I have the XL H1 and am considering purchasing the Samurai for working on a nature doc--that would require the magnification of interchangeable lenses.

I also have the Canon 5d MarkII but with its full frame sensor would take a Canon 800 w 2x extender to do what the XL H1 could do (I don't have that kinda money!)

Main camera could possibly be a new purchase of the XF300.

The question is- Is it still worth adding the Samurai to breathe new life into the Xl H1?

Things change so friggin' rapidly with cams I can't keep up anymore!!!!

Thanks
Ron

Don't know about Samurai but I use a nanoFlash with my XLH1 which I guess is a pretty similar set up.

Gives, to me and my small circle of viewers, very pleasing results, and a new lease of life for my XLH1. All the connecting cables a bit of a nuisance, and as I use SLR lenses like the Canon EF 70-300L and the Sigma 500 (with the Canon EF adaptor) I find a focussing monitor to be essential, so more cables.

7.2x crop factor, so a very good tripod is essential.


Ron

Thanks Ron!

Seems most feedback says about the same--so think I'll make the purchase!

I have filmed quite a bit with the 7d and 5d mark II but its a far from pleasant experience as opposed to filming with the XL-H1!!!

Looking at the XF300 as the next probable purchase--the C300 .... just can't justify the expense!

Thanks for your reply

Ron

sorry meant to ask you---

Do you run audio through analog out to the Nanoflash? Just curious how that has worked out for you?

Thanks again
Ron

I use a XLR connected shotgun mike and connect the cam to the nanoFlash from the audio sockets on the cam. This gives for me a mono only audio signal as my mike is mono only. Not sure about the "standard" XLH1 mike which of course is stereo. The HD-SDI signal from the older version of the XLH1 has neither timecode, audio or viewfinder info which a bit of a pain as necessitates a jungle of cables.


Ron

Ron,

I'm no top professional, but I've been thinking about a lot of the newer cameras and like you I have considered the XF300. Because you already have the XLH1, I don't know if its absolutely necessary to jump up to the XF300. I have looked at it and have recently become very tempted to make the purchase considering the recent price drop. I guess you have to ask yourself, what is necessary? For me its my 5D Mark III and my XLH1. Similar to you, I am going to be purchasing the Nanoflash as it seems to be the device most synonymous with the XLH1. If I'm wrong, please tell me.

Too many Rons! The nanoFlash is used with all sorts of cameras e.g. EX3s for some BBC wildlife. I think when it first arrived on the market it appealed to a lot of then XLH1/XHG1 owners. These cams now a bit old hat but not that bad and the nano does offer a substantial improvement.

There isn't actually much of a choice of "affordable" three chip interchangeable lens "good crop factor" cameras available for wildlife video. Three from Sony I think, a couple or three from JVC and a singleton from Panasonic (maybe). 1/3 chips equals 7x crop and 1/2 inch chip equals 5x , about, crop.

The current rage for single large chip cams doesn't, in my humble opinion, offer a lot for wildlife apart from of course close up work or work with large animals.

For info on nanoFlash have a look at their forum here, Dan Keaton, one of their "seniors" is very helpful and owns, or did, an XLH1 and a XHG1.

Ron

Been using the XLh1 with the Samurai for nearly 14 months and it is amazing. I cannot recommend it highly enough. In well lit scenarios the video I produce now look amazing! Be aware that in less than ideal lighting situations there is a fine digital grain that you will see more prominently now that you might need to clean up in post. It has always been part of the camera but with the HDV codec it was largely lost in the compression. Now, with a better codec that is far less lossy, it appears. At first it bothered me but then I realized i needed to treat it like RAW and do color correctiong and I could deal with it.

Oh......and don;t get me started on how much incredibly better the color correction is! I can really push the
footage so much further and correct issues that I'd never dream of touching in HDV.

I can't say enough good about the Samurai.

sorry meant to ask you---

Do you run audio through analog out to the Nanoflash? Just curious how that has worked out for you?

Thanks again
Ron

There are some pictures here of my set up (from this time last year). Cables are shown specifically. If you are going to get a nanoflash there will be some extra accessories you will need to consider which I listed in that thread.

http://www.dvinfo.net/forum/canon-xl-h-series-hdv-camcorders/485198-xl-h1-convergent-design-nanoflash-2.html

Been using the XLh1 with the Samurai for nearly 14 months and it is amazing. I cannot recommend it highly enough. In well lit scenarios the video I produce now look amazing! Be aware that in less than ideal lighting situations there is a fine digital grain that you will see more prominently now that you might need to clean up in post. It has always been part of the camera but with the HDV codec it was largely lost in the compression. Now, with a better codec that is far less lossy, it appears. At first it bothered me but then I realized i needed to treat it like RAW and do color correctiong and I could deal with it.

Oh......and don;t get me started on how much incredibly better the color correction is! I can really push the
footage so much further and correct issues that I'd never dream of touching in HDV.

I can't say enough good about the Samurai.

Yes I can second what Marty is saying (hi Marty!). With something like a Nanoflash or Samurai, you are capable of recording the uncompressed signal and keeping its quality for the most part. So that means the image is sharper (the XL chipset actually yields more resolution that you don't see in the HDV codec. The extra spatial resolution from the horizontal pixel offset is preserved though on the HD-SDI output because it is full raster 1920x1080). But this also means the luma grain from the use of gain is also finer and more pronounced.

