Canon XH A1 Camcorder
A year and a half ago when Canon introduced the XL H1, it was the priciest small professional HDV camcorder of several on the market. Barely a year later, Canon has introduced a similar, but more economical, pro HDV camcorder. At around $4,000, this makes it a bargain relative to its cousins and even relative to comparable HDV camcorders by other manufacturers. What is impressive is that Canon has not only managed to slash prices but to add, rather than lose, key features. This includes more options for fine-tuning camera quality in the field which can be stored on SD memory cards for later recall and transfer to other XH A1 and G1 camcorders.
Description
At first glance the XH A1 should look familiar to anyone who owns or has used Canon’s GL2, which has a similar form factor. On closer examination, though, the layout is radically different. For starters, the XH A1 has the XLs trademark power-dial with the same operational modes including aperture priority, shutter priority, ‘nightshot’ (for shooting in virtual darkness)... Eight modes in all, each with their own notches on the dial.
Unlike the GL2, the XH A1 offers HD imaging with three 1/3-inch native 16:9 1,440 x 1,080 HD CCDs. This enables true 1,080 image capture at three discrete frame rates: 60 interlaced fields/second (60 i), plus 24 and 30 frames/second which Canon calls 24f and 30f as the whole frames are derived rather than captured natively. There are actually two 24f options, which use 2:3 pulldown and 2:3:3:2 pulldown, taking 60i and deriving 24f and 30f respectively. Native color sampling is 4:2:0, the same as in some much pricier HD cameras.
Canon’s new DIGIC DV II HD Image Processor is the workhorse of the XH A1, with advanced noise reduction and accurate color reproduction for HDV and DV, including skin tones. The multistage noise reduction yields sharper, cleaner HD and SD video, even in relatively low light. It also features enhanced dynamic latitude in light and dark areas for more balanced video.
The XH A1 comes with a built-in Canon 20x HD lens similar to that of the XL H1 camcorder, except that it is a bit wider, with improved auto focus and stabilization (but can’t be interchanged). The 20X HD L series lens is optimized for high contrast, resolution, clarity, and color reproduction, “with greater image quality than conventional optical glass lenses” according to Canon. Moreover, there are 18 zoom settings for constant speed zooming at 16 discrete speeds, plus high speed and variable.
Canon’s “Super-Range Optical Image Stabilization” steadies the image in spite of moderate wind and other vibration, plus shakiness and incidental movement while handholding. The resulting image is steadier and smoother, as if shot with a heavier camera. An additional (external) AF sensor works together with the standard AF (TV) sensor to enhance the speed, accuracy, and stability of Auto-Focus, even in low light. In manual focus there is enough friction on the focus (outermost) ring to hold focus when released, but not so much as to impede manual adjustment. The same is true of the iris ring (F1.6 to F9.5). Unfortunately, there are no external markings on the rings for reference although the changing values are displayed on the VF screen. There is also an exposure lock button at the base of the lens to hold a preferred f-stop.
The XH A1 is equipped with two high-resolution color viewfinders. The standard eyepiece attached to the rear end of the handle rotates upwards around 60 degrees. The second VF is a 2.8- inch, 207,000 pixel LCD (widescreen) external VF/monitor which rests face down atop the camera and flips out and pivots above the power dial when needed. It is connected to a sturdy but flexible arm and rotates fore and aft in a 270-degree arc—ideal for low, high, and other extreme angle shooting. Both viewfinders can be used simultaneously.
Canon’s “Total Image Control” has also been enhanced somewhat in the XH A1. It now enables the user to manipulate 23 different image parameters to achieve a particular “look” running the gamut from a classic “video look” to a stylized “film look,” or something in between. Among the key parameters are knee, gamma, master pedestal, setup level, sharpness, color matrix, color gain, and color temperature. Besides increased range of adjustment, the XH A1 also has new tools for color correction and sky detail functions. Users can now also customize up to 21 display functions and 32 operational functions with the XH A1 to personalize the user interface for their own needs.
Up to nine customized camera setups, with the full range of custom-modified parameters in each, can be stored in memory as custom presets. Two of these can be accessed via a pair of assignable buttons on the camcorder. These presets can also be transferred to other compatible camcorders via SD memory cards.
