Here is some underwater footage taken with a Canon Vixia HF21.

It's in an Ikelite housing, fitted with a WP80 wide-angle port.

http://hawaiigoesfishing.com/videos/dive.mov

This little camera is truly amazing!

Very good indeed!
I really enjoyed watching that as well - although you'd never get me down there!

I use my HF11 for behind the scene shoots and it makes very nice pictures, I record at 1920x1080i 24mbs and transcode to pro res LT.

Once the final edit is done I export in pro res LT 1920x1080 25p and it always looks very good to me, here is an example of a commercial shoot we did, it was very low light at times but the HF11 was ideal to show the shoot.

YouTube - British Beef Jerky Shoot 7-8-09

Nice quality.

British cowboys. Who would have thought?!

HF S20 anyone?

Interesting touches with the Cactus and the "cattle" skull (isn't that a urdu or something in the gazelle family?)!

Amazing little cameras. I have an HF10 and Ikelite housing that I used in pools over the last year for a contract. The footage was matched to EX1/Nano, F800, and PMW-350. You could not tell.

Bad plug: By the way this whole setup is in the classified for a killer deal.
http://www.dvinfo.net/forum/private-...g-6090-wa.html

While not an HF, I use an HG-21 in some projects. The HG performs similarly to the older HF cameras with the Digic II processor but uses an HDD or SD as media rather than just SD or internal memory alone. The latest use involved a presentation in a conference room where I used a Sony HVR-Z5U on the presenter. During the Q&A, I kept the camera locked on the presenter and from behind the Sony, I hand-held my HG-21 on those in the room asking questions. The Sony was picking up the presenter's answers with a wireless mic. The Canon was picking up questions with an affixed Rode VideoMic. In post, it took a little color correction to match the looks but not a big task. The difference in look between the two was not at all dissimilar to the eye especially when seen in a window on a computer screen.

The ability for one operator to use two cameras at once is a great feature of a camera as small as the Canon cameras and the performance of these little AVCHD units is remarkable.

Dave Burckhard

Can owners please share some pics??

Gan this is a short for my family, by no means professional production. But it was all shot with the HF10 in 30p.. I also have some underwater pool clips and some nice offshore sunset clips. Don't forget to check out Dean's underwater clip at the top of this page.

Samba Making Miles By Paul Cronin On ExposureRoom

YouTube - UMD Generics - Pretty Wings - Spamfest 2010

YouTube - UNC Chapel Hill Wind Ensemble - Frank Ticheli's Symphony No. 2: III. Apollo Unleashed

> If the source is flagged as interlaced when it isn't then that might be causing issues. It needs some investigation.

I'm coming late to this thread, but I believe the above comment nails it. I have a HF10 and initially was sad about the interlacing artifacts I was getting when using it in 24P or 30P. These were a consequence of the decoder I was using (Mainconcept, built into Adobe's CS suites) being fooled by a interlace flag. With a proper decode of the footage those artifacts disappear.

Graham that is a great point to let people know. I have never had this problem with log and transfer in Final Cut.

I would like to my ad to my evaluation of the HF100 (and VIXIAs at-large) that you should never ever shoot in 24p. It adds a blurrrrr.

For instance: YouTube - Maddy Curtis - Taylor the Latte Boy

And if you shoot in cinematic mode with VIXIAs, it seems to add even more...

Well....
 

The blur will only appear in marginal light, when the shutter speed is lowest. This doesn't necessarily have anything to do with 24p, since you could get just as much blur with 30p (or 60i), if you turn on the night mode, to allow longer shutter speeds.

Properly lighting what you shoot and perhaps selecting a higher shutter speed will eliminate blur at 24p. In fact, the owner's manual even states:

1/2*, 1/4*, 1/8, 1/15, 1/30
To record in dimly lit places.
1/60
To record under most ordinary conditions.
1/100
To record indoor sports scenes.
1/250, 1/500, 1/1000
To record from within a moving car or train or to
shoot fast-moving subjects such as roller
coasters.
1/2000
To record outdoor sports scenes on sunny days.

In 'Camera' mode, when the frame rate is set to
[ PF24], the shutter speeds available will
be the following: 1/6, 1/12, 1/24, 1/48, 1/60,
1/100, 1/250, 1/500, 1/1000 and 1/2000.

Shooting at 1/2000 shutter speed will result in razor-sharp images at any frame rate. Obviously, you'll need plenty of light for that.