Overview
The Canon XF605 UHD 4K camcorder is the newest workhorse of the Canon fleet and an ideal tool for newsgathering. It鈥檚 an incredibly powerful camcorder in a small package, with an excellent fixed lens and broadcast-quality codecs. This camera is perfect for ENG use and livestream events.
The imaging sensor is a one-inch CMOS, 4:2:2, 10-Bit, which is capable of 4K UHD capture at 60p and slow-motion recording at 120p. It鈥檚 also great for low-light shots with improved picture quality and less noise. The larger sensor also gives users more control over the depth of field and high accuracy focusing.
The optical image stabilisation is also extremely effective with three operating modes: Standard, Dynamic and Powered. The Dynamic mode allows for image stabilisation while walking.
This camera uses dual SD card slots that can record MP4 (in both H.264 and H.265) and CF-AVC. In Ultra High Definition 4K, this camera can record at 60 fps, 1080p to 120 fps. The camera features multiple recording modes, including Frame, Interval, and Slow and Fast motion up to 120 fps in Full High Definition (1920x1080).
The Canon XF605 has both built-in WiFi/Ethernet, that can enable remote control from a browser. This camera also uses the Content Transfer Mobile (CTM) iPhone application, which is specifically designed for the ENG newsgathering workflow, allowing for proxy files to be exchanged between a newsroom server through the phone connection in the field. The XF605 is also the first camera to use a USB Video Class, which allows the camera to be used as a webcam without the need for a third-party HDMI to USB adapter.
All the camera controls are easily accessible to your fingertips. There are two XLR inputs, and a Multi-Function Shoe on top of the camera that can increase the XLR inputs to four.
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Attach the Battery - Turn off the camera and insert the battery into the compartment. Press it gently downwards until it clicks.
Remove the Battery 鈥� Turn off the camera. Hold down the BATTERY RELEASE button. Slide the battery upwards and then pull out.
- Turn the camera off before connecting or disconnecting the AC adapter.
- Connect the power cord to the AC adapter and plug into a power outlet.
- Then connect the AC adapter鈥檚 DC plug to the DC IN terminal on the camera.
The DC IN lets you plug the camera into a wall socket.
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LCD Monitor
Video can be monitored using either the LCD Monitor or Viewfinder or both.
Pull open the LCD monitor cover gently and rotate gently to the desired angle. Rotating the monitor 180 degrees enables you see the screen from in front of the lens, which helps when doing stand-ups.
Using the Viewfinder
- Adjust the angle of the viewfinder to your comfort level.
- Adjust the dioptric adjustment lever until the viewfinder symbols are sharp to your eye.
The Menu
The MENU button is located in two places on the camera.
- You can access the camera menu functions when you press the MENU button. Press it again to close the menu functions.
- Press CANCEL to return to the previous menu or to stop some operations that are in progress.
Joystick 鈥� when making a menu selection, push the joystick to move the orange selection frame in the menu. Then press the joystick to select the menu item.
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NOTE: It鈥檚 preferable for this camera to use an SD card with a faster writing speed at 90 MB/s or 95 MB/s or more. Less than that and you might get a warning in the camera that the card isn鈥檛 compatible.
NOTE: Be sure to initialise cards before shooting footage, especially before interviews. Initialising cards will erase all the data, so backup the footage you shot first. Simply deleting individual clips will fragment the card鈥檚 memory and could result in slower writing speeds or you might not be able to make any new recorders.
Inserting and Removing the Card
- Wait until the SD Card access indicator is off or is illuminated in green.
- Open the compartment cover and insert the card straight with the label facing the side of the operation buttons. Insert the card until it clicks. Close the compartment cover (the card will not operate until the compartment cover is closed). Do not force it closed if the card isn鈥檛 correctly inserted.
The illustration shows a card that is partially inserted.
- To remove the card, make sure the SD CARD access indicator is off or is illuminated in green (if red, then the card is being accessed). Push the card once to release it, then pull it out the rest of the way.
- Close the compartment cover.
Initialising Cards
- Select MENU and scroll to Recording/Media Setup > Initialise Media !"Select the desired card slot
- Select OK. The initialisation takes a few seconds usually.
NOTE Initialisation will permanently erase all data that was on the card previously. Lost data cannot be recovered.
Switching Between Card Slots
Press the SLOT SELECT button to switch between card slots whilst recording or playing back.
Checking the Remaining Record Time on the Card
In the upper left of the viewfinder display, the card icon will show the remaining recording time in minutes.
Recording Video
The video recording method will be pre-set before you start operating the camera. The pre-set will be FHD 1920x1080 (MP4 H.264 file), at 59.94P. Any size larger, as in UHD 4K, will result in massive file sizes and a reduced storage capacity on the card. Plus, these large files will slow down your editing on most computers.
