Canon XH A1 Camera Review





by David Kender
Published on November 21, 2006

The Canon XH A1 is poised to win over a host of videographers looking to make the switch to HD. Billed by Canon as the XL H1 in miniature, we can tell you that the statement is hardly exaggeration. The manual control suite is simply outstanding and the performance is essentially identical to its big brother. Message boards are already abuzz with praise for its low light performance. 30F and 24F frame rates, met with skepticism at the H1’s release, have received acceptance (if not accolades) compared to 24P camcorders. With the smaller body comes some loss of functionality, but overall, this camcorder to new champion on the block.

Video Performance (12.0)
The Canon XH A1 is equipped with three 1/3” CCDs. Each chip offers 1.67 gross MP (breaking down to an HDV effective pixel count of 1.56MP, a 16:9 DV effective pixel count of 1.56MP, and a 4:3 DV effective pixel count of 1.17MP). HDV is recorded in 1080/60i, along with frame rates of 30F and 24F, with the “F” standing for “frame.” For a full explanation of the distinctions between “F” and “P” (as in the AG-HVX200’s 24P), scroll all the way down to the Scan Rate/24P section. DV video is recorded in 480/60i, and can also take advantage of the 30F and 24F frame rates.

Canon promises that the XH A1 and XH G1 have exactly the same video performance as the XL H1, which retails for more than twice the price of the XH A1. Of course, the XH H1 has an interchangeable lens, and different lenses can seriously affect video performance. Their claim seems to be based on the performance with the 20x kit lens, which is what we used in testing for our review of XL H1. Let’s see if the XH A1 can uphold its claim.

HDV
At 3000 lux 1080/60i in auto mode, the Canon XH A1’s video performance is excellent. From a consumer standpoint (and let’s face it, this is going to tempt a lot of consumers) the colors appear flat. This is only because most consumer camcorders, even those approaching $2000, tend to oversaturate. This camcorder gives a steady, even-tone in auto mode. This is ideal for professionals, of course, because the XH A1’s extensive color control settings in the Custom Preset menu (see the Other Manual Controls section below) allows you to dial in pretty much any color tone you could want. A relatively flat saturation also gives you more freedom in post-production for color correction.



The Canon XH A1’s image is not noise free, but it certainly won’t be too noticeable in bright light. Even in low light, the noise is kept in check. Only at very low levels will the tell-tale flicker of too much grain appear (more in Low Light Performance below).

Compared to the Canon XL H1, the XH A1’s performance is very similar. Certainly, the noise and apparent sharpness were identical. The XL H1, however, appears to have a slightly boosted contrast, evident in the colors and high-contrast areas like the black/white borders of the resolution trumpets. We were surprised to see this discrepancy, given that both camcorders were in full auto mode (except for a manual white balance setting). Differences in this area are insignificant, given the plethora of color control options. They did show an apparently identical sharpness.



At 1080/24F, the picture looked slightly darker than 60i and 30F. Once might think that the image would be brighter due to the slower shutter speed, but because the camcorder is in full auto mode, the auto exposure is likely correcting for that. Colors appeared more saturated than in the other frame rates.

When shooting 30F and 24F, you’ll definitely notice a stutter in moving objects. Despite what camcorder manufacturers may want you to believe, and despite what you may want to believe yourself, progressive video does not look like film. It probably never will. It looks like progressive video – a look that is all over cable TV. Some people like it; some hate it. The stutter is less noticeable in 30F. Both of them are likely to look better on a progressive monitor, which are entering the home in increasing numbers.



Standard Definition DV
In standard definition 16:9 (480/60i), the colors are identical to the 1080/60i. The image, of course, has far less resolution, but still looks great. In DV mode, you can also shoot 30F and 24F with similar results in motion.

Video Resolution (36.7)
The Canon XH A1 was tested for its video resolution by shooting a standard ISO 12233 resolution chart and running stills from that footage through Imatest imaging software. In HDV 1080/60i, the camcorder produced approximately 603.5 lines of horizontal resolution and 609.2 lines of vertical resolution, creating an approximate resolution of 367652.2. This is a statistically identical resolution to the XL H1, which seems to make good on Canon’s promise of identical performance between the models.

The Front (10.0)
The XH A1 has a relatively conventional body design that looks at first glance more like Panasonic’s AG-HVX200, Sony’s HDR-FX7, or Canon’s own GL 2 than its beefed up counterpart, the XL H1. From the front, the detachable lens hood is the most prominent feature of the XH A1, and it is deep enough to provide decent lens shading. The lens cover is removable, and unlike on Sony’s FX7 which sports a barn-door-style lens cover, it is not integrated into the hood.



The Canon 20x HD zoom lens is not interchangeable, and this is one of the major differences between this camcorder and the XL H1 which is compatible with both DV and HD XL Series lenses. This lens was designed specifically for the A1 and G1, and its specifications differ slightly from the 20x XL H1 lens. It has a 35mm equivalent of f=4.5-90mm, a focal distance of f/1.6-3.5, and a filter diameter of 72mm. Like other Canon lenses, the elements are composed of fluorite and UD (ultra low dispersion) glass. To the left of the lens is the External Sensor for Instant AF which cannot be obscured for this feature to function properly. The lens hood has a window to accommodate the sensor, but Canon notes that third party matte boxes and some adaptors – including Canon’s own – may block the sensor.

The lens includes three rubber control rings, with the focus ring closest to the lens, followed by the zoom ring and iris ring. On the XL H1, an ND filter ring occupied the position of the iris ring, and the iris adjustment was a small dial located on the camcorder body. Iris is more frequently adjusted than ND filters, and we think the iris ring is an improvement over the dial found on the XL H1. All three rings on the XH A1 are distinguished tactilely from one another: the plastic iris ring is the narrowest, the zoom ring is a bit wider, and the focus ring is the widest of the three and has a slightly larger diameter than the other two.

Above the lens, the onboard stereo microphone adorned with a Canon logo is the only other notable feature visible from the front. The microphone is mounted on the handle, and protrudes several inches forward of the body. A removable external microphone holder that attaches to the handle just behind the onboard mic can also be seen jutting left. The mic holder is a thoughtful addition, and should accommodate most third-party boom microphones with little or no customization.

The Right Side (15.0)
The right side of the XH A1 is host to many of the camcorder’s ports including XLR terminals, as well as the tape compartment and primary grip. The right side also offers a good view of the handle, which extends horizontally from the back end of the camcorder to rejoin the body just behind the iris ring. The onboard microphone attaches to the front of the handle, and the external microphone holder meets the handle just behind it. A switch that enables/disables the secondary zoom controls on top of the handle is visible near the external mic holder. A stereo mini jack is inset into the handle below the external mic holder.



The XH A1’s XLR connectors and their associated controls are directly below the stereo mini jack, on a distinct subsection of the camcorder body. The camcorder’s XLR terminals are on the outside surface of this “audio box,” with CH1 on top and CH2 below. Above the XLR terminals on the top surface of the box are four selection switches. On the left under the header label XLRMIC ATT. are two switches for CH1 and CH2. These switches turn the 20dB attenuator on or off for the respective channel. To the right is a switch labeled LINE/MIC for setting the audio signal type.

Below that is the XLR input channel selection switch. The CH1 setting will send audio from XLR input terminal 1 to channel 2, and audio from XLR input terminal 2 to channel 2. The CH1 CH2 setting splits audio from XLR input terminal 1 between channels 1 and 2. I find Canon’s labeling here confusing – the CH1 label does not intuitively imply that both terminals are used, but with only two options the switch shouldn’t give you trouble. Two more switches are on the front face of the audio box under the header label +48V. These two switches send 48V power to terminal 1 and terminal 2, and can be set on or off.

