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At first glance, the new camera is almost identical
to the old model. From a distance, it has the same profile, colors, and
markings. Closer examination reveals many changes. One of the first things,
is the change of markings on the top of the camera. The top handle controls
have been re-designated: "Hold" to "Lock".
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 Note: Lock |
 Note: (old) Hold |
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The new lens is almost impossible to tell from the old
- the only external difference being the addition of "II" after
the model.
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 Note: the II |
 No II |
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One of the most important changes (not in appearance
but function) is to the "business" side of the camera. The complete
user interface to the function menu has changed. Good thing too! The old
interface was too clumsy, especially in low light or if you were in a
hurry. I have played with the new menus quite a bit and it is a much better
system. To get in and out of the menus, you press the menu button. It
has been re-positioned. To work through the menu, you use the iris dial
and press the iris dial in to select. It is much like a trackball. I am
sure you will find yourself spinning and clicking your way through the
menus with playful joy.
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 New side controls |
 Old side controls |
| In place of the old menu navigation buttons, are new buttons for storing
custom settings, called custom presets. These are similar in function to
the setup memory cards of other cameras. These do not store images, but
instead configure the camera for different shooters. For example, I prefer
a nice sharp image, frame mode, and colors that are true but not too bright.
In contrast, I work a lot with Robin Saville, who likes the movie look,
with colors a little subdued, and the image a little soft. We could both
use the same XL1S and program each of our preferences into the custom presets.
Then, each of us could simply pick up the camera, drop in a tape, press
our own custom preset and start shooting.
Other changes to this side of the camera include the two new gain settings, +18 and +30. YES, they are noisy but hey, if you have been trying to decide between buying a new camera and buying a nightscope to spy on your neighbors -- well -- forget the nightscope! Buy a XL1S, crank the gain to +30, open the iris, drop the shutter, and with the new CCD chips in this baby - you can see in the dark! Well OK - not quite, but check out the other section of this story for an in-depth look at the low-light capabilities. Other changes to the controls include three manual white balance memories. The old XL1 had a single manual white balance memory. That was OK, you just had to white balance at each location or when lighting changed. This is a nice feature for me because I can set the white balance to the daylight fixtures in our soundstage and then not lose it when we go to shoot on location. I can see it will be very useful for narrative and documentary work where you are doing several setups a day. The camera can be used at one setup for checking lighting and blocking, then taken to another setup for actual takes while saving the white balance at both setups. These white balance memories allow the camera to move from setup to setup with minimal setup time at each setup. Did that make sense or is it just me?
Oh, I didn't take a picture of this change but on the tape transport
door there is now an "S" in the model number. |
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Speaking of the tape transport, there are a few changes
here. It's hard to miss the yellow warning sticker on the top of the tape
mechanism. This is not a good picture - in real life it really sticks
out. I think there must have been a few cameras sent in for service after
people pushed in the wrong place. Other changes include that the hubs
look different. Also the tape receptacle is now open-framed except on
the top where a friction-fit piece of metal guides the tape down.
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 Many changes to transport |
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There are two new buttons on the VCR controls built
into the top handle. They are "AV Insert" and "Audio Dub".
The "AV Insert" records over a section of tape replacing both
the video and audio. The "Audio Dub" adds new audio to existing
audio and video. Here at Rapid, we prefer to not use the cameras for playback/editing
so I did not test the editing features.
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XL1S has two new buttons |
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One perplexing change is at the back of the camera.
It is hidden under the back door. You have to look close or you might
miss it. I am not sure this was one of Canon's best "improvements".
They moved the RCA connector for video from the top position to the bottom
position. In the dark it is almost impossible to tell white from yellow
but that's the two color coded connectors Canon swapped. The yellow is
now where the white was and the white is now where the yellow was! Did
that make sense? Anyway, do not plug your video cable into the top connector
ANY MORE. It may look yellow but it IS NOT.
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 Cable confusion may result with new different than old |
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That's about it for the external changes. I almost wish Canon had made a more noticeable change to the look of the camera. Some thing that would unmistakably identify this camera as a "S" model. I know they worked hard to insure that all accessories would still work for the new model. And that includes cases - so they could not change the dimensions of the camera. But why not change the color of the viewfinder or change the shape of the microphone windscreen. There is a small change to the viewfinder - the word "Canon" is now in silver instead of gray. . . but really. . . . will anybody notice? |
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