Interestingly enough, this makes cleaning up with NeatVideo a lot easier. The XL's noise from gain is actually mostly all luma and no chroma, so removing it cleanly from high bitrate, full raster 4:2:2 footage is not difficult. I've been able to get +12 gain footage look close to 0db footage with practically minimal/no resolution loss. It's pretty nice (albeit the render times).

Been using the XLh1 with the Samurai for nearly 14 months and it is amazing. I cannot recommend it highly enough. In well lit scenarios the video I produce now look amazing! Be aware that in less than ideal lighting situations there is a fine digital grain that you will see more prominently now that you might need to clean up in post. It has always been part of the camera but with the HDV codec it was largely lost in the compression. Now, with a better codec that is far less lossy, it appears. At first it bothered me but then I realized i needed to treat it like RAW and do color correctiong and I could deal with it.

Oh......and don;t get me started on how much incredibly better the color correction is! I can really push the
footage so much further and correct issues that I'd never dream of touching in HDV.

I can't say enough good about the Samurai.

Hey Marty,

I've had my XLH1 (original), sitting on the shelf for the last 3 years since I picked up a 5D2. Now after 30,000 clips thru the 5d, I'm looking to see if the H1 is worth the Samurai upgrade. Is it possible for you to post a pic of your set-up? Mostly interested in the audio work around. If it's not too much hassle to rig it. I always loved the H1, (but not the tape workflow or the Mpeg compression).

Thanks.

http://i306.photobucket.com/albums/nn266/downhillmania/20130213_082307_zpsaf9f5c7d.jpg
http://i306.photobucket.com/albums/nn266/downhillmania/20130213_082244_zps114629f6.jpg

Hey Ken. Just thought Id show you how I did the set up. I got the thickest gauge rca to mini cable I could just to be safe for audio. It doesn't need to be as I have used a cheap one with excellent results. I love the Samurai. It has helped keep the XLH1 viable in the tapeless HD market.

Here are the pics Ken.

http://i306.photobucket.com/albums/nn266/downhillmania/20130418_104619_zps121c68a0.jpg (http://s306.photobucket.com/user/downhillmania/media/20130418_104619_zps121c68a0.jpg.html)

http://i306.photobucket.com/albums/nn266/downhillmania/20130418_104552_zps8f6f8b8f.jpg (http://s306.photobucket.com/user/downhillmania/media/20130418_104552_zps8f6f8b8f.jpg.html)

@ Travis, NIce setup.

Hey Travis,

Thanks for reposting the pics. I see you've got the battery mount and two audio receivers on the back. Looks also like a video light in front of the Samurai. I've been doing more research, and the Samurai looks like a great addition. I was going to sell my H1, but I think I'll hang onto it and just pick up a samurai.

@ Travis, NIce setup.


Thanks! I love this set up as well as my clients. It should last me few a few more years, I hope!

Recently I add a nanoFlash to my XL H1 setup. No problem to root the audio into the nanoFlash.
Any recommendations on useful data rates? I can hardly see any differences between long gop 100-140 Mbps or i-frame 180-280 Mbps on 1/50 shutter.
I try the Neat Video thing too. It's amazing :D

Long gop @ 100 mbps offers a good quality without taking too much space on card. You may use a higher bitrate if you need to make a heavy post treatment (fx or green screen).

Thanks for all of the good posts. Since reviewing this post, I have come to find out that Atomos has a new product coming our for cameras like the H1; the Samauri Blade. This capture box is amazing and will probably be my next purchase.

I use the Samurai with my H1. I find out how to fit on the H1 for using as shoulder cam:

One more pic:

Thanks for the pictures. Does the Samurai allow you to record audio direct to file or do you need to use a separate audio capture device? Also, how is the image quality in comparison to what you get without it?

I record Audio direct to the file through the analog input. Had some trouble with that. You need to switch battery management in the Samurai to Anton Bauer adapter, to prevent clicking every second. I use a LANC cable, inserted tape and free running timecode to get record the Samurai with the record button of the camera. Locking the screen from the Samurai prevent unexpected recordings.

This sound somewhat cumbersome. Can I assume that the audio that you record direct to the Samauri is only so that you can match it up to your external audio recording device. Or, is the captured audio of a good enough quality (whatever that means)>

Samurai sound recording quality is equal to the sound recording of the Canon tape recording. I set a delay of two frames for syncing to the picture.

Yes I can second what Marty is saying (hi Marty!). With something like a Nanoflash or Samurai, you are capable of recording the uncompressed signal and keeping its quality for the most part. So that means the image is sharper (the XL chipset actually yields more resolution that you don't see in the HDV codec. The extra spatial resolution from the horizontal pixel offset is preserved though on the HD-SDI output because it is full raster 1920x1080). But this also means the luma grain from the use of gain is also finer and more pronounced).

I haven't heard anyone mention the Firestore FS-CF that Canon was at one time pushing. Does this yield the same or similar results?

No, the Firestore records the compressed signal via Firewire interface, the Samurai get a uncompressed HD SDI signal.

Thanks for that. I just purchased a FS-CF on Ebay for a couple hundred dollars but, I guess I'll have to go ahead and get the newer Atoms product. With the Samurai, does it record the Audio too or is there a work around needed?

You can record sound on the Samurai from your Canon analog outputs.