The main grip occupies the mid-section of the XH A1's right side, and the tape compartment is enclosed by the grip area. The tape compartment release latch is on the top surface of the grip, adjacent to the zoom lever. The grip zoom lever on the XH A1 is considerably smaller than the full-sized lever on the XL H1 but is still designed for two-finger operation. Behind the zoom lever are the photo button and zoom speed adjustment dial. Both of these controls are accessible with your index finger when gripping the camcorder with your right hand. The record start/stop button is on the rear surface of the grip encircled by a 2-position standby-lock switch.

Two small toggle switches are located just behind the grip on the XH A1 body. The lower switch selects either constant or variable zoom speeds. Above the zoom speed selector switch is a card/tape media switch. To the left is a BNC terminal labeled VIDEO2 protected by a sturdy rubber port cover. To send a video signal to an external monitor via the VIDEO2 terminal, the video output selection switch (in the terminal compartment on the camcorder’s back side) must be set to V2. The Professional Jack Pack found only on the XH G1 is mounted below the VIDEO2 terminal, but the space is empty on the XH A1. The EVF (electronic color viewfinder) is attached to the back end of the handle.

The Back (8.0)
At first glance, the back of the XH A1 struck me as reminiscent of the Sony VX1000, with its battery door and enclosed battery compartment, and menu dial at lower left. This struck me as a strange bit of historical sampling given that Sony’s newer camcorders don’t bear the same resemblance, but it is a reminder that smart has a way of resurfacing across the years. On the XH A1, the battery door occupies most of the back end of the camcorder body, and is released by a switch just above it. The door hinges at its base and does not swing beyond parallel to the camcorder’s base, so it should never be blocked by a tripod or shoulder mount.



The interior of the battery compartment is a gaping hole that is enclosed but expandable. When the included BP-950G is inserted, nearly an inch of space remains above the battery, and the slot is large enough to accommodate the longer-life BP-970G, which can also be used with the XL H1. This camcorder is compatible with Canon’s BP-930 or BP-945 batteries, which have been in use since the early days of the XL line, and are also compatible with the XL H1. The battery is released via a spring-loaded latch at the lower right corner of the compartment, and slides into the camcorder along a track, terminal side down. The SD card slot is also housed in the battery compartment, and is just above the battery slot.

A narrow plastic port cover runs vertically from top to bottom to the left of the battery compartment door. While the cover itself is sturdy, it is attached to the camcorder by only a thin strip of plastic, and could be easily snapped off if the cover were to snag on something during a shoot. It's serviceable, but on a camcorder in this price range, we’d like to see more attention paid to minutiae like port cover design. The compartment contains 5 ports as follows from the top: LANC terminal, 4-pin Firewire terminal, mini stereo headphone jack, A/V1 terminal, and component out terminal. To the right of the Firewire terminal is a small LED indicator lamp that illuminates when shooting in HDV mode (versus DV), and to the right of the A/V1 terminal is a selector switch. The switch allows you to toggle video output between A/V1 and V2 – or, the VIDEO2 BNC terminal on the right side of the camcorder.

The menu SELECT/SET Dial is at the lower left corner of the back, and can be pressed up or down to move through menu selections. This is a spring loaded dial that returns to its mid-point when released. At its mid-point, the dial can be pressed in to select an option in the menu. This dial doubles as a playback volume controller.

Mounted on the back end of the handle above the XH A1’s body is the EVF (electronic color viewfinder), which can be tilted up to nearly a vertical position. While this EVF is good, the eyecup is made of hard plastic and not nearly as comfortable as the one on the XL H1. I also found it difficult to use without some light leak. The dioptric adjustment lever is on the underside of the EVF.

The Left Side (14.0)
The left side of the Canon XH A1 shows considerable departures in design from the XL H1. The primary differences are in control implementation (ND filter switch on the XH A1, ND filter ring on the XL H1), the movement of some controls to the menu (HDV/DV mode select in-menu on the XH A1, external switch on the XL H1), and the relocation of many audio options to the right side of the camcorder.



The Power/Mode Dial is the centerpiece of the XH A1's left-side, located about a third of the way towards the lens from the back of the body. This control is similar to the one found on the XL H1, and has a small release that must be pressed to switch from one operating mode to another. The dial is unique in design to Canon, and I like the fact that it allows very easy switching between modes. You will need to memorize what each icon or letter indicates, because they are not spelled out – and not entirely intuitive. For example, “Tv” on the dial corresponds to shutter priority mode. You’ll get the hang of it with a little practice if you are new to Canon’s dial but it will be familiar to veteran XL users. The operating modes available on the dial are, from the top: External Control mode, VCR/Play mode, Power off and Auto. These basic modes are followed by presets for Shutter-Priority, Aperture-Priority, Manual, Spotlight, Night, and Green or “easy” mode. A green LED lamp above the dial doubles as a power indicator and mode selection marker.

A small LCD screen sits in the center of the Power/Mode Dial, and provides a secondary display of basic recording information that can also be seen on the LCD screen or viewfinder. The panel displays video signal standard (SD/HDV), time code setting (non-drop frame...), time code sync setting (Genlock), video output HD/SD SDI signal setting, end of tape indication, battery life, audio level bars, and audio setting (manual or auto).



In close-up, it's evident that Canon still managed to pack a lot of controls into the left side.

A number of external image buttons and controls are to the left of the Power/Mode Dial, while another set of controls are aligned horizontally along the base of the left side. When viewing the horizontal “control strip” from left to right, the controls are the Shutter/K dial (replacing the Gain Dial in the same spot on XL H1), Exp. Lock button, three-position Gain switch (L, M and H), video output select switch (CAM or BARS), three-position WHITE BAL. switch (B, A and PRE), manual white balance button, CUSTOM KEYS 1 and 2, and CUSTOM PRESET ON/OFF and SELECT buttons. Just below and to the left of the Power/Mode dial, and above the control strip are two more toggle switches, for AGC ON/OFF and AWB ON/OFF.

Above the control strip and forward of the Power/Mode dial, the XH A1’s body bulges out following the curve of the lens housing. The rear-facing side of the bulge serves as additional real-estate, and four buttons aligned from top to bottom as follows: DISP., PEAKING, MAGN. and record review.

The other two menu controls, Iris/Select dial and Set button, are a little closer to the lens on a nubbin that protrudes out from the camcorder's body. This protrusion is one of many surface features of the camcorder body that help with the navigation of the left side interface, serving as tactile signposts. The Set button, used to choose a menu item, is above the Iris/Select dial, which is used to cycle through menu options. In camera mode, it serves as the Iris dial. Above the nubbin, on the camcorder body, are several more controls. Moving up is the Lens Release latch, an Exposure Lock button (used to lock a particular exposure when shooting in Auto), and two buttons that assist with focus: EVF Peaking and EVF Magnifying.



Another angle of the left side

On the outside surface of the lens barrel, ahead of the four buttons above are several additional external controls. Most prominent is a 3-position switch labeled POSITION PRESET. The options available are FOCUS, ZOOM, or OFF. Below this switch is a spring-loaded toggle for setting a zoom or focus position as a preset, which defaults to OFF. Pressing the toggle towards ON returns you to the preset position. Below these position preset controls is the auto-manual focus switch labeled AF M, and to its left is the PUSH AF button, which momentarily overrides manual focus.

Near the back of the camcorder are the XH A1's audio level controls, but audio signal selection controls that were positioned here on the XL H1 have migrated to the right side near the XLR terminals. Under the AUDIO heading are dials for CH1 and CH2 that sit flat against the surface of the body. Below is the AUDIO LEVEL toggle switch, with options for A and M. Below that is the all-important but tiny MENU button.



