If you open the cassette door of your GL2 you may see a big, shiney helical scanning drum, which is tilted. Beside this rotating drum you may see two tilted screws with slots on the top which can be turned to incrementally adjust the tape path as it passes over the drum. If you watch closely as you open the door the screws move in a circular fashion around the drum and position themselves up toward you. This I believe is to wrap the DV tape around the drum so the drum can turn, scanning the tape data.

Months ago I toyed with an old JVC DV cam which was out of warranty. The playback on the cam was scrambled mosaiac just like your cam was. After incrementally turning one or both of the adjustable screws closest to the scanning head the cam played fine. One word of advice: don't try this at home, especially with a DV cam under warranty.

Well I was just talking about the "Magic Bullet"-part (the deinterlacer & deartifacter) not the whole package "Magic Bullet". And the question wasn't about an ultimate look but about the difference of image quality between frame-mode and normal-mode+deinterlace-using-magic-bullet. Without using Look Suite or the rest of the tools.

I'm asking this because the deinterlacer is pretty good since it works using motion detection (as does FieldsKit Deinterlacer by RE:Vision). In this case you could use the better resolution in normal mode.

I know using 16x9 sacrifices resolution, but how much?

The CCDs are supposed to be a better resolution than 720 x 480. That res is only for DV standard, not an inherent limitation in the camera.

It would seem to me that the CCD should have enough resolution to ignore the top and bottom 12.5% each of the image in order to create the anamorphic version without sacrificing resolution. That would be the way I would hope the anamorphic mode works.

The other way I guess would be to take a normal 4x3 720x480 image, and crop 25% off vertically, to create a 720 x 360 image, and then stretch and smooth to go back to 720x480. That's how it would be done with software. I would hope that is NOT how the GL2 does it.

Does anyone know which way it's done? I know there's a resolution difference, but it's not huge, so I am guessing it must be the first option.

You may find Adam Wilt's page (http://adamwilt.com/DV-FAQ-etc.html#widescreen) useful. It's a bit dated but still captures the essence of how this is done in various types of cameras.

The bottom line today is that creating a stylish 16:9 image with 4:3 CCD blocks involves compromise and manipulation. You can either chop, stretch, or squash (adapters). If you want a truer 16:9 image you'll have to ante-up quite a bit more cash (than conventional prosumer gear).

Thanks, that gives me the answer. The Canon DOES use the first method I described, which is obviously much better than the second.

Want to first thank those from here who posted or emailed with suggestions. Those who evaluated my description, and diagnosed a warranty issue...thanks. You were, of course, right.

And kudos to Canon Warranty Service in New Jersey. We mailed the camera out on January 10. (that is just a bit scary, shipping a new $3k camera to an unknown location.)

Camera was signed for at the Warranty facility on January 12.

Camera arrived back here (Iowa) this morning, January 16.

It was repaired, and circuitry WAS replaced. Now, based on very early testing, it seems to be functioning perfectly. Can't beat warranty service like that for proficiency AND speed.

Thanks again to those who took the time to help; your advice was spot on.

Terry

Glad to hear it worked out for you.

Hiyah!

I have an opportunity to be used by a pro-videog, to do some small-scale Party/Anniversary camera work for him. He's seen my XM2 and the results and is very jealous of my new baby. He's got a Sony DX9000 - heavy machine.

I'd like some Do's and Don'ts - yes? Any thoughts on the "rough" story board I should go for?

I've done a search on the web, but I keep coming back to our amazing Son Of Watchdog Forum - yes? THIS must say something.

Soooo... please bang in what you think would "cut-the-ice" in me getting THE essential shots in the can.

Thanks in advance - it's going to be interesting anyways - might help others too - with their new G or XM2.

Grazie

Get a good wide angle adapter that is full zoom-thru. Esential for working crowded spaces.

Have a low wattage light, no more than 20 watts for use in poorly lit spaces. But be careful using it so you do not totally irritate the guests.

If you plan to do inverviews, have a wireless handheld mic. But be sure that is what the client wants.

Don't shoot adults stuffing food in their mouths (unlesss it is that kind of party up front), or drunk uncle Charlie hitting on 15-year old Missy.

Be sure you know who are the key players and VIPs and get them at their best.

If there is an MC or DJ running the program, be sure to coordinate with them so you are ready and don't miss key program.

When there is action, be prepared to block everyone else's view, that way you get the best view/shot.

Check if the venue has rules that apply to videographers. although this is more common in churches that at receptions/parties.

And the hardest part when shooting a party - you are working, not there to have fun.

Don - Thanks.

All good advice. I've got the Canon WD58. Have used this in "confined" spaces and it is useful. I've got a video lamp - I'll make sure it is fully charged too! The wireless mic option gives a good reason to go ahead and buy one now!

I always have fun - especially when I'm hired to do a shoot! - But yes, you are very correct.

Thanks

Grazie

Hi:

If you scroll half way down the page in my link you'll come to the November 2002 portion which contains some more GL2 stills and video clips.
Two of the clips: Brother Buzz and Emerson were taken at night.
They came out better than I was expecting when doing playback from the GL2 to the TV. All the clips were done handheld, many at 20x power. The only tripod shot was of an Acorn woodpecker on a tree in the "Autumn in Wine Country" clip. All editing was done using Pinnacle 8.

http://www.ahoooadventure.com/California2002.html

Thanks to everyone for the wonderful tips in this forum. I'm now focusing on spending more time shooting longer on my subjects and less panning. I love the GL2!!!!!


