This camera "WILL" be an awesome camera! and must have for indies...

[Shannon Rawls]

If you are an Indie Filmmaker who loves to create movies that entertain the human race this is your camera! If you plan to make movies for the year 2006 that follow a narrative thread with the intentions to place your finished non-fiction movie on a High Definition DVD disc to be played on the flat-panel televisions of AS MANY people as you can possible get it played on.....then this camera is what you need.

Me...I will purchase two of them the day they come out and go to work immediately. I will Place my Z1U in the trophy display case next to my Xl1s, DV500 & DVX100a respectively.

Why do I say all this?

Well, I'll tell you... I say this because Canon is PROVEN. I say this because Canon had a WORKING MODEL to show Chris & Michael at a show and not some Balsa wood & aluminum mock-up promising a bunch of stuff to keep their fan base. I say this because Canon is not interested in BRAINWASHING everybody by saying "Wait till NAB" and basically defaming its competitors by sending representatives to these forums to push their agenda. I say this because Canon is BAD-ASS when it comes to optics. I say this because I own a Digital Rebel and It needs a big brother! *smile*

And finally, I say this because I just re-read the specs of this camera, word for word...and it is f**king SWEET..... Read it yourself....

____________________________________________________________

New Three CCD Camcorder Features Native 16:9 HD Image Quality at 1080i; Adjustable Frame Rates of 60i, 30F and 24F; and Canon's Professional "Jackpack" Terminals

(NEW YORK -- Sept. 14, 2005) As Canon's first HD video camera, the XL H1 High Definition (HD) camcorder and 20x HD video zoom lens with Superior Canon Optics* provide broadcasters with a low-cost 1080i resolution option for ENG, Documentary or Reality TV production. Filmmakers will also appreciate the extensive Cine controls and 24 Frame rate option the XL H1 camcorder offers. Canon's "professional jackpack" features include uncompressed digital HD-SDI output for seamless integration into broadcast studios or high-quality image transfer to non-linear editing systems. The Genlock feature allows movie sets to easily synchronize camera settings across multiple camcorders and SMPTE time-codes in-and-out allow for streamlined tape and edit management.

"As FCC deadlines for transferring all television content to digital rapidly approach, broadcasters are looking for low-cost acquisition options that do not require them to revamp their entire infrastructure," said Yukiaki Hashimoto, senior vice president and general manager of the Consumer Imaging Group at Canon U.S.A., Inc., a subsidiary of Canon Inc. "By offering backward compatibility with current SD-based infrastructure, the XL H1 HD camcorder combines the right features at the right price to meet the demanding needs of television production and movie making."

HD Resolution and More
The XL H1 camcorder has three 1/3 inch 16:9 interlaced CCDs that capture images at 1080i resolution. The camcorder features selectable frame rates of 60i, 30 Frame and 24 Frame to allow the user to adjust to the assignment at hand and can switch back to SD resolution if needed.

At the 30 Frame rate, broadcasters can capture high motion, like sports with confidence that each frame is captured individually and completely. Filmmakers can utilize the 24 Frame rate when creating the look and feel of movie film. The 60i frame rate, meanwhile, delivers exceptional resolution for shooting environments like ENG or Reality TV.

The XL H1 HD camcorder is the first model to include Canon's proprietary DIGIC DV II image processor. DIGIC DV II is an image processor that can process both HD and SD video signals as well as still photos, while maintaining the correct color space for each mode.

Make the Connection with the Professional Jackpack Terminals
The XL H1 camcorder's professional jackpack terminals consist of three key features designed to streamline production: HD-SDI output (High Definition Serial Digital Interface), Genlock and SMPTE (Society of Motion Pictures and Television Engineers) Time Code input and output.

To streamline in-studio television production, the XL H1 model offers HD-SDI and SD-SDI output. HD-SDI output allows professionals to directly connect to a TV control room or a non-linear editing system. With this feature, users can plug their XL H1 camcorder into any professional's system with an HD-SDI input and can deliver live, unfiltered HD content in all its brilliant detail. With other HDV models on the market, the user must feed the HD signal into an analog to digital signal converter box which adds an extra step, not to mention, an extra cost. The XL H1 camcorder can also record to HDV Master recording media or Mini-DV tapes.

Multi-camera shoots with the XL H1 model are no problem thanks to the camcorder's Genlock synchronization input feature. This feature allows many XL H1 camcorders to synchronize through a switcher. With its SMPTE time code input and output, multiple cameras on a shoot can all lay down the same time code. The XL H1 camcorder uses a customizable open-architecture approach, selectable frame rates and multiple output options so professionals have exactly the right tool, every time they need it.