The Top (8.0)
The LCD screen is mounted on a sturdy swiveling hinge above the POSITION PRESET switch on the left side, but it uniquely docks into the top of the camcorder. In terms of functionality, the LCD works like most contemporary screens, and it can be rotated through nearly 270 degrees for multiple viewing angles. The primary benefit to placing the screen on top of the body is that it is slightly higher than most screens and sits above the top of the body when open. This provides for an angle of view when shooting hand-held that I find more comfortable than screens that simply open horizontally from a camcorder’s body, and places the screen in-line with your subject. The one drawback I see to this of 207K pixel 16:9 LCD screen is its relatively small size. At 2.8 inches, it’s significantly smaller than the 3.5” screens on competing camcorders from Sony. Without a generously-sized LCD, or the excellent eyecup found on the XL H1 viewfinder, the XH A1 falls a bit short in terms of its onboard video monitoring hardware.

Inside the LCD cavity are three controls with a 2-position MIC ATT. switch (OFF or ATT.) at top left, WHITE BAL. PRESET at top right (indoor, outdoor or K), and an END SEARCH button at lower left. The XH A1’s onboard speaker is at the front of the LCD cavity, and the tiny RESET button is just above the speaker.

The VCR interface is located on top of the handle, directly above the LCD cavity. Read from bottom to top, the VCR buttons are Record, Fast Forward, Play, Rewind, Stop and Pause. The buttons are protected by a hard plastic cover as on the XL H1, and several of these buttons have secondary still photo functions. The secondary controls are labelled on the inside of the cover next to their respective buttons. The Rewind and Fast Forward buttons can be used to navigate still images, while Play starts and stops photo slide show. Pause serves as the Drive Mode selector with options for Continuous Shooting, High-Speed Continuous, Auto Exposure Bracketing, and Single shot modes. The Stop button also serves as a metering mode selector, and pressing the button repeatedly cycles through metering options, including Evaluative, Center Weight Average, and Spot.

In front of the VCR controls on the top surface of the handle are secondary controls for zoom, START/STOP record, and photo. They are positioned for easy operation when gripping the camcorder by the handle, i.e. when shooting from a low angle and monitoring from above. A hot shoe compatible with Canon flashes is positioned forward of these secondary controls. For non-Canon devices, it serves as a cold shoe.

Picture & Manual Control
Automatic Control (8.25)
Auto controls are crucial on any camcorder that you plan on taking out into the field. Under bad conditions, you might be forced to simply point and shoot and hope the camcorder was designed well enough to make smart decisions regarding exposure, focus, shutter speed, gain, and white balance. In all, the XH A1 does a good job. Of course, there’s a reason this thing is loaded with manual controls – the image will benefit from some set-up time. The auto controls are nothing something you want to rely on entirely.

The best auto controls are the exposure and white balance. As with the XL H1, it shifts between small environmental changes (i.e., moving clouds, etc.) with aplomb. When it comes to larger shifts, between a sunlit wall and a shadowy doorway, for instance, the transition occurs rapidly. If you want them both in the shot, the XH A1’s tendency is to give precedence to bright area and to lose detail in the dark areas. You’ll want to train yourself to ignore the fact that the LCD gives a false overexposure. If the auto exposure lag time is not to your liking, you can go into the Custom Setup menu and dictate whether you would like changes to occur slowly, quickly, or somewhere in between.



The Instant AF sensor, located directly next to the lens.

Focus was our biggest issue with XH A1, which we found to be lacking. The XH A1 (and XH G1) has been upgraded with the new Instant AF system. A small sensor chip just to the right of the lens does the calculations for the gross focus adjustments, leaving the standard, internal system free to do the clean-up fine focusing. Working together, the system is meant to not only speed up overall focus time, but to create a “snap” in the focus rather than a gradual transition. You can turn this system off and only use the internal auto focus system, if you like. In bright light, the system works just as intended, but in low light the focus still had problems. The Instant AF system did not seem to lend any improvement. Fortunately, the manual focus controls are quite good, even if you only have the LCD or viewfinder to rely on (see the Focus section below). When in manual focus mode, there is also a one-touch AF check to see what the camcorder’s opinion on focus is before you hit record.

The camcorder makes it easy to delegate controls to the auto systems. The mode dial has an Auto mode (an “A” with a square around it) and a full Easy mode. The latter will rarely be used, as it renders virtually all of the buttons and dials dead – a true idiot-proof mode. The Auto mode, on the other hand, only takes aperture and shutter speed off your hands entirely. The gain, white balance, auto levels, focus, and custom keys are all accessible if you flip the correct switch (see the Manual Controls sections below). In fact, even the aperture and shutter speed are available in Auto Mode if you hit the Exposure Lock button. What’s the difference, you ask, between Auto mode and full Manual? Mainly, the Manual mode is more convenient to make changes in. Auto mode is good only if you want to make one or two manual adjustments and have the rest run in Auto.

Like nearly all Canon camcorders, there are also a couple Program AE modes, presets that give rough approximations for the best manual settings under certain shooting conditions. While there may be numerous Program AE modes in their consumer camcorders (one for fireworks, one for snow, etc.), the XH A1 has two: Night and Spotlight. Chances are, you’ll get better results if you make the manual adjustments yourself, but these can be handy to fall back on.

Overall Manual Control (10.0)
The manual controls on the Canon XH A1 are absolutely fantastic. For under $4000, you won’t find this level of control anywhere. In addition, somehow Canon found the time to actually improve the degree of control (mainly described in the Other Manual Control section below) since the XL H1. The core controls, those most commonly used – zoom, focus, exposure, aperture, shutter speed, and gain – are mostly the same. Improvements include the addition of an aperture ring and an increased maximum gain value – +36dB, up from +18dB on the XL H1.

However, because the body is considerably smaller than the XL H1, much of the functionality we loved has been forced into the menu. Canon clearly tried to keep the most critical controls as exterior buttons, but you’ll be required to do more pre-shoot set-up. For instance, the XL H1’s gain control was a pop-up dial with settings for -3dB, automatic, 0dB, +3dB, +6dB, +12dB, and +18dB. The XH A1 has replaced the dial with a Low, Medium, High toggle switch. In order to determine the actual gain values of those choices, you have to go into the menu and set them. Small sacrifices like this have also been made to frame rate and aspect ratio settings, image stabilization, AE shift, and some audio controls.



The jog dial and the Menu button

Because the XH A1 has a fixed lens rather than the XL H1’s interchangeable lens, the ND filter has been reduced to a simple switch rather than a full ring dial. It is still a physical lens, though, and not a digital adjustment. With room freed up on the lens barrel, they were able to add the aperture ring. The camcorder also features the new Instant AF technology, which will receive more detail in the Focus section below.

The mode dial is very similar to the XL H1. Slightly smaller in diameter, all the modes remain: External control (for use with the Canon Console software), VCR, Off, Auto (which still allows use of most manual controls), Shutter Priority, Aperture Priority, Manual, Spotlight AE mode, Night Mode, and Easy mode.

Like the XL H1, the XH A1 has two Custom Keys that can be set to perform one-touch access to certain features. The keys can also be assigned multiple functions depending on which mode you’re in: video, video VCR, still mode, and still VCR. In video mode, the keys can be assigned any of the following controls: Time Code, Index Write, Zebra, VCR Stop, TV Screen, Time Code Hold, Audio levels, Viewfinder and LCD Black & White, Magnify (see Focus section below for more details), Shutter dial lock, and Custom Preset backward (move through the Custom Presets backwards, as opposed to the “Custom Preset Select button” which moves in a forward direction). Assigning the keys is done in the System Setup menu.