Audio recording for the XH A1 is fairly well conceived. For starters, there is a serviceable, built-in stereo microphone, which is active by default. Audio is sampled only at 48 kHz in HDV, but can also be captured at 32 kHz in the 12-bit mode when shooting DV. Audio recording can be optimized for either voice or ambient recording and the onboard mic can be adjusted for either normal or higher frequency sensitivity. The recording level for channel one and two can both be adjusted automatically or manually via thumb dials on the side panel. The same applies when utilizing external shotgun, wireless, or other mics. A pair of XLR audio jacks (with phantom power) are located just below the mic mount for easy connection with short jumper mic cables. Analog audio can be output via the standard RCA jacks, while digital audio can only be output when embedded with video via FireWire (IEEE 1394) for the XH A1.
Road Test
I tested the XH A1 camcorder after a brief formal orientation to its key features, but before cracking the users’ manual. Nevertheless, I found it fairly easy to get started despite my limited experience with pro Canon camcorders. I appreciated the many external controls, which in general, seemed well placed for fast access. The ND filter wheel near the base of the lens enables fast filter changes without having to remove one’s eye from the viewfinder, in response to flashing ND icons on the screen. Nearby a focus assist button magnifies image size for easier focusing, while an auto-focus button provides momentary auto focus while in manual mode. This makes it easy to focus while holding the camera at an odd angle and also deters losing focus inadvertently when something other than the subject moves into or within the frame. There are also switches nearby for setting focus and zoom presets and for locking exposure level. With practice, I was also able to use many of these without taking my eye off the subject.
Being accustomed to 2/3-inch CCD cameras, one feature I especially appreciated was the flip-out 2.8-inch color viewfinder, which rotates around 270 degrees. This makes the XH A1 great for low- and odd-angle shooting, and for framing tracking shots and keeping them in focus. With it, I was able to capture the world from my dog’s (eye level) perspective, in 1080i in stunning color. I was particularly impressed with my ability to stay in focus (in auto-focus) and to keep the image stable as we ambled along a winding road with the camera rolling.
Having two color viewfinders available made it much easier to frame and focus shots in a dynamic environment. The high resolution of the flip-out LCD made it invaluable for handheld situations, especially for low angles and point-blank range—for example, when shooting New Year’s Eve festivities in a crowded city square, which entailed rapid framing, focusing, and other adjustments. The peaking switch plus its color and brightness helped me find and focus interesting faces in the crowd. This would all have been much tougher to do on a standard one-inch viewfinder, especially if only in black and white.
The quality of video shot with the XH A1 was fairly impressive overall, even at night using ambient (street) light. I especially liked the video shot using some of the custom presets, like the Cine 1 and Cine 2 gamma settings. Frankly, I was a bit underwhelmed with the “filmic quality” of the Cine 1 setting, although it was warmer and more saturated than video captured in video default mode. Apparently gamma and color gain are not highly elevated in Cine 1, by design, which made it a good starting point for achieving a low-key film look using “Console.” With it I was able to adjust black, color, detail levels, contrast, and to pre-visualize looks that were more and less “cinematic,” quickly and safely in the knowledge that I could restore the factory default settings for Cine 1 by tapping the assign button I designated for that purpose. Alternatively, I could restore all factory default settings by simply holding the power button for 15 seconds upon restarting.
For a more classical film look, with warm saturated colors and crushed blacks, I started with the Cine 2 presets which quickly yielded a distinctly cine (vs. video) look.
Audio-wise, I mainly used the built-in stereo mike for recording, partly because using any external mic decommissions the onboard mic. In auto-level mode, the results were generally acceptable, albeit a bit on the loud side. Hence, whenever the audio record level was critical I set the levels manually using the thumb dials at the rear corner of the side panel.
When I made the effort to tweak audio levels for particular scenes (vs. an average ambient level) the results were even better, provided I didn’t rustle the mic with my hands or clothing while operating the camera. The pattern of the stereo mics is broad enough to pick up incidental noise due to camera operation or breathing noise from the camera operator. With practice I was able to get fairly clean recordings of music, voice, and general ambient audio.
Conclusion
Although I tested many facets of the XH A1, I barely scratched the surface. From my perspective, the A1 passed every critical performance test, including the New Year’s Eve “water torture” (and “light torture”) test when shooting outdoors in moderate rain, with improvised covering.
The 20X HD lens with its optical stabilizer, plus enhanced auto focus and manual operability, helps realize true HD imaging, even in challenging lighting and when fully zoomed in and wide open. Resolution and color were typically very good in marginal lighting, even in full auto mode. This makes it ideal for use by volunteer operators with varying levels of experience and expertise. The XH A1 delivers plenty of bang for the buck.