Recording
- Open the lens barrier. Be sure to close it before returning the camera to the bag.
- Press the POWER switch and set it to ON. The power indicator illuminates in green.
- Insert the SD card and initialise the card.
- Press the REC button to begin recording. There are two REC buttons on the camera. The tally lamp illuminates to show that recording is underway. The access indicator for the card slot is illuminated in red.
- Press REC to stop the recording. The card access indicator will change back to green.
Save your recordings by copying the files from the card to a portable drive.
NOTE: When recording longer shots, especially during interviews, the video stream file in the clip will be split approximately every 4 GB. Playback, however, within the camera and within the non-linear editor, will be seamless.
Recording in Full Auto Mode vs. Manual
We鈥檇 like to point out that the photographer should ultimately make the creative decisions. But in Automatic mode, the camera replaces this decision-making process.
When the camera is set to Full Auto mode, the focus mode will NOT be set automatically to AF (automatic focus). You can check the focus mode in the viewfinder display.
In Full Auto mode, the camera automatically sets the aperture, ISO/gain, shutter speed, and white balance. But the drawback to the automatic setting is that the camera will continually adjust the brightness and white balance even when the shot is being recorded. The quality of the shot may be compromised if you see noticeable changes in the shot as the camera automatically adjusts.
Manual is the preferred operating mode. Please consult your class lessons on Getting the Exposure Right and Getting the Focus Right to know how to adjust for these settings in manual mode.
The Exposure Checklist: Follow this checklist in the precise order: ND Filter, Gain, Shutter Speed, Iris.
ND Filter 鈥� use the ND filter to open the aperture when recording in bright surroundings. Think of the ND Filter as sunglasses for the camera.
- The ND Filter uses three density levels: 1鈦�4, 1/16, 1/64, and OFF.
- Warning Icons will appear in the viewfinder if the ND filter setting isn鈥檛 appropriate, which might occur when the following conditions are present:
- The gain value is set too high
- The aperture is too closed
- The shutter speed is too fast.
When ND+ is flashing then adjust to the next highest filter setting. When ND- appears in the viewfinder then adjust the ND Filter until the ND warning disappears.
NOTE: You need to use the ND Filter when the conditions are bright. Otherwise, the smaller the aperture, the more you might end up with images that have a soft focus.
Gain 鈥� you only use gain under low-light conditions. There are three gain levels: L/M/H, and L is always set to 0dB, or no gain. The more gain you add to the image, the more the image will look grainy.
NOTE: Always start with the level at L, or 0dB, which means the gain is off. You never want to add gain to an image before you鈥檝e set the shutter speed and the iris.
Automatic Gain (AGC) Switch 鈥� the camera will set the gain automatically when the switch is set to ON. But the same argument for using manual settings applies 鈥� take creative control back from the camera. The AGC could compromise the picture quality if too much is added. Better to use Manual by switching the AGC to OFF. Then set the L/M/H to the desired level.
Shutter Speed 鈥� set the shutter speed depending on the shooting conditions. If the environment is too dark, then set to a lower shutter speed. Setting to a higher shutter speed prevents more light from reaching the imaging sensor, so the image brightness will be darker the faster the shutter speed. The speed is set according to a fraction of a second.
NOTE: A speed that is set less than 1/60th of a second will produce images that have a distinctive motion blur. Avoid this. The faster shutter speed helps reduce motion blur, which is why you would use it during fast action such as sports. But you need enough light to compensate with the Iris, making sure that the image is exposed properly when a higher shutter speed value is applied.
Changing the Shutter Speed Mode 鈥� the XF605 can switch between modes using the SHUTTER button. Switch to ON, and then push the switch toward SEL to change the shutter speed mode in the following order: Speed>Angle>Clear scan>Slow>Automatic. When set to Automatic, the shutter speed value will change according to the camera鈥檚 decision.
Otherwise, set the SHUTTER to Speed so you can set the value to a fraction of a second.
Aperture (Iris) 鈥� adjusting this value will change the brightness of the image. Essentially, you鈥檙e adjusting the size of the aperture, letting in more light or reducing it, which is measured in terms of f-stops.
Automatic Aperture 鈥� simply switch IRIS to A, the camera will decide the f-stop values. However, be aware that leaving the camera in Automatic Aperture could ruin your shot if the camera adjusts the brightness whilst recording.
Manual Aperture 鈥� switch IRIS to M, giving you full creative control over the iris settings. Turn the iris ring at the back of the lens to adjust the aperture.
Push Auto Iris 鈥� during Manual Aperture, this button will switch to Automatic Aperture temporarily to adjust the aperture for an optimal exposure. Simply press and hold the PUSH AUTO IRIS button to set.