Menu
When a menu gets this extensive, we give it its own section. As mentioned above, a lot the controls that could be found externally on the XL H1 have been moved into the menu on the XH A1. As such, you’ll want to know the menu inside and out before an important shoot. The menu is accessed by the Menu button, located at the far rear of the left side. Navigating the menu is done primarily through a jog dial located on the left rear. In short, this control is too small. We have no problem with small but effective jog dials on consumer camcorders like Canon Opturas, but for a product with professional applications, the control should be larger and more thumb-friendly. Toggling the extensive lists on each page are no great joy, either, given the fact that when you reach the bottom of a list, pushing down will not jump you back up to the top of the list. Instead, you have to push up, up, up… to get back to the top. Simple functionality like this has been a complaint of ours for years, and it certainly should have been addressed by this point. The menu is much more extensive than the XL H1, though that camcorder offered a friendlier scroll wheel to navigate.



The Main Menu

The main menu is split into 7 sub-menus: Signal Setup, Camera Setup, Recording Setup, Audio Setup, Display Setup, System Setup, and Customize. The animated gif here of the menu illustrates all the features contained within each. In summary, the Signal Setup is for frame rates and related choices, the Camera Setup contains a lot the manual controls and auto control responses, and the Customize submenu contains the fleet of fine image quality controls (listed in the Other Manual Controls section).

Zoom (10.0)
Where you are in the zoom is indicated by a scale in the upper left corner of the LCD. A few seconds after the adjustment, the scale disappears. The scale icon gives you only a rough approximation of where in the zoom scale you are. There is no numerical indication.

There are three zoom controls on the XH A1. The first, a zoom ring on the lens barrel, offers the finest control. The ring measures about 1/2” in width, with a grooved rubber track for solid grip. Because the zoom ring is servo-operated and not mechanical, you cannot mark fixed zoom positions with a white marker on the body. However, the camcorder does offer a Position Preset feature, that allows you to create a single fixed point in the zoom range (20x), then jump to that point at any time with a one-touch switch. Your pre-set position appears as a yellow square on the zoom scale icon.



The primary zoom rocker (left) and the secondary zoom (right)

The second zoom control is a large rocker on the right side of the top, made to fit your index and index and middle fingers while shooting. The rocker is a little more than half the size of the same control on the XL H1. Manipulating zoom is no problem, but we found difficulties with the placement of this control in relation to overall handling. The camcorder has a tendency to lean left, away from the shooting hand. As a result, you’ve got to grab tight with your right hand. But because of the rocker’s placement, you may find yourself accidentally pushing down on the control and creating unintentional zooms.

The third zoom control is a mini rocker located on the top of the handle, just behind the accessory shoe. Positioned solely for low-to-the-ground shooting when you really need the handle, Canon gives you the option to turn the control off to avoid accidental bumping.



With the Zoom Preset established (the yellow square), you can return to it any time instantly.

Both rockers can be adjusted for variable, touch-sensitive zoom speeds, or set to a constant speed. To shift between variable and constant, there is a switch neatly tucked away on the right side, catty-corner to the primary Record on/off button. Adjusting the speed in constant speed mode is done by the dial labeled “Fast” on top just behind the main zoom rocker.

Focus (10.0)
Focus is critical in HD because mistakes become more apparent. In order to curb errors, the XH A1 is equipped with a some useful tools. The focus ring is the largest of the rings on the lens barrel, located closest to the front, measuring nearly an inch in diameter with an extra wide groove track for solid grip. As with the XL H1, the ring is pretty sensitive, so you’ll want to practice a light touch before an important shoot.

The Manual / Auto Focus switch is located on the left side about three inches under the LCD panel hinge. In Auto mode, you’re welcome to make manual adjustments, but after a few seconds the auto controls will reset it (for more on auto focus, read the Automatic Controls section above). In Manual Focus mode, an onscreen display appears in the lower left that indicates where in the focal range you are, displayed in meters. This can be changed to feet in the Custom Function menu.

The XH A1 offers Peaking, which boosts contrast to sharpen object outlines, and Magnifying, which zooms in 2x, in order to help with manual focus adjustments. Both of these are one-touch controls that appear only on the LCD and not the final output stream. Like zoom, you do have the ability to create a single pre-set position that can be returned to with the simple side of a switch. The Focus/Zoom pre-set controls are located just behind the lens barrel on the left.

Finally, if you’re not totally confident in your manual adjustment, there is an AF button located below the Focus Pre-set controls. Pushing this will enable auto focus only as long as you keep the button depressed. In our shooting, we found this control to have a lot of trouble when multiples planes of focus were involved, particularly in 24F mode.

All these controls are, of course, great. But if the ultimate arbiter of focal quality is the shooter, the 2.7” LCD screen is probably not going to cut it, especially if you have aspirations for professional quality. The viewfinder is better, as the resolution is higher. A larger LCD, like the 3.5” LCD on the Sony HDR-FX7, would make the focusing process easier. For the tightest control, you’ll probably want to zoom all the way in, find the focus, and zoom out. A field monitor or studio monitor is an option for those with the budget. ENGs and budget filmmakers will have to do the best they can with the XH A1’s tools.

Exposure (Aperture) (11.0)
Aperture can be adjusted via the aperture ring, the ring furthest back from the front on the lens barrel. Only in Manual and Aperture Priority modes can iris adjustments be made. In other modes, the ring does nothing. Aperture settings range between: F/1.6, F/1.8, F/2.0, F/2.2, F/2.4, F/2.6, F/2.8, F/3.2, F/3.4, F/3.7, 4.0, F/4.4, F/4.8, 5.2, F/5.6, F/6.2, F/6.7, F/7.3, F/8.0, F/8.7, F/9.5, and CLOSE. These values are the same in Aperture Priority and Manual modes, which marks a difference from the XL H1, which had a much wider set in Manual mode than in its Aperture Priority mode. However, the iris ring on the lens barrel is a new feature not found on the XH A1, and the added convenience more than makes up for the abbreviated list of aperture settings.

Whereas the XL H1 has selector knob under the handle for AE shift, this control has been shifted in whole to the Camera Setup submenu. AE Shift ranges from -2.0EV to +2.0EV in 0.25EV increments.

The Exposure Lock feature, engaged by the Exp. Lock button located at the bottom of the left side, creates an exposure scale icon onscreen. An arrow in the middle indicates where the auto controls think the exposure should rest. Once you turn the Exposure Lock on, you can adjust iris and shutter speed, regardless of which shooting mode you’re in. As you make adjustments, a little square appears on the scale to show you how far you’re moving from the ideal (the arrow in the center). This is a great way to make adjustments in conditions where you can’t trust the LCD or viewfinder to give you an accurate picture.



With the Exposure Lock on, you can make adjustments while keeping on eye on the camcorder's ideal exposure setting (the arrow in the middle of the scale). Your current setting is represented by the square.

Shutter Speed (9.0)
Shutter speed is controlled via a small dial located on the left side. It can be adjusted in Manual mode or Shutter Priority mode. Shutter speed options depend on the frame rate in which you’re shooting.

In 60i and 30F: 1/4, 1/8, 1/15, 1/30, 1/60, 1/100, 1/250, 1/500, 1/1000, 1/2000, 1/4000, 1/8000, 1/15000, and Clear Scan (more on that in Other Manual Controls below).

