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The Canon XL 2 is the upgraded replacement model of the ground-breaking XL 1 camera. It is still the only prosumer camcorder to offer an interchangeable lens system. Canon's state-of-the-art lens development provides the highest quality glass, finest resolution and advanced element coatings that are superior to any other model in its prosumer class. The camera comes with a longer (compared to the previous XL 1 camera) 20x zoom lens that is superior to the competition's offerings. The extra-long telephoto feature works with an advanced two-stage optical stabilizing system. This advance delivers clear and shake-free images, even from the longest parts of the focal range.

For low-budget filmmakers and producers who want to shoot widescreen film-look, the XL 2 has three 1/3-inch CCDs that deliver a true 16:9 image without the use of artificial letterbox or vertical stretch tricks. The camera also can capture images in 30-frame progressive and film-speed 24-frame progressive. Two pull-down options are available for specific production requirements in the 24p mode. Standard NTSC video 60 interlaced fields per second mode is also offered. Other advanced and professionally derived features like Clear-Scan, time code, video parameter optimization and finely controllable zoom speeds, just to name a few, bring prosumer camera ability to the brink of professional camcorder functionality.


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Key Features
 
•  16:9 Aspect Widescreen Recording
Almost unique at the prosumer level, the Canon XL 2 shoots in a true 16:9 ratio without artificial letter-boxing or vertically squeezing a 4:3 image. This camera uses a CCD block with 680,000 total pixels per chip. In 4:3 mode the chip crops the left and right sides resulting in the conventional ratio with 350,000 used pixels per CCD. In 16:9 mode the chip is used at full width resulting in a true 16:9 image utilizing some 460,000 pixels per chip.
•  24-Frames Per Second Film-Like Capture
The Canon XL 2 offers 3 different shooting modes for specific image looks. The camera, like any other NTSC camera shoots at 60i- 60 interlaced fields, 2 interlaced fields per frame per second. The fields are recorded with all the even numbered lines and the odd numbered lines separately, differentiated by 1/60 second. This is standard NTSC video that provides exceptionally smooth and predictable motion. The new advancements in the XL 2 are in the form of progressive video capture.

 

  • The camera offers 30p- 30 full, progressively scanned frames per second. This mode gives a film-like look in that each frame is a single 1/30 seconds in time. It is also excellent when individual frames are to be used for stills or for technical analysis.
     
  • The XL 2 also offers the film speed 24p, 24 progressive frames per second. This feature is attractive to producers who want more of a film look and they may even be planning to transfer the video to film. 24-frame video- at this prosumer level at least- offers extremely cost effective shooting with amazingly wide image-look parameters. Aside from shooting, evaluating and re-recording on the same tape if desired (but necessarily not suggested), just the savings in film development, printing, the delicacy of handling film in general, make 24p video very attractive to ultra-low-budget producers, novices, and experienced filmmakers looking to shoot greater amounts of footage or for more immediate evaluations.
     
  • The XL 2 offers 2 modes of 24-frame capture: 24p Normal and 24p Advanced. Simply stated, the Normal mode is appropriate for shooters where video is the final product and the elements will be edited on a conventional 30-frame video (or 25-frame PAL) edit platform. 24-frame Advanced mode is applicable to the producer who will eventually be transferring the footage to film. It also produces a smoother look when panning and tilting moves are made. The technical information the about the 24p from 60i conversion is fairly technical. The process that differentiates the Normal 24 from the Advanced mode is also pretty complicated. If you require deeper technical information about these processes we fount a very technically oriented link HERE.
•  Quality Glass
Totally unique in the pro-sumer range of camcorders the Canon offers an interchangeable lens system. The XL 2 comes standard with a 20x zoom lens (42.3 mm full-wide in 16:9, 51.8 mm in 4:3, f/1.6 to f/3.5) with an optical image stabilization system. The stabilizing system becomes especially important as greater zoom length is used. With Canon's advancements for professional lenses in the still photo and professional video worlds, this lens employs advanced features that the competition can only attempt to match. Highly advanced glass technology and lens element coatings are meant to increase resolution and defeat intra-lens reflections. Additionally the camera has variable zoom speeds that work in conjunction with a touch sensitive rocker-switch. Focus speed is also variable.
•  Lens Options
As with the previous XL 1 camcorders the 16x auto-focus lens, a 16x manual-focus lens and a 3x wide-angle auto-focus lens are all still applicable for the XL 2 without any adapters required. Additionally, the entire range of Canon's EOS still-photo lenses can be adapted for mounting on the XL 2. The required EF adapter is optional and sold separately.
•  Advanced Optical Image Stabilizer
Advanced Optical Image Stabilizer corrects for jitter with a 2 stage system. The initial stabilizing stage uses gyroscopic adjustments of the beam splitting prism. The second stage measures for low-frequency vibration, like from road surface texture while in a moving vehicle, for further image stability refinement.
•  Creative Image Parameter Features
To add custom or film-like image control, the XL 2 offers a wide range of video parameters that can be used to achieve your cinematic vision. Because different film stocks offer individual image reproduction qualities, this digital camera gives a great amount of control over color, contrast, detail and grain parameters- just to name a few.

