Last weekend I had the distinct pleasure of trying out the new Canon XA35. To be released simultaneously with its sibling the XA30, the XA35 is being touted as a lighter run-and-gun cam for in-the-field ENG use thanks to the SD-SDI terminal and wireless connectivity. Probably the most noticeable aspect (and much like its previous iteration, the XA25) is how compact it is compared to most pro camcorders. In fact, it has the feel and look of a consumer camcorder as the entire package can fit comfortably in the palm of your hand. However, its capabilities are above the standard functions of a consumer camera.
After unpacking the box, I was greeted with different components including a lens hood, battery, charger/power source, USB and audio cables, a remote control and a detachable handle with two phantom XLR inputs. Attaching the handle to the camera’s body is pretty simple as is the process of placing the additional microphone clamp to the handle’s side. The XA35 also offers two SD card slots for simultaneous recording (the format is AVCHD. You’ll find this is the standard format for most pro-camcorders unless you’re accustomed to shooting video with Canon HDSLR or C-series cameras. Although you do have the option to record in an MP4 format as well).
While a “function” button initiates access to the menu, you must navigate the categories by touching the LCD screen. For example, once you press “M” you are directed to a series of manual controls like aperture, shutter speed, and gain. In fact, every function you’d want displayed on the screen (from Zebra stripes to audio levels) is obtained this way. However, on the bottom front of the camcorder rests a manual control wheel which really helps when experiencing brightly lit conditions; it can be hard to pinpoint functions visually when it’s too sunny outside, for example. Thus, the viewfinder becomes the preferable option for viewing the manual controls, and using that wheel helps you adjust functions without ever touching the LCD screen.
Basically, setting up the XA35 and accessing the numerous controls should not be a problem for those used to working with the XA20/25 models. The upgraded camera is pretty much the same in terms of form and approach.
There is one thing to keep in mind, though. Because this is a small camcorder, you might be better off using a standard photographer’s tripod as opposed to the heavier video tripods with larger release plates. Otherwise, you’ll have a difficult time trying to access the custom button that enables the manual control wheel, not to mention trying to dislodge then replace the XA35 battery plugged into the camera’s back.
A switch on the top of the camera allows you to toggle between “Camera” and “Media” modes. It is the Media Mode that allows you to play back your recorded footage. Another switch resting on the opposite side allows you to toggle between Auto, Manual and Cinema modes. Although I didn’t experiment at all with the Cinema mode, it does contain in-camera filters similar to the picture profiles seen in DSLR cams. Most professional videographers will not use the Cinema shooting mode. In fact, most videographers will most likely not use the Auto mode, either, unless certain conditions require it (like a true run and gun situation where there is no time to adjust aperture and gain manually).
I shot some footage while overlooking a Brooklyn elevated subway. And it was an extremely bright, but very hazy day. So I appropriated the built-in automatic ND filter while recording at a frame rate of 23.39 fps. The full HD CMOS Pro Image Sensor promised a wide dynamic range and without having to shoot in a neutral profile (so as to anticipate any use of LUTs in post production grading), I found the image to be rich not just in detail but in color as well (also the XA35 seems to favor red tones). Now imagine the same footage recorded at 30 fps, even 60i and you’ll see how Canon earns the bragging rights for their much-ballyhooed Highlight Priority technology.
Other functions include an infrared shooting mode (which can be turned on with a switch adjacent to the dual SD card slots) and the ability to simulate slow motion. However, you will need to record within an MP4 format at 24mbps. Otherwise, it ain’t gonna’ work. Just sayin’. The good news is that slow motion footage is viewable in camera and doesn’t require a post-production conversion (no need to place 60 fps footage on a 24 fps timeline or stretch it out in Cinematize, for example).
As a production camera, it’s stripped down to the just-what-you-need essentials. And although it harbors a Full 2K sensor, this may not be the best cam to use when shooting a feature film especially when a 35mm sized 4K (or higher) sensor may be required. But thanks to its SDI input, you can send an uncompressed signal to a transmission station like a broadcast truck or connect a 4K monitor/converter like an Atomos Ninja Assassin which makes this a great, “stealthy” cam for field reporting and documentaries produced for web and television broadcast.
You can preorder the XA35 here.