Take Total Cine Control
Each year, the number of filmmakers turning to video-based acquisition solutions for movie production grows. Moviemakers that shoot video place strong emphasis on delivering the "film" look to their pictures. Canon's new XL H1 camcorder offers filmmakers the ability to customize their video recordings using a number of variables, including: three color matrixes for a wide range of color correction and two cine gammas for intricate adjustment of dynamic range, customizable: knee, black stretch, horizontal detail, coring, sharpness, noise reduction, color gain, hue and master color adjustments. Each one of these settings can be modified independently, thereby giving the camera operator precise control over the "film-like" appearance of their video.

Still Image Recording for Better Workflow
In addition to its extraordinary video capabilities, Canon's XL H1 HD camcorder can capture still images plus metadata at full HD resolution (1920 x 1080 dpi or 2.1 megapixels) onto a standard Secure Digital (SD) Memory Card and MMC media. The "Photo" button located on the outside of the camcorder allows users to capture still images at up to five frames per second. Camcorder settings can be stored on the memory card and transferred to another camcorder so setup can be replicated.

The XL H1 camcorder's still image capture plus metadata feature provides an in-camcorder solution for cinematographers and directors to check for scene continuity and provides added back-up to any still photographers on set.

Field of View
Canon is launching a new multi functional color electronic viewfinder (EVF) and 2.4" 16:9 LCD monitor with Safe Area Marking built-in; black and white mode; Zebra Pattern (70-100 IRE); Horizontal and Vertical flip and a Distance Readout (using 20X HD Video lens).

As a menu option, users can chose to view Aspect Ratio Guides in the viewfinder. Canon provides a choice of 4x3, 13x9, 14x9, 1.66:1, 1.75:1 1.85:1, 235:1 guides. The XL H1 HD camcorder viewfinder also includes a feature called Focus Help. The first setting — Peaking — creates an exaggerated line in the viewfinder that disappears when the image is focused. The second setting — Magnifying — enlarges the viewfinder image, helping the camera operator better see if the image is properly focused.

The New Canon Lens Addition
The new XL H1 HD camcorder features Canon's XL-interchangeable lens mount. For the XL H1 camcorder, Canon drew upon its exceptional heritage and expertise in designing and manufacturing lenses for photography and broadcast TV to create its new 20x HD video zoom lens with Superior Canon Optics. This lightweight, high performance lens achieves fast, precise focusing and a unique balance of focal length, angle of view and depth of field; key quality attributes that distinguish Canon from some other brands.

In addition it incorporates multiple Fluorite elements for superior contrast, resolution and color fidelity through the reduction of chromatic aberration. The 20x HD Video lens offers a fast f/1.6 to f/3.5 aperture for users that shoot under the most demanding lighting conditions and a close focusing distance from only 20mm away (when at wide angle). At an aspect ratio of 16:9, the 20x zoom range is an impressive 38.9mm to 778mm (35mm equivalent). At the 4:3 aspect ratio, it is an equally impressive 47.4mm to 954mm (35mm equivalent). The lens features a 72mm filter thread, two independent ND filters (1/6, 1/32), focus and zoom presets, and optical image stabilization.

Canon's Super-Range Optical Image Stabilization (OIS) system corrects camera shake instantly so even hand held shots, at full telephoto, and shots taken from a moving car, are smooth and steady. Because it is optical, it can compensate for a greater degree of camera shake and avoids any loss in image quality, unlike some electronic image stabilizers.

Other optical image stabilizers use 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). Canon's SuperRange OIS system goes one step further by examining the image after the CCD receives it 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.
___________________________________________________

Isn't that amazing??

- ShannonRawls.com

[Steven White]

Sure is Shannon... and while you're buying two of these babies - are you going to pick up an HDCAM SR deck?

*smile*

-Steve

[Michael Pappas]

<<< I say this because Canon had a WORKING MODEL to show Chris & Michael at a show and not some Balsa wood & aluminum mock-up promising a bunch of stuff to keep their fan base. I say this because Canon is not interested in BRAINWASHING everybody by saying "Wait till NAB" and basically defaming its competitors by sending representatives to these forums to push their agenda. I say this because Canon is BAD-ASS when it comes to optics. I say this because I own a Digital Rebel and It needs a big brother! *smile*>>>>



Hey Shannon,

I love your spirit.....

I agree. How is it Canon out the door is working? Ready for shipping in no time. The whole NAB/Pana left a bad taste in many mouths. Be careful, I got street hung and left for dead when I spoke openly a short while ago. It sucks. But hey, we are getting great tools either way. Canon is my favorite. My Canon DSLR will like some companionship as well........