Steve

Buddy, visited your site and saw your footage - my goodness, it looks incredible - wow, the camera is excellent, although I suspect some skill operating the GL2 maybe also has come into play!

I'm very impressed - based on your footage, that's that - my next cam is a GL2 for sure.

Mark

Buddy,
I've been checking out your footage on the GL2 for a while now, great stuff. It helped me decide to get one myself! Question... Islands of Adventure? You live near Orlando? I do myself; just wondering.

A friend and I have been looking a various wireless mic systems and we're debating btwn the Sennheiser Evolution 100s and the Audio-Technica 100 Series. Can anyone shed some light on either of these two systems.

Thanks.

I'll throw a third wireless unit into the mix. The AKG 81 (http://www.akg-wireless.com/) series. It's a UHF diversity lav. system. The transmitter, receiver and lav should be well under $500. I've used them and they compare very favorably to my Lectrosonic's costing more than double the price. I believe they represent the best value on the market today.

Jeff

Ooh. That was the 3rd one I was pointed towards... any reason on those vs. the Senns as the price seems similar plus the Senn includes a Plug-On transmitter.

The AKG looks pretty good and Jeff has great advice.

But I will put a good word in on the Sennheiser. I have one, I love it and it has served me well. I only wish I had two instead of one.

A couple of things about the 100 series. It is not a true diversity system. That said, I never had any problem with breakup when using the 800 MHz units.

It also does not have XLR connections (I am not sure if the handheld transmitter is XLR or not, it be). No big deal either, but if you need or want XLR, the 100 is not it.

I have used the 100 bodypack transmitter with other mics and it worked fine.

So whichever you use I think you will be happy.

I want to try different settings in several recording situations.
Does anyone know if it's possible to record the information that is shown on the LCD display to tape?
I want to record some footage with the settings information "burned" on tape ... like you would burn the date and time on tape.

It's just for testing only, I don't want to write down all manual settings with the corresponding time code. I want the LCD information burned together with the footage on tape.

When viewing the recorded footage afterwards, I can immediatly see which settings were used ...

You can and it literally records EVERYTHING on the LCD. Canan's control names sometimes leave much to the imagination, I don't recall the exact option, I beleive it is somehting to do with SCREEN options. It is in the manual, albeit buried.

Ok my post is a little strange post!
We Know very well the differences between the two cameras.
Xm2 has a better resolution (new CCD) and many many features than XM1.
Do you think is there the possibility to have some Xm2 features on the Xm1 such as variable zebra, disactivation of audio ACG, slow shutter speed (less than 1/50) amd much more, just by doing a sw modification (like dv-in activation)?
Looking foreward your reply
Regards

No.

Canon offers no such firmware upgrades.

Ok but is this a canon limitation, or nobody has tried to make a firmware updating?

Such inquiries have been made on the GL1 and the XL1. Not gonna happen, regardless of whose limitations are involved. I suspect that it wouldn't be possible even if Canon wanted to do so.

My loving wife is involved with a small musical produced by a local community theater. She and the director of this musical asked that I tape a rehearsal or two for notes, etc. I, of course, thinking it's a great opportunity to learn how to use my new GL2, enthusiastically said, "Yes!"

Knowing the lighting challanges ahead of me, last night I shot two acts worth of video. I put the zebra line guides on, and set the camera so that I may adjust the exposure manually (I think) using that little push-button thingy on the bottom left front corner of the camera. This seemed to work MOST of the time. There were times, though, when performers were nearly white-washed out because of the bright spot light and the fact that they wore white shirts or dresses, etc.

If I had my way, I would request a day when I could shoot when using lighting more video-camera friendly. I would also like to work with a script with lighting and action notes so that I can best anticipate the next camera adjustment to meet the next lighting situation on stage. However, there just simply is no time for any of this.

I know that theatrical lighting and lighting for video taping are two different beasts. Still I need to ask these questions.

For normal theatrical lighting - house lights out (of course), various degrees of brightness/darkness on stage, various different colored lights, the occasional use of a white & bright spot light on a performer, and the occasional time when all lights go black - what setting do you use and/or recommend for the GL2? What are your shooting strategies under similar situations?

Thank you for your inputs!

Ted Fiebke

P. S. - I also set up some a couple of mics and cabled them to the GL2. Sounded great!!! My loving wife, of course, sounded wonderful! :)

Ted, be sure to try the "spotlight" program mode on the GL2. It's intended exactly for this type of shooting.

Ted,
Sounds like a very enjoyable endeavor, made all that much more enjoyable by the involvement and appreciation of your wife!

This topic has come up in the past. I seem to recall that the main issues at hand were (a) setting your exposure and (b) white balance.

I am absolutely not and expert on this topic but, fwiw, here is how I might approach the task.

Re: exposure I'd set my shutter to 60 and try to get a decent average exposure with the iris. The zebras, in this case, might not be very useful during the shoot since the lighting will probably change in hue and intensity with each scene. I might see if the white stage lights could be turned on beforehand while someone in a white shirt stood on stage. Set your zebras to 90 and tweak your iris to that person. Then, using Manal mode, leave the camera set as is.

Re: white balance, with all of the color changes common to theatrical lighting I wonder if it isn't best to use an "indoor" preset?

As I say, these remarks may be poor guidance. But that's how I might approach the task knwing little else.

Good luck, and let us know how you ultimately tackled this and the results.

Ted,

I've shot a fair number of theater,dance, and music concerts and the biggest issue you will have is contrast, and dealing with changing lighting. For white balancing, use the incandescant setting