Canon XL2

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.

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.

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.  Because Canon utilizes a 12 bit DSP (Digital Signal Processor) maximum image quality is preserved.

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.Because Canon utilizes a 12 bit DSP (Digital Signal Processor) maximum image quality is preserved.

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.

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.

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.

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.

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.

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.

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.

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.

DSP (Digital Signal Processor)
The Canon XL2 utilizes a 12 bit DSP.  By using this DSP, which has been customized by Canon exclusively for use in the XL2, maximum image quality is preserved.