Exposure Bar: You don鈥檛 need to know a specific f-stop value. But when adjusting the aperture, use the exposure bar in the viewfinder as a guide. The optimal exposure appears at the centre of the bar. The indicator in the bar represents the current exposure.
Zebra Patterns: This function lets you see black and white diagonal stripes over areas that are overexposed. Press the ZEBRA button to activate. There are two patterns 鈥� Zebra 1 and Zebra 2. Zebra 1 lets you identify areas within a certain range of a specified exposure level, and Zebra 2 identifies areas that exceed a specified level. The desired function can be changed in the menu.
Under different lighting conditions, the white balance process calibrates the picture to reproduce colours accurately. The method is to set the white balance in one of the WHITE BAL switch positions, A, B, or PRESET.
Automatic White Balance (AWB) 鈥� the camera will automatically set the white balance to the optimal level. But sometimes you might want to control the warmth or coolness of the picture.
PRESET 鈥� this position lets you set the white balance to preselected values for either daylight or tungsten lamp. Or you can set to the desired colour temperature (in Kelvin degrees. The white balance mode must first be set in the MENU. To apply the direct setting, press the white balance button.
On average, indoor colour temperature has a value of 3200K and daylight is 5600K. On the Kelvin scale, the lower the colour temperature, the warmer the image. Therefore, the higher the colour temperature the cooler the temperature.
Custom White Balance Channels, A or B 鈥� You can store a white balance setting in either the A or B channels. custom white balance may provide better results in the following cases:
- When the lighting conditions keep changing
- In close-ups
- When the subject is in a single colour (sky, sea or forest)
- Under mercury lamps and certain types of fluorescent and LED lights.
To set a new custom white balance,
- Set the AWB switch to OFF, and the WHITE BAL switch to either A or B.
- Point the camera at a white object so that it fills the centre of the screen
- Press the white balance button. The white balance icon in the viewfinder flashes. Once it stops flashing, the procedure is complete.
NOTE: Readjust the white balance if you change ND settings or if the light source changes. If the white balance icon keeps flashing, then adjust the brightness in the image and听do the white balance again.
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Zoom
You can zoom using either the handgrip rocker or the ring on the camera lens. Set the ZOOM switch to the desired setting. The zoom rocker operates according to a pre-set speed, which can be change in the MENU.
There is also a handle zoom rocker.
Focus
The preferred method is Manual Focus as this setting will give you the most control over the focus of the image.
Manual Focus 鈥� set the FOCUS switch to M. Turn the focus ring to adjust the focus.
REMEMBER: To calibrate the focus in a telephoto lens, you need to zoom in all the way on your subject, and then focus the lens. The subject should then remain in focus along the range of the zoom.
Focus Assists 鈥� there are three focus assistance functions: Dual Pixel Focus Guide, Peaking, and Magnification. The focus assists cannot be used if the AF is switched on.
- Dual Pixel Focus Guide (in MENU, is found under Assistance Functions, page 1) 鈥� used in combination with face detection, this focus guide will give you an intuitive visual indication of the current focus distance and the direction and amount of adjustment necessary to bring the selected subject into full focus. In the LCD screen, you can touch the point where you want to move the focus guide. Or use the joystick to move the focus guide in the frame. Press CANCEL to return the focus guide to the centre of the screen. Adjust the focus manually as necessary. The focus guide turns green when the subject is correctly focused or very close to it.
Peaking 鈥� this function creates an outline around the subject when it鈥檚 in focus. Press the PEAKING button on the camera and the PEAK 1 or PEAK 2 icons should appear in the viewfinder. The contours of the subject are highlighted when the image is in focus. Press the PEAKING button again to turn it off, although if left on, the highlighted contours of the subject are not recorded in the shot.
The Peaking button is located on the side of the camera. Press this button to show the highlighted contours around an object in focus. Adjust the focus ring on the lens until the contours show up. Peaking is a very useful way to monitor the focus during interviews.
Magnification 鈥� this function enlarges the image so you can get the focus sharper. The enlarged image is not recorded in the shot. Press the MAGN. Button to enlarge the image and move the joystick around if you need to change the magnification of the frame.
The Magnification (MAGN.) button is located behind the handgrip zoom rocker.
Push AF/MF 鈥� When the focus is set to manual, the camera will automatically focus when you press and hold the PUSH AF/MF button.
AF-Boosted MF 鈥� you focus manually most of the way, but then the camera will finish focusing automatically.
- Set the focus mode to AF.
- Select in the MENU Camera Setup > AF Mode > AF-Boosted MF.
- When the focus is in the manual adjustment range, a yellow AF frame will appear on the screen.
- Turn the focus ring to adjust the focus.
- When the focus enters the automatic adjustment range, the focus frame will turn white, and the camera will then finish focusing automatically. The camera will keep the subject in focus automatically.
