
as clear scan shutter speeds. In 24p there are 29 shutter speeds including
1/48th second and clear scan shutter speeds.
Aperture Control
There are 23 aperture settings available with the 20x
lens. This setting can be adjusted in 1/4 steps.
Zebra Patterns (100%, 95%, 90%, 85%, 80%)
Zebra stripes, displayed in
the viewfinder but not recorded, can be made to appear over any area that is
overexposed. This black and white zebra stripe feature is activated via the
camera's menu. Use this feature to guide the adjustment of the aperture and
shutter speed. The zebra pattern settings that are available in the XL2 are:
80 IRE, 85 IRE, 90 IRE, 95 IRE, and 100 IRE.
Clear Scan
The Clear Scan feature allows you to record a computer CRT
screen or similar equipment without displaying a black band or flicker on the
screen. The XL2 can adjust shutter speeds from 61.9 Hz to 201.5 Hz in 117
steps, allowing you to perfectly match the CRT's scan rate.
Interval Timer
By selecting the Interval Timer on the XL2, the camera
can be programmed to record at various intervals for varying amounts of time.
This provides time lapse motion videography.
Set intervals include: 30
seconds; 1 minute; 5 minutes; 10 minutes. Set recording times include: 0.5
second; 1.0 second; 1.5 seconds; 2.0 seconds.
Audio
4 channel independent controls
Canon knows that audio is
crucial to professional productions, and the XL2 provides the highest
standards in audio capture available on a digital video system with a 16-bit,
2-channel recording option. The XL2 also has two additional 12-bit recording
channels allowing simultaneous recording on four channels. Audio levels can be
controlled manually to further extend sound quality as it is recorded.
Controlling audio levels is essential for real-time event capture and the
XL2 permits both automatic and manual audio recording. Manual control allows
for setting balance and level
2 XLRs on body
The XL2 has two built-in XLR connectors on the camera
body. XLR connections are used in professional and high-end audio equipment.
This balanced connection allows for the use of very long cables without the
introduction of outside noise.
Phantom power on body XLRs
Condenser microphones need "phantom power,"
with the voltage going to the mic along the same wires that carry the audio
signals. The XLR connectors on the XL2 provide phantom power.
2 other channels through MA-300
For more creative control, Canon offers
the optional MA-300 microphone adapter, which easily connects to the XL2's
Advanced Accessory Shoe and powers without wires. The MA-300 lets you connect
two professional XLR connector microphones in addition to the two connections
on the camera body.
Microphone
The XL2 uses a high quality stereo electric condenser
microphone.
All audio setup by switches under audio door
Input selection and
attenuation
XLR gain up adjustment
This feature is available through the menu
system
VU meters: side body and EVF
Headphone plug
Metal construction with level control.
1kHz tone (with color bars) -12dB and -20dB levels
The XL2 internally
generates a 1kHz tone along with the color bars. This provides a stable,
unvarying audio signal that can be placed on the video, aiding setup of audio
equipment. Two levels are available for setting the master audio level on the
camera.
Zoom Control
Zoom rocker (23 degrees/ one side, manual control - 16
speeds)
Zoom speed control behind rocker handle.
Custom Presets
3 memories In addition to creating custom settings for
camera and VCR mode using the custom keys, you also can establish three
presets for several camera adjustments, including gamma, sharpness and skin
detail. Once you have established a look to your video, you can save the
information. On top of that, you can transfer this information to another XL2
or to your computer via the IEEE1394 connection. - Store: color gain, color
phase, sharpness, setup level, V detail, color matrix, gamma, knee, black
stretch, skin detail (hue, gain, area, Y level) Each of the three memory
presets on the XL2 allows you to store several camera adjustments: color gain,
color phase, sharpness, setup level, V detail, color matrix, gamma, knee,
black stretch, skin detail (hue, gain, area, Y level).
Internal and External Store / Recall
The three memory presets can be
saved in-camera or externally -- in a PC or another XL2 -- and recalled.
Copy Custom Preset from another XL2 through IEEE1394
A custom preset
saved on another XL2 can be transferred via the IEEE1394 connector.