In 24F: 1/3, 1/6, 1/12, 1/24, 1/48, 1/60, 1/100, 1/250, 1/500, 1/1000, 1/2000, 1/4000, 1/8000, 15000, and Clear Scan.

This shutter range has been reduced considerably from the XL H1, though it should manage to prove satisfactory for most users. Access to the controls is simple, which is great for quick adjustments in low light and bright light shooting.

White Balance (9.0)
The white balance controls on the XH A1 are great, though the arrangement is completely different from the XL H1. Our main complaint is that the five exterior controls that work together to give you access are too numerous and too spread out to function at peak efficiency. Let’s take a tour of the controls in the order in which you might use them.

Directly under the mode dial is an Auto White Balance on/off switch When on, you’re worries are over. For auto white balance performance, read the Automatic Controls section above. To make manual adjustments, switch it off.

Directly beneath that switch is the metallic White Balance toggle switch, with options for A, B, and Pre. The A and B options are simple. You can save two manual white balance settings by positioning the toggle at A or B, then pushing and holding the “set white balance” icon immediately to the right of the toggle (that’s button #3, if you’re keeping count).

The third toggle setting, Pre, relates to a switch all the way at the top of the camcorder. That switch (#4) has three settings, Indoor WB preset, Outdoor WB preset, and K. Indoor and Outdoor WB settings are pretty self-explanatory. “K” indicates the specific color temperature value in degrees Kelvin. To determine that K value, you need to push the “set white balance” button (button #3). The K value starts blinking onscreen. Then you need to move you hand all the way over the shutter speed dial, which doubles as the K value adjuster (button #5). The K value ranges from 3200 degrees to 5600 degrees.

For as complicated as this sounds, it’s a credit to Canon’s design team that the process is relatively simple to figure out once you have the camcorder in front of you. Still, the XL H1 was simpler.

Gain (5.5)
The gain range has actually increased over the XL H1, but the ease of control has diminished somewhat. On the XH A1, the gain settings include: -3dB, auto, 0dB, +3dB, +6dB, +12dB, +18dB, and +36dB. The XL H1 capped out at +18dB, and once you take a look at the picture with +36dB gain, you’ll see why. The picture is so grainy; the likelihood of using it seems slim.

Just to the left of the big mode dial, there is a switch to toggle between auto gain (AGC) on and off. It must be in the off position to make manual adjustments. While the XL H1 had a great pop-up dial for controlling the gain, the XH A1 has replaced it with a metallic toggle switch that has three settings, L, M, and H. The exact gain value for each of those settings must be determined in the Camera Setup menu. It’s a simple enough process, but gain is something that most shooters would choose to dial in, if they could. Of all the design controls, this one could have benefited the most from a direct copy of the XL H1.

Other Manual Control(12.0)
Neutral Density Filter – The neutral density control has moved from its position as a ring on the XL H1 to a small switch on the XH A1, on the left side just behind the lens barrel. The settings are the same: Off, 1/6, and 1/32. Though the manual does not state the exact values, our research turned up approximate values of 2 stops at 1/6 and 5 stops at 1/32. Neutral density filters allow you to open the iris wider in bright light, thus having a greater control over depth of field.

Zebra – Zebra stripes, which give a warning of overexposure, can be engaged in the menu, or assigned to one of the Custom Keys. It can be set to 70, 75, 80, 85, 90, 95, and 100 IRE.

Skin Detail Set – The Skin Detail set has a high degree of control, if you choose to use it. Used to make your talent look better, the basic premise is that the camcorder looks for certain colors and either warms or softens them. Of course, this only encompasses certain types of skin color. The Canon XH A1’s skin detection has four parts: Hue, Chroma, Area, and Y Level. In summary, Hue looks for skin on a red-green scale, Chroma looks for color saturation, meaning vivid to pale skin, Area accounts for the width of the color range for detection, and Y Level for the brightness levels to detect. Each of these controls has a +/-6 scale.

Sky Detail – When activated, the camcorder will decrease detail in blue areas.

Clear Scan – Have you ever seen a television screen or computer monitor flickering in the background on a piece of footage? In order to avoid that, you can actually dial in the frequency at which you record, from 60.1 Hz to 203.9 Hz.

Color Bars – The XH A1 has a switch on the left side that produces color bars and a 1 kHz audio tone. Within the menu, you can choose the between SMPTE or ARIB standards, as well as the strength of the audio tone (-12dB to -20dB).

Custom Function Menu – You can custom design many of the camcorder’s shooting aspects to suit your style and preference, then save those settings on the camcorder or export them to an SD card and pop it into another A1 or G1. Three personal settings can be saved, in all. The number of options in each setting is pretty amazing: 20 separate functions that range from exposure response speeds, button assignments, onscreen markers, and even the orientation in which the zoom, focus, and iris dials spin. It can take a while to set up all your preferences, but once you do, you’ll always have them.



The Custom Function Menu

Custom Display Menu – This is similar to the control set above, but you can only create a single set of preferences. This setting can be exported it to an SD card and imported into another A1 or G1. The 21 functions in this menu correspond to the display settings, and are rather exhaustive in their choices.



Custom Display Menu

Color Preset Menu
Similar to the control menus above, you can create up to 9 personalized presets. These controls affect color performance. All of the following controls are located in the Customize > Custom Preset menu. These are serious controls for pro users. Some of them will find more use than others. We found the Noise Reduction settings to be particularly popular, as are Gamma settings and Black Press/Stretch.



The Custom Preset Menu. Descriptions of each function are below.

Gamma Curve – The gamma curve, which controls the relationship between light intensity and output, can be set to Normal, Cine 1, and Cine 2. The latter two are meant to match the gamma curve of film.

Knee Point Adjustment – Knee controls the dynamic range of the upper-end of the exposure scale (highlights). It can be set to Low, Middle, High, and Auto.

Black Stretch/Press – This controls the dynamic range of the low end of the exposure scale (shadows). It can be set to Middle, Stretch (which expands the dynamic range), and Press (which decreases dynamic range to intensify shadow).

Master Pedestal – This is the start point of the gamma curve. It can be set to +/-9.

Setup Level – This is the start of the black point, which Canon defaults to 3 IRE (what they consider the industry standard). It can be adjusted to +/-9. Your Master Pedestal setting may prevent you from setting a negative Setup level.

Sharpness – Sharpness can be set from +/-9.

Horizontal Detail Frequency – HDF can be set to Low, Middle, and High.

Horizontal / Vertical Detail Balance – Labeled as DHV in the menu, this also has a +/-9 range.

Coring – Coring, which can be set from +/-9, controls the amount of noise in detail.

Noise Reduction – This is actually split into two functions, NR1 and NR2. NR1 is a standard sort of noise reduction that can be set to Low, Middle, and High. When in High, trailing often shows up in moving objects. NR2, also with Low, Middle, and High settings, Canon describes as similar to applying the Skin Detail feature to the entire image. Trailing will not occur with NR2.

Color Matrix – This can also be set to Normal, Cine 1, and Cine 2.

Color Gain – What was once a +/-9 range on the XL H1 has greatly expanded to +/-50 on the XH A1 for a much finer degree of control. As far as we can tell, though, the actual range has not increased.

R Gain, G Gain, and B Gain – Each of the Red, Green, and Blue channels gets its own gain control, as well. Like the overall gain, each has increased the degree of control form the XL H1, and is now +/-50.

2-Channel Matrices – Each channel can be set against the other to create exact color balance to a degree of +/-50. The menu offers: red-green, red-blue, green-red, green-blue, blue-red, and blue-green.