Face Detection 鈥� the Face Detection in the camera will be activated. In a shot with a few people, the camera will determine the main subject and keep tracking this person as they move. Use the joystick if you wish to track a different person.
- Point the camera at a person. The face detection frame will appear around them.
- During continuous AF, the camera will keep focusing on the main subject
Image Stabilisation
The image stabiliser is used to compensate for camera shakes that occur when the camera is operated by hand. You can select from three IS modes that best suit your needs. However, IS is not a substitute for using a tripod. A majority of your shots should always use a tripod.
- Dynamic IS: compensate for a higher degree of camera shake, such as when shooting whilst walking, and is more effective as the zoom approaches full wide angle.
- Standard IS: compensates for a lower degree of camera shake, such as shooting whilst remaining stationary.
- Powered IS: most effective when stationary and zooming in on far subjects. But this mode is not suitable for tilting and panning shots.
You first need to change the desired option in the menu, Camera Setup > IS Mode > Desired option. But if a higher level of image stabilisation is required, then press the POWERED IS button.
Recording Audio
You can record audio using the following options:
Built-in (Internal) Microphone
External 鈥� via INPUT terminal/MIC terminal.
The Top Microphone (or Shotgun Mic)
NOTE: For interviews, use of an external microphone, such as a wireless lavalier, is required. Never use the camera鈥檚 internal microphone or the top (shotgun) microphone for interviews as they will record voices that sound distant and echoey.
Connecting an External Microphone (wireless lav)
NOTE: Before you connect the receiver of the wireless to the shoe, open the LCD viewfinder first. Otherwise, once connected, the wireless receiver will block movement of the flip open LCD.
- Attach the wireless receiver to the shoe accessory from back to front and tighten the wheel so that the connection feels solid.
- Connect the XLR cable that goes to the receiver in the INPUT terminal on the camera, e.g., INPUT 2 (remember when disconnected to press the PUSH release button under the XLR cable and then pull it out).
- Select the Input Type for the INPUT 1/INPUT 2 Terminals 鈥� Switch to the desired microphone for the device that you鈥檙e using. For example, if the wireless is connected to INPUT 2, switch the input type for INPUT 2鈥檚 audio settings to MIC
NOTE: When using a microphone that requires phantom power (a shotgun microphone requires power from the camera), then set the audio switch to MIC+48V. Do not connect or disconnect microphones and other audio devices from any INPUT terminal when the corresponding INPUT switch is set to MIC+48V as this may cause damage to the camera and/or audio device.
Selecting the Input Type for the MIC Terminal.
- In the camera鈥檚 MENU, go to Audio Setup > then scroll to page 4 where you will see MIC Input below
- Select MIC when using a wireless.
NOTE: The Armory Vault will set the Audio Menu to support the shotgun microphone in INPUT 1, and an external microphone (wireless) that can be connected to INPUT 2. Hopefully, you鈥檒l simply be able to plug in the microphone and start recording with minimal changes to menu functions. However, the instructions below will guide you through what needs to be switched in the menu should the need arise.
NOTE: A quick way to access the Audio Menu is to press the AUDIO STATUS button in the CH1/CH2 audio level switches compartment. Then press the joystick and the Audio Menu will come up.
Selecting the Audio Input Source for Audio Channels
- In the camera鈥檚 MENU, go to Audio Setup > Audio Input Selection > [CH1/CH2]
- Select INPUT Terminals (for wireless mic)
- Press CANCEL to return to the previous screen.
Adjusting the Audio Record Levels
The audio levels may be adjusted in the CH1/CH2 audio level switches compartment located at the rear of the camera. You can select Automatic or Manual control of the audio levels. At Automatic, the camera will adjust the levels automatically. But for more control over the settings, use Manual for each channel.
CH1 and CH2 can be adjusted separately using the thumbwheels. Set the levels during sound checks. For interviews, ask the person to speak in their normal voice (don鈥檛 have them countdown from 10), but ask them what they had for breakfast or the last movie they watched.
Set levels to their optimum according to the audio meter. In other words, the levels should peak in about the middle of the audio meter (the range should be -20dB and -12dB). If they鈥檙e too low, the audio will be faint. Raising the levels in post-production will result in louder background noise, producing a hiss that will compete with the voice. If the levels are set too loud, peaking past -10 and staying there, then the levels will sound distorted. This distortion is recorded in the audio and no amount of post-production fixes will clean up this audio.
Use headphones to monitor the quality of the audio as well. Don鈥檛 rely on the meter to gauge if the audio is being recorded. For all you know, the audio is static. The quality depends on whether the audio is free from distortions and interference, such as static, fabric running against the mic, and even sounds like air conditioning vents that could ruin a good interview.
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