Michael Pappas
http://www.pbase.com/arrfilms
http://www.PappasArts.com


My latest articles:
http://www.pbase.com/aghvx200/do_hvx...ream_of_lenses

The JVC GY-HD100 and Its Second Coming
http://www.hdvinfo.net/articles/jvcprohd/pappas5.php

ARTICLE ON JVC'S HIGH DEF CAMERA THE JVCHD100u
http://www.pbase.com/aghvx200/pappasarts_entertainment_

HDX-200 lens good or just functional Article....
http://www.pbase.com/aghvx200/hdx200...st_functional_

SDX900 vs AG-HVX200 Article..
http://www.pbase.com/aghvx200/sdx900...llustrated_pov

[Michael Struthers]

Yep, you're going to need a deck to capture the sdi out. Add another 30k to your total.

Or a very large raid array.

[Anhar Miah]

woah easy tiger!

I must admit the black look adds to the pro style of the Camera.

I mean would you have considered it if say it was silver?

[Aaron Koolen]

Must have for indies? Who knows, we'll need to see footage. But a camera that costs 9K for crappy HDV and comes with that crappy servo zoom lens that's limiting at best, uselss at worst is quite funny. Add to that a not very wide, wide and here you go, we'll all need to go and get a manual lens on top of it, and what will that be, the old 14x or 16x - and again we'll need to make the trade off on features of those two, or get both = more $$. So for indies with 15K to spend (Or more if they want to get the HDSDI stuff happening no?) this might be OK but not for us low budget shooters in the DVX/XL2 market.

I'm holding my judgement as the news is pretty new, but I would have bet my house that Canon would have offered this with a manual lens, seeing as the JVC did - and I'd now be living in the gutter.

[Chris Hurd]

But a camera that costs 9K for crappy HDV and comes with that crappy servo zoom lens that's limiting at best, uselss at worst is quite funny.... I'm holding my judgement as the news is pretty new

Well it doesn't sound to me like you're holding your judgement, but you're not paying $9K for "crappy HDV." The XL H1 is *NOT* an HDV camcorder. It's a format agnostic HD camera. It's HDCAM, it's DVCPRO HD, it's whatever you want to record to on whatever deck you've rented. Yes it has an HDV tape transport but it is not first and foremost HDV. It's first and foremost uncompressed HD. As for the lens, you haven't tried it yet, so I don't see how you can judge that either. The proof is in the pudding, as they say.

[Aaron Koolen]

Chris, you are right, I am jumping the gun a little here re the lens - it's based on what I've read in places, and at this stage a lot of it might be conjecture. Still, I would have expected Canon of all companies to provide a completely manual lens. Are the pcitures we've seen all wrong?

Also, I think it might be drawing a bit of a long bow to say it's format agnostic. I understand what you mean, but I'm talking here about the people who look for an all in one package without having to buy lots of extras like recording decks. Of course, it's looking like the market for this camera is not those people anymore and that's fine, for those who it's now aimed at, but not for us.

If I'm doing run and gun, I'm not going to carry a deck with me, so it's HDV. And that's always been my problem (Among many :) )


Aaron

[Ram Ganesh]

indie must have?
a studio, must have maybe.

who in the indie world can deal with 1.4GB data/s, all the Harddrive to store it?

If you strip that HD-SDI expensive feature out of the equation:
Its just a 4:2:0 HDV cam with removable lenses for $9K - but wait, JVC does the same 4:2:0 HDV for $6K. Is it worth 2K more for 1080 vs 720 ? maybe.

Not many in the indie world can afford a deck to get to 4:2:2 DVCPRO-HD thro this cam - but wait, you can get 4:2:2 DVCPRO-HD cam for $6 from Panny. :) Is it worth 2K more for interchangable lens system ? again maybe. I would *love* to have interchangable lens system - but would also like affordable 4:2:2 data.

If you "rent a deck when needed" - then you might as well rent it with a camera.

[Michael Wisniewski]

After cornering the Canon people down on the floor, and getting them to put this cam through it's paces, I'm sold on this new Canon video platform. It's currently packaged for a higher end market, but I'm looking forward to a re-packaged version for the average independent filmmaker.

Having said that, I'm pretty sure what I'm getting for Christmas.

As for the styling, this is probably the sexiest camera I've seen. It would look very comfortable in an Aliens movie / Geiger painting. It's definitely got curves.

[Aaron Koolen]

Originally Posted by Ram Ganesh

Not many in the indie world can afford a deck to get to 4:2:2 DVCPRO-HD thro this cam - but wait, you can get 4:2:2 DVCPRO-HD cam for $6 from Panny. :) Is it worth 2K more for interchangable lens system ? again maybe. I would *love* to have interchangable lens system - but would also like affordable 4:2:2 data.