Ease of Use (8.25)
When reading this section, it’s important to keep in mind that camcorder’s ease of use must is relative to its intended audience. Could your grandmother, who asks you to set the clock on her microwave, operate this camcorder? No, almost definitely she could not. But could a shooter with a fair bit of experience figure out how to make the basic adjustments and set up a shot without consulting the manual? Well, probably not as easily as they could on the Canon XL H1. While the XL H1 may appear more intimidating to beginners, all those exterior buttons really lay operation out for all to see.

In order to conserve space on the XH A1, many of the functions were relocated into the menu. The controls that were left on the exterior are not as clearly laid out, and functions are often split between multiple buttons. As mentioned previously, the entire white balance control set is divided amongst no less than five buttons. While we still managed to find it a surprisingly intuitive process, the XL H1 managed to fit the same functionality in three buttons and an even more intuitive process. White balance is the most extreme example, but it’s representative of the overall loss of functionality in the process of shrinking the XL H1.

If you are still learning the ins and outs of camcorders, but somehow have nearly $4000 to spend, the XH A1 is a good model to learn on. The Auto mode, clearly marked on the mode dial, puts most controls in automatic, allowing you to make adjustments only when you want to override the camcorder’s decisions. For the completely terrified user, or when one of your actors wants to pretend they know how to work a camcorder, the Easy mode renders nearly all of the buttons and dials inactive.

Still Features (7.5)
The Canon XH A1 is not a hybrid camcorder/still camera, but it does have a strong suite of still photo features. Stills can be taken in four resolutions - two widescreen (1920 x 1080, 848 x 480) and two 4:3 (1440 x 1080, 640 x 480) – during video recording, primarily as a shot continuity tool. Image quality can be set to normal, fine, or superfine. Stills are saved to memory cards, which are inserted into a card slot inside the battery compartment door, and above the battery slot. A 16MD card ships with the camcorder.



The SDHC card slot is located in the battery cavity.

A small toggle switch is used to engage still photo recording mode from any video mode. The switch is located against the right side of the camcorder body just behind the grip, and is identifiable by icons of a memory card (photo mode) and a tape (video mode). The photo button is on top of the grip behind the zoom lever, and a secondary photo button is on top of the handle.

Like the XL H1, the XH A1 includes features found on most Canon camcorders including Focus Priority, continuous shooting mode (3fps) and high-speed continuous shooting mode (5 fps) up to a maximum of 60 shots, and auto exposure bracketing (-1/2EV, 0EV, +1/2EV). The XH A1 also features several metering modes: Evaluative Mode, which meters several zones in the frame, Center Weight Average, and spot metering, which meters a spot in the center of the shot.

The XH A1 can also record video to tape and still photos to memory card simultaneously by setting this as a custom function. This camcorder can also save custom preset camcorder settings to a still photo. In any video recording mode, select the Recording Setup menu option Still I. Rec., and then choose ON+CP DATA. When this option is selected, pressing the photo button will embed camera preset information in a still image corresponding to the current settings of the XH A1. The preset information can be imported at a later date by accessing the relevant still image.

Still image playback is engaged by setting the card/tape switch to card mode when the camcorder is in VCR playback mode. The VCR control strip on top of the handle doubles as still photo playback control buttons: Forward moves forwards, Rewind moves backwards, and Play initiates a slideshow. While in video playback mode, hitting the photo button saves a still photo of the video frame to the memory card.

The Canon XH A1’s hot shoe is compatible with E-TTL II Canon Speedlite flashes used on Canon SLR cameras.

Still Resolution (7.1)
The Canon XH A1 was tested for its still resolution by shooting a standard ISO 12233 resolution chart and running those stills through Imatest imaging software. In total, the 1920 x 1080 stills produced an approximate resolution of 719680.6. This is a similar score to the Canon XL H1, and good for a camcorder with stills of this size. Of course, many consumer camcorders are capable of taking larger stills, some up to 4MP-5MP.

Still Performance (4.5)
Normally, we state in this section that camcorders are not designed to take stills because video and stills treat colors differently – they have different gamma spaces. The XH A1, however, contains two separate processors, the DIGIC DVII for video and the DIGIC II for stills, the same processor found in several of Canon’s still cameras.




The results are sharp looking stills, but not stills that look the same as its video performance. The picture is sharp, there’s no denying that. But the real question we must ask is this: Do you want a camcorder that takes great stills at about 2MP, or do you want a camcorder that takes stills that can closely match how the video looked? After all, the likelihood of a person using this as a substitute for a still camera is pretty small. More likely is a scenario in which a videographer has the perfect lighting, the perfect angles, and perfect camera settings, and then wants to snap off a few photos for future reference. From what we can tell, these still photos would be able to accurately capture some of those aspects of a shot, but the colors would look totally different. Great photos are fine, but the features should match the needs of the shooter. However, as our scores are based on pure performance compared to the stills of other camcorders, the Canon XH A1 scored well.

Low Light Performance (10.0)
HDV
In order to evaluate the XH A1’s low light performance, we tested the camcorder at 60 lux and 15 lux under multiple frame rates, shutter speeds, and gain settings. For the sake of saving space here, we’ll only look at a few settings.



At 60 lux in a fully automatic 1080/60i, the XH A1 proved to be a superior low light performer. The image looked so similar to the 3000 lux bright light image it’s hard to believe. Color performance takes a hit, of course, but not that much. The color definition – the distinction between colors – flattened a little, but it flattened evenly; no particular part of the spectrum suffered more. The auto exposure and gain managed to produce a picture that was just about as bright as 3000 lux. Noise increased, as a result, but it’s very low, and of such a fine grain that you probably won’t see it “dancing” on the screen. Fine detail remained excellent. The picture was virtually indistinguishable from the XL H1 – same colors, same noise, and same exposure. This will no doubt be welcome news for people lusting after the XL H1’s lowlight performance but strapped by a budget.





At 60 lux in 30F auto mode, the image proved to be a little brighter than 1080/60i. Consequently, all the colors brightened a little, improving their look. At 60 lux in 24F auto mode, the colors saturated even more, a trend that we saw in bright light which became more pronounced in low light. As in 1080/60i, both of these frame rates looked virtually identical to XL H1.



At 15 lux in 1080/60i, the colors still managed to look outstanding. It came at the cost of noise, however, which some shooters may find too steep. At this point, you l definitely see some dancing, grainy flecks. But most shooters would never leave it in auto at this dim a light level, anyway. Dropping the shutter speed down to 1/30th would solve some of this problem. The Noise Reduction settings in the Custom Preset menu can also help. We have to confess once again, however, that in straight auto mode these colors still looked great, with just enough saturation for a healthy “pop.” Compared to the XL H1, there was the slightest difference in overall hue, with a little more blue in the XH A1. Seeing as though you can correct for color tone six ways from Sunday in the Custom Preset menu, we don’t consider this too much of an issue.





At 15 lux in 30F auto mode, the picture once again looked better than in 60i. The altered frame rate produced a healthier color spectrum. Noise levels did not show an appreciable difference. At 15 lux in 24F auto mode looked best of all, in terms of color. Noise was more noticeable in this frame rate, however.

Overall, this is one dynamite low light performer, and people already using the XH A1 seem to agree. Videos have been popping up all over the internet. We encourage readers to post links in the comments section below to footage they’ve shot with the camcorder. Positions to the contrary are, of course, also encouraged.

Standard Definition DV
The Canon XH A1’s standard definition performance lacks the detail of the HDV, of course, but color performance was essentially the same. At 60 lux, noise was more apparent in the DV image, but it showed no tangible lack of detail compared to the image at 3000 lux. Even with the grain, this is a very impressive performance in low light. At 15 lux, the colors still managed to look sensational. You can’t miss the noise, but it’s a worthwhile trade-off for the amount of color information that the camcorder retains.





