Canon XL2 PAL

Main Features of Canon XL2
-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)

-Canon's famous Intelligent Program AE.

-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.