If you "rent a deck when needed" - then you might as well rent it with a camera.

Remember RAM, for 6K you can't get DVCPro HD either. You need P2 or a hard drive recorder, DVRack and laptop.

[Ram Ganesh]

Originally Posted by Aaron Koolen

Remember RAM, for 6K you can't get DVCPro HD either. You need P2 or a hard drive recorder, DVRack and laptop.

so ok - add $2K to recently announced 80G firestore. Grand total $8K. Add 1K for a couple 100GB drives etc.

So for 9K, you would get 4:2:2 data with HVX200.

With this Canon - how much does it really take to get usable 4:2:2 data?

[Michael Maier]

Originally Posted by Chris Hurd

Well it doesn't sound to me like you're holding your judgement, but you're not paying $9K for "crappy HDV." The XL H1 is *NOT* an HDV camcorder. It's a format agnostic HD camera. It's HDCAM, it's DVCPRO HD, it's whatever you want to record to on whatever deck you've rented. Yes it has an HDV tape transport but it is not first and foremost HDV. It's first and foremost uncompressed HD. As for the lens, you haven't tried it yet, so I don't see how you can judge that either. The proof is in the pudding, as they say.

Chris, I'm sorry but by your line of thought, the JVC and Sony are also format agnostic. Just because it's SDI, doesn't really make a practical difference. The JVC can output uncompressed HD in progressive mode, which the Canon doesn't seem to be able. The XL-H1 is a HDV camcorder. That's what it records to. It's like saying a DV camcorder is not a DV camcorder because it has a composite output, and you can use that to record to any format you want. The H1 is also a HD camera, but so is the HD100 and Z1. But to market a HDV camcorder as a HD camera first, seems to me like a marketing stunt. How are you going to record anything other than HDV or DV if you need to film in the top of a mountain or some place you can’t have a heavy and inconvenient deck after you? This very same thing, is what confined the Viper camera mostly to studio use, while the F900 is shooting features all over the world, even though it’s much inferior to the Viper.
About the lens, I understand you say it's good, but one can't deny a manual lens would be much better.

Hey Shannon, about it being a must have for indie filmmakers, I really don't remember the last time I saw Genlock and the need of a nexternal deck for recording, on a must have list of any indie filmmaker. That's basically all it has over the HD100, besides the huge price difference. That if you don't count the HD100 outputs uncompressed progressive and not interlaced. Which filmmaker is looking for interlaced?
It has 1080 lines, so I think that feature alone could make it a must have for indies. But the price sure doesn't..
Just my opinion.

[Thomas Smet]

RAM,

The difference between 720p and 1080p could be well worth the extra cost if it is a good 1080p.

What about for broadcast work however? I personally prefer progressive video but sometimes you may get a client that insists on either 720p 60p or 1080i 60i. In this case the CANON will be the only one able to do this since the JVC can only do up to 30p. With the CANON you could also get a slightly softer interpolated 720p at 60p by down converting each field into 60 frames. While this wouldn't look as good as 1280x720 it may look as good as 720p from the HVX200 because 960x720 = 1280x540 in terms of number of pixels.

At one point I was planning on getting 3 cameras to cover the full market for HD. Now I only need 1 or 2 at the most. With the CANON I can do
1080i
1080p 30p
1080p 24p
720p 30p
720p 24p
softer 720p 60p
1080i 50i
1080p 25p
720p 50p interpolated
720p 25p
and any SD format I want to down convert to either NTSC or PAL at 24p, 25p, 30p, 50i or 60i.

All ofthese formats will look great except for maybe the 720p 50 and 60 which may be slightly softer than a true 1280x720 source. 720p 24/25/30p will be great since we start with 1080 24/25/30p.

The funny thing about the XLH1 using HDV is that with the HVX200 there is no cheap easy on the road way of shooting HD and a lot of people are complaining about that. Canon gives you the option of shooting long form HD and now people are complaining about that.

Plus read my post on how SDI capture doesn't have to cost a lot.

[Thomas Smet]

I know the 50i upgrade costs $500 but whats $500.00 compared to a whole new market to tap?

If I did get a second camera it may be the HD100 or the HVX200 for a good full resolution 720 option. Both cameras will allow me to capture live 60p video. The bonus of the HD100 is full 1280x720 and cheaper on the run shooting for long projects. The bonus of the HVX200 is the full field of shooting options as well as 4:2:2 shooting away from the studio although slightly lower resolution.