Zoom Power/Ratio (20.0)
The Canon XH A1 includes an integrated 20x optical zoom lens, like the removable lens on the XL H1. This lens, in combination with the exceptional resolution of the imaging system produces telephoto shots that hold up extremely well in comparison to 20x optical zoom lenses on lower-priced camcorders. The XH A1 does not offer a digital zoom option like the 1.5x zoom on Sony’s HDR-FX7.

Wide Angle (12.0)
We tested the wide angle measurement of the Canon XH A1 lens in HDV (16:9) mode. Our tests showed a wide angle of 60 degrees in 16:9, surpassing the XL H1 by about 8 degrees. In 4:3 DV mode, this camcorder adopts pillarboxing, omitting information from the left and right edges of the frame.



The VCR controls are located on the handle under a hard, plastic flap.

VCR Mode (9.0)
The VCR function on the XH A1 is virtually identical to the one found on the XL H1 in terms of interface and features. The button-based playback interface includes a full complement of standard controls behind the hatch on the top of the handle including Pause, Stop, Rewind, Play, Fast Forward, and Record.



The EVF pivots up, but does not telescope out.

LCD/Viewfinder (7.0)
In our review of the XL H1, we noted that on an HDV camcorder made for professional shooters, the 2.4” LCD/viewfinder combo was a disappointment. In terms of diagonal width, the 2.8” LCD on the XH A1 is an improvement, but still smaller than the 3.5” screens found on competing models from JVC, Sony, and Panasonic. Canon may assume DPs will use a monitor most of the time, but that's not always an option for light and fast field production scenarios. The XH A1 has lost the comfortable form-fitting eyecup found on the XL H1, and its smaller, harder, rubber version isn’t nearly as comfortable. The resolution of the LCD screen is 207,000 pixels while the EVF (electronic color viewfinder) has a resolution of 269,000 pixels and measures .57” diagonally. Display controls are found in the Display Setup submenu, and include settings for brightness, contrast, color, sharpness and backlight.



This series of images illustrates how the LCD unfurls from under the handle.

Audio (9.75)
The XH A1 has a strong audio feature set, and with two XLR terminals as well as a mini mic plug, not found on the XL H1. The onboard microphone is mounted on the front of the handle over the lens. If you opt to record with the onboard mic, several settings are available in the menu that cannot be used with third party equipment including presets for NORMAL, VOICE WS (wind shield noise reduction), and mic sensitivity. If you have purchased this camcorder, however, you’ll probably only use the onboard mic if you’re in the unfortunate position of having no other choices at your disposal. That’s where the on-camera shock mount comes in, and it should accommodate many third-party mics like the Audio Technica AT-4073 or Sanken CS-1. It’s not as well isolated from the camcorder body as the mount on the XL H1, so a better third party shock mount attached to the shoe will be a better option in some cases.



The XLR inputs on the right side

External audio controls are primarily located in two control clusters, one to the rear of the Power/Mode dial on the left side of the camcorder body, and on the “audio box” on the right side, where the XLR terminals are located. The attenuator switch for the onboard mic labeled MIC ATT. is marooned in the LCD cavity on top of the camcorder, and is the only external audio control outside the main audio control clusters.

The XH A1 is equipped with two XLR terminals, and they are positioned just in front of the main grip on the right side of the body, with CH1 on top, and CH2 below. The location of these terminals is not as convenient as on the XL H1, where they point backwards from the rear end of the shoulder mount, causing a minimum of drag. For a small camcorder, however, I think it’s a reasonable location that should keep incoming cables out of the fray. Unlike all of the XL camcorders, the XLR terminals cannot be selected via an external control. Instead, you’ll need to select the XLR terminals as your audio recording source in the Audio Setup section of the menu, but all other controls remain external. The relegation of audio source selection to the menu is one minor complaint I have about the XH A1’s redesigned interface, but in other ways, it remains easy to navigate.



The built-in mic, external mic mount, and mini mic input

The top face of the box housing the XLR terminals includes four switches, with XLR MIC ATT. switches on the left. These switches have selections for OFF and ATT. (on), and apply a 20dB pad to the corresponding channel. The top switch controls CH1, and the bottom switch controls CH2. The 20dB attenuator pads the audio considerably, and the option to apply it to either channel makes it easy to create a safety channel for sound recording in dynamic environments. These controls do not affect sound from the onboard mic, which has its own attenuator switch in the LCD cavity.



A screen shot of how audio levels appear.

To the right of the MIC ATT. switches are a LINE MIC selector switch, and an input channel selection switch. The input channel selector switch has options for CH1 and CH1, CH2. When CH1 is selected, XLR 1 is recorded to channel 1, and XLR 2 is recorded to channel 2. The CH1, CH2 position will record audio from XLR 1 to both channel 1 and channel 2, and cannon be used for recording from both terminals.

There are two phantom power switches on the front-facing side of the audio box, adjacent to the CH2 XLR terminal, under the heading label +48V. The two switches correspond to CH1 and CH2, with positions for on and off. When these switches are set to on, they send phantom power to external mics directly from the XH A1. The signal from external mics connected to the XLR terminals can be boosted by 12dB in the Audio Setup Menu, an option that carries over from the XL H1.



The audio level controls are too shallow to get a good grip on.

In addition to the XLR inputs, the XH A1 includes a single stereo mini microphone jack on the right side of the handle underneath the shock mount. This jack was not present on the XL H1, and provides the option of using lower-priced consumer mics. When a mic is plugged into the mini jack, the onboard mic is automatically overridden, so unlike the XLR inputs, a selection in the menu is not necessary.

On the camcorder's rear you'll find the headphone jack in the large port compartment below the FireWire terminal. I find this location to be an improvement over the phone jack on the XL camcorders where pointed up at an angle from the handle and was highly exposed to stress. The XH A1 has also lost the thumb-pad headphone volume controller that set flat against the body. On the XH A1, headphone volume is controlled using the menu selection dial.

As on all the XL camcorders, audio levels for external audio sources can be controlled with dials on the left side of the body. The dials are flat against the surface at the back left edge of the camcorder, with CH1 on top and CH2 below. Rotating the dials counterclockwise raises the recorded signal volume while turning them clockwise lowers the recorded signal volume. The levels are displayed on the LCD by two horizontal bars with a green dot indicating a default peak level. Red markers at the right end of each bar indicate signal clipping. The audio levels are also shown on the small screen inside the mode dial on the left side of the XH A1.

A few things have been lost in the down-scaling from the XL H1 to the XH A1, but I for one don’t miss them. While the H1 and G1 are both camcorders that will appeal to shooters who do at least some studio shooting, the A1’s market is likely to be people who work in the field, including independent producers, ENGs, and documentary filmmakers. The XH A1 retains two XLR inputs, phantom power, basic on-camera mixing and adds a very useful mini stereo mic jack. The loss of the four-channel recording capability (at a lowered bit rate) and RCA inputs found on the H1 won’t impact most light and fast productions.

Handling (8.25)
In a strict comparison to the XL H1, the Canon XH A1 has lost a fair amount of functionality. In shrinking the body to about 2/3 the size, a lot of precious real estate was lost for external buttons. To Canon’s credit, they made sure to leave all the crucial controls on the outside. White balance, gain, shutter speed, aperture, gain, ND filter, focus, zoom, audio levels, and a few other convenient controls remain. Lost from the XL H1 are a bunch of audio controls, frame rate selection, and HD/SD selection – all of which have been moved to the menu.