 

  • Color Matrix
    The Color Matrix parameter has both a Normal and Cine selection. The Cine option produces a more subtle, softer color range. The Normal mode produces a sharper, more video-look with greater contrast between colors.
     
  • Knee and Black
    Knee and Black parameters control depth and contrast in the highlights and darkest areas respectively. Knee offers High, Medium and Low selections. When shooting with extreme brightness in the frame you may choose to see greater bright detail by choosing the Low option. When greater contrast or lack of detail in the bright areas is preferred, the High option should be selected. In the case of controlling the darkest portions of the frame, Black Stretch offers greater detail, lower contrast in the shadows or other dark areas. Black Press selection will compress the range of darkness giving greater contrast between the lighter and darker areas of the scene.
     
  • Sharpness
    Sharpness parameters are especially useful when a harder or softer look is desired. When very delicate detail is not required, when shooting imperfections, or just looking for a more pastel-like image, a softer look can be dialed in for effective image control.
     
  • Gamma
    The Gamma range of the video signal is the sensitivity of the gray-scale from white to black. Film-look gamma usually represents greater range in the darker side of the scale compared to typical video gamma. The XL2 has Cine and Normal settings that can be adjusted independently.
     
  • Skin Detail
    Skin Detail parameters adjust hue, color, luma, and chroma settings in a definable area that is represented by a zebra pattern in the viewfinder. This feature can smooth skin imperfections and add truer 3-dimensional color representations in naturally lit environments.
•  Professional Standard SMPTE Time Code Generator
Canon finally includes professional, standardized SMPTE time code to the workings of the XL 2. The time code can be preset to start at any desired time from hours down to frames. This allows you to effectively number your recorded tapes in order by starting the time code with a predetermined hour. Tape 1 starts at hour 1, tape 2 starts at hour 2, and so on. There is also a separate place for recording User Bits, information relevant to the shoot or any alpha-numeric combination of information.

 

There is a choice of Drop Frame or Non-Drop Frame for required frame accuracy over long TC running durations, especially in FREE-RUN mode. FREE-RUN runs time code continually allowing time code to remain synchronized with other devices like cameras, audio recorders and VTRs that may individually stop and start independently from the other devices. The REC-RUN selection will start time code only when the unit is in record mode and it will stop running while in pause or stop. Another effort to give the XL 2 professional functionality is the inclusion of Bars and Tone. SMPTE color bars is a standard way of matching color, contrast and detail from camera to camera. A 1-kilohertz audio tone is the standard way to synchronize audio levels from recorder to player to edit platform. Professional news video shooters usually record about 30 seconds of bars and tone at the start of each new tape.

•  4 Channels of Audio
The XL 2 comes standard with 2 balanced audio inputs in the form of 3-pin XLR connectors. The MA-300 XLR adapter option added to the XL 2 will give 2 additional XLR inputs making 4 total balanced audio ins. The MA-300 takes its power from the Advanced Accessory Shoe of the camera. Additionally, the MA-300 has an accessory shoe for a light or monitor on its top, though not a powered hot-shoe.
•  Built-in ND filters
Built-in neutral density filters give aperture and depth of field control over a range of lighting environments. The camera has a ND 6, 2 stops down, and ND 32 for 5 stops down effectively giving greater choices of aperture settings especially in very bright conditions.
•  Focus Pre-Set
With the auto-focus lens the XL 2 can be set to return to a pre-determined zoom-focus point so that the camera can resume a shot that is repeatedly being referred to. This feature was originally found on only the most advanced broadcast remote focus control units.