Store / Copy from a PC through IEEE1394 (3rd party software needed)
A
custom preset saved on the XL2 can be stored in a PC, sent there via IEEE1394
connection. The same connection allows a preset stored on the computer to be
copied to the XL2.
SMPTE features
SMPTE color bars with 1 kHz tone (-20dB and
-12dB)
Color Bars are an electronically generated video pattern consisting
of eight equal-width colors, used to establish a proper color reference before
recording and playback and for adjustment purposes. Using a lead-in of color
bars for 10-60 seconds has become a de facto standard in professional film and
video circles. The color bars also can be used during shooting to allow the
adjustment of reference monitors. The XL2 can generate color bars on tape
prior to shooting; this allows for fast hand-off to the professional broadcast
and/or film post-production environment.
The XL2 internally generates a
1kHz tone along with the color bars. This provides a stable, unvarying audio
signal that can be placed on the video, aiding in the set-up of audio
equipment.
More Features
Zebra pattern
(5 levels: 100%, 95%, 90%, 85%, 80%)
Zebra stripes,
displayed in the viewfinder but not recorded, can be made to appear over any
area that is overexposed. The black and white zebra stripe feature is
activated via the camera's menu.
Use this feature to guide the adjustment
of the aperture and shutter speed. The zebra pattern settings that are
available in the XL2 are: 80 IRE, 85 IRE, 90 IRE, 95 IRE, and 100 IRE.
BNC/RCA/s-video terminals
With the XL2, Canon has added a BNC connector
to the RCA connections and the S-video connection found on the XL1 and XL1S.
The bayonet mount BNC connector is used in professional and broadcast video
applications.
AAS (advanced accessory shoe)
VL3, MA300, VFL-1 (light only), DM-50.
When accessories such as the VL-3 video light, DM-50 directional microphone,
or the optional MA-300 microphone adapter -- devices that are compatible with
the Advanced Accessory Shoe -- are attached, the XL2 can exchange data with
them and supply power directly to them.
LANC terminal
The LANC (Local Application Control Bus System) is a
remote terminal that allows you to connect the camera to LANC-compatible
editing equipment.
DV Streaming
Not only can you capture high quality video with the XL2,
you can stream it over the Internet. With streaming video, the content is
compressed and encoded to make the file size smaller and more quickly
transmitted. This lets the video be played as it is being received.
World Clock
Built-in shoulder pad
To make use of the XL2 easier, there's a built-in
shoulder pad. This makes extended use of the camera less physically
demanding.
Dust gasket on tape door
To offer further protection to the tape, tape
handling mechanism, and other internal components, the XL2 has a dust gasket
on the tape door.
Wireless remote controller
The wireless controller supplied with the XL2
can operate the camera from a distance of up to 16 feet (5 m). Point it at
either of the camera's remote sensors while you press the buttons. (Remote
sensors are located at both the front and the back of the camera.) The tally
lamps light up to indicate the camera is in range and responding to remote
control commands. Other than the standard on-camera functions, there are four
functions that only can be operated using the wireless controller: Special
playback, Data Code on/off, Self-timer. The remote sensor on the XL2 can be
turned off to prevent interference from other Canon wireless controllers being
used nearby.
EVF
-Color EVF / 2 LCD convertible
-Right / left adjustment
-Before / aft adjustment
-Brightness, color, sharpness and contrast adjustments
-EVF LCD indicators: rec/shutter/gain
-Center cross hair (on/off)
-16:9 shown as letter box
-EVF display (all, some, OFF - same as XL1S)
-Body compatible with FU-100 B/W EVF (not with current color EVF)
Software - DVPC Recorder - only available to XL Owner's Club
members
Record directly to PC (XP only) -single file or individual scenes
in different files
Compatible with any major editing programs -AVI-Type1 / AVI-Type2 file formatPower
Standby modes (VCR Power Same)
The XL2 has been designed to consume as
little power as possible and comes with power saving features such as auto off
features (activated after about 5 minutes of inactivity) to further extend
battery power for field and remote work.