The other major result of the size shrinkage is, of course, that the XH A1 is not a shoulder-mounted camcorder. Now, we had our issues with the XL H1’s balance, which tended to lean to the left. But at least you could take the weight off of your arms once in a while. The XH A1, as a handheld camcorder, is at a much higher risk for shaky footage and arm fatigue. Plan on buying a tripod right away if you don’t already own one.

Thankfully, the XH A1 is relatively light and well-balanced. You’ll probably want to steady it with a left hand on the lens barrel. The grip on the right side is unusually comfortable and perhaps the best part of the handling experience. The record on/off button and zoom toggle are well-placed. The three controls on the lens barrel (focus, zoom, and aperture) are excellent once you get the feel for the no-look interface.
Navigating the menu and all its options will likely require the manual, particularly for the customized set-ups, but busy videographers are going to love the ability to save their personal settings and export them to an SD card for future use. Overall, this is camcorder with great handling.

Portability (8.0)
The Canon XH A1 weighs 2,030g (4.5lb.) and measures 163 x 189 x 350mm (6.4 x 7.4 x 13.8in.) making it considerably smaller than the XL H1 or JVC GY-HD110U, and similar in size to prosumer camcorders without interchangeable lenses. For shooters who travel, this relatively small size may be desirable as there are many good quality cases for camcorders this size that can be stowed in an airplane’s overhead compartment. Its size also makes it a workable option for shooting action or adventure material in the field.

Compression (7.0)
The Canon XH A1 records DV or HDV video to tape or DTE drive, and unlike the XH G1 and XL H1, cannot output uncompressed video via the HD/SD SDI port included in the Professional Jack Pack. In both HDV and DV recording modes, the data rate is fixed at 25 Mbps. Their data rate is identical despite the fact that HDV and DV use different compression codecs.

Media (7.5)
The XH A1 is compatible with standard 6.35mm DV tapes for recording HDV or DV video. Still images can be captured to SD or SDHC memory cards. Numerous third-party DTE HDD devices are available for tapeless video capture, and can be purchased off-the-shelf.

Editing (8.0)
Editing HDV and DV video can be edited using numerous NLE programs, including Adobe Premiere, AVID Xpress Pro and Apple Final Cut Pro HD. HDV editing will place a higher processor load on your system than DV, but most of today’s computer systems can handle HDV editing with sufficient drive capacity and RAM.

Widescreen/16:9 Mode (0.0)
The Canon XH A1's three CCD chips have native 16:9 aspect ratios, so the video resolution and quality is best when shooting HDV video, or DV at 16:9. This camcorder does have a 4:3 DV setting, which is accomplished using a pillarboxing method, where the sides of the frame are cropped. It’s similar to the letterboxing effect used by the XL 1S (and countless other camcorders with native 4:3 chips) to achieve 16:9 video by cropping the top and bottom of a native 4:3 image.

Scan Rates/24p (8.0)
The XH A1 cannot record video in “true 24p” opting instead for 24F - and this may be perceived by many as the biggest shortcoming of Canon’s high-end models. We are unconvinced that this should be a deal-breaker for DPs looking for a camcorder that records full-frame video for two reasons: The video resolution and image controls on the XH A1 are arguably superior to those offered by other camcorders in a similar price range, and 24F differs only in that its full-frame video originates from an interlaced imaging system. The upshot is that differences between 24p and 24F deliverables are impacted by many factors, including native resolution, image controls, and the method used by the camcorder to produce full video frames. We’re reluctant to say one looks better than the other, and believe that it’s a matter best left to the individual shooter to assess based on their needs and aesthetic preferences. In addition to 24F, the XH A1 records in 60i and 30F modes.

Ports (12.0)
The XH A1 has an extensive selection of ports and terminals, grouped primarily on the back end and right sides of the body. On the rear face of the camcorder, to the right of the battery slot is a large plastic port cover that conceals the input/output terminals which are aligned vertically. On top is the LANC terminal, followed by the HDV/DV FireWire terminal. To the right of the FireWire terminal is a small LED indicator lamp that glows blue when in HDV mode. Below the FireWire terminal is a headphone jack, video output selection switch with options for A/V1 and V2, and the A/V1 terminal. At the base of this port cluster is the COMPONENT OUT terminal.

Most of the ports are located under a rubber flap on the rear of the body.

The BNC terminal, labeled V2, is just around the corner, on the right side of the XH A1. This terminal is protected by its own small rubber port cover. On the XH G1, the Professional Jack Pack terminals (timecode-in, timecode-out, GEN-Lock and HD/SD-SDI) would appear below the V2 but that space is blank on the XH A1.

The BINC composite-out is located on the right side. The hot acceosry shoe is on top.

Two XLR terminals can be found on the right side of the body just behind the lens, and a single mini stereo microphone input is above the XLR terminals on the handle. The memory card slot is inside the battery compartment door, above the battery slot. Other Features (9.5) Optical Image Stabilization - Canon's Optical Image Stabilization is excellent, and reduces image shake considerably when shooting hand-held. It works especially well in telephoto shots, and Canon has worked specifically to improve the extreme end of the OIS system’s range. It holds a usable shot on distant subjects at the telephoto end of the zoom range, and other than the XL H1, I can’t recall a more solid OIS. One note of caution applies here, as with any OIS system. If the camcorder is tripod-mounted with the OIS set to on, you’ll see some unwanted camera drift as the processor compensates for phantom movements. Be sure to turn OIS off for stationary shots. Level and Center Marks - These markers superimpose either a horizontal line across the equator of the display (Level mark) or a plus sign in the center of the display (Center Mark) to assist with framing. The markers are not recorded to tape.

Aspect Ratio Guides - These guides superimpose borders on the display corresponding to a variety of aspect ratios including: 4:3, 13:9, 14:9, 1.66:1, 1.75.1, 1.85:1, and 2.35:1 (Cinemascope).

Safety Zone Guides – As with aspect ratio guides, safety zone guides superimpose a border on the display representing 80% or 90%.

Color Bars - The XH A1 can display SMPTE color bars, engaged via an external switch on the camcorder’s lower left side.

Standby Mode -In standby mode, some settings are retained that are generally lost when a camcorder is powered down including: Exposure Lock on/off, aperture and shutter speed settings during exposure lock, color bars setting, and color bars on/off. EVF display settings are also retained in Standby Mode, unlike on the XL H1, where they are lost.

Conclusion
The Canon XH A1 is a dynamite camcorder – that’s the bottom line conclusion. You want more? Ok, perhaps we should recap. The video performance is pretty much identical to the XL H1, Canon’s top-of-the-line camcorder. It loses the lens interchangeability, which may be too much to swallow for some users. But ENGs, budget documentarians, and student filmmakers will likely be satisfied with the fixed 20x Canon HD lens system.

The manual control set is simply fantastic, and even improved upon since the XL H1 (read the Other Manual Control section above for more details). In short, you can control dozens of color performance metrics. You can also customize how you like the displays to appear, how you would like the dials to spin (clockwise or counterclockwise for iris enlargement?) how fast you would like auto exposure adjustments to shift, and more – then save all of those settings as a custom preset on the camcorder or export them on an SD card and load them on another A1 or G1 camcorder.

The camcorder does have its downsides, though. The eyecup could have been designed better. The body is certainly heavy for a handheld camcorder. In addition, comparable Sony models are shipping with a larger, 3.5” LCD screen, which can really help with focus adjustments on the fly.

The list of shortcomings is small compared to the number of reasons to love this camcorder. Canon clearly spent a great deal of time making this a product that would fit into multiple markets and plant itself for some time to come. We don’t see any reason why it shouldn’t stay there.

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