GETTING PHYSICAL
Of course, size is also an issue when it comes to hand-held operations; but smaller is not necessarily better. This is because smaller camcorders must be supported by your arms alone, without any physical contact with the rest of your body. The XL1, on the other hand, is significantly heavier than smaller camcorders and has an unusual shoulder rest that provides what I'd call "collar bone stabilization." Its support rests on the front of your shoulder (unlike a larger camera which rests on top of your shoulder) while balance needs to be maintained by keeping your left hand under the lens. (Of course, there's also built-in optical image stabilization which works quite well.)

With smaller cameras, I've found myself pressing my elbows into my body in an attempt to create additional stabilization. While not ergonomically ideal because it forces you to push your shoulder forward to meet the camera, I found the XL1's approach superior to an arms-only approach. However, some users have reported an increased strain on their right arm because of the increased weight.

When you attach the optional MA-100 XLR audio adapter (see below), things change. The camera body is extended so that the back of the XL1 can rest on top of your shoulder which is a more comfortable way to achieve additional stabilization.

IMAGE QUALITY: THE NET TEST
As one friend who saw the XL1 exclaimed, "This camera is all lens;" and there's no question that the "glass" dominates the design. Perhaps this is one reason that the XL1 captures such high quality footage and the images that I shot with the XL1 looked excellent. While I was not able to do a side-by-side comparison myself, some of the videographers on the Internet are already doing their own research. (In fact, they have already helped Canon to fix a technical problem with the XL1. See the Sidebar, "The Internet Helps Fix the XL1.")

For example, testimonials to as well as analysis of the XL1's quality are already appearing on "The XL1 Watchdog" web site which is self-published by Chris Hurd, an independent producer from San Marcos, Texas. Included among his XL1 reports, tips and resources is a side-by-side image test with the Sony VX-1000 and the Canon XL1 that a Chicago-based producer named Stuart Brontman of S&G Productions says he made in front of an "audience of two video/camera 'novices' as well as two people with significant experience with video and camera equipment." Said to be the equivilent of a shot-by-shot "blind-fold" test using a high-resolution monitor, Stuart reports that "without fail, everyone picked the results shot with the Canon." He reports that all present agreed that the XL1 had clearly visible finer details and more vibrant colors.

AUDIO EXTRAS
One of the biggest weaknesses of the Sony VX-1000 and other DV camcorders (including the Panasonic EZ-1) has been the absence of professional XLR audio inputs. In fact, some manufacturers such as Beach Video Services of Toronto, Canada have made a business of manufacturing add-ons for the VX-1000 and EZ-1 in order to give these units XLR inputs. Canon has made their own.

In fact, Canon has also gone further than other camcorder in this category by providing the option of four discreet channels of audio. To get maximum quality, you may limit yourself to two channels of 16-bit, 48kHz DAT quality audio. Or you may use four channels of 12-bit, 32kHz quite acceptable, DV standard audio. An audio control panel mounted inside the left rear of the camera includes controls separated into channel sets labeled "Audio 1" and "Audio 2". You use in-camera menus to make further selections include switching between line and mike levels for Audio 2. An example configuration might include Audio 1 for both channels of your on-camera stereo mike, while you simultaneously use Audio 2 to accommodate two external mikes via the MA-100 XLR adapter (for example, to use both wireless and hard-wired lavalieres.)

The optional MA-100 XLR adapter ($250 list) replaces the flip down collar-bone pad and mounts firmly at the lower end of the camera. It has three hard-wired output cables: two RCA connectors and a mini-power connector that powers the circuit board that's inside the adapter. The camera itself includes four RCA audio inputs: two inside a panel on the back of the handle for "Audio 1" and two inside the side of the handle for "Audio 2." The MA-100 also includes an attachable metal bracket with industry standard mounts for wireless microphones or extra battery packs.

EXTRA EXTRAS
In addition to the MA-100 audio adapter, Canon also offers a host of optional (but not inexpensive) accessories. Among these are Canon's own DK-1, 1394 capture board, (they don't use the term "firewire" because it's copyrighted by Apple) which is a PC-compatible board. Canon recommends the Radius DV products for Macintosh users (please see my other hands-on review in this issue, "Radius EditDV Redefines the Digital Desktop," page TK.)

My demo XL1 came safely housed in a nicely designed, but large hard system case, the XC-3000 (list $450), and included a 1.6x extender for the lens (it's creatively named the "Extender XL 1.6x" and lists for $560.) Optically speaking, this extender makes the 16x telephoto the equivalent of a 25x except for the fact that the close up view is also extended.

In addition to the fact that the XL1 accepts interchangeable lens from Canon Video, there is also an adapter, the EF Adapter XL, ($660 list) which gives you the additional option of using the EOS Canon lenses that are normally used on 35mm SLR's.

CONCLUSION
While some reviewers rate products with "mice" or "stars" (i.e. four out of five stars, etc.), I only have one such rating; and you either get it or you don't. I'm pleased to report that the Canon XL1 DV camcorder has earned my highest rating: "I would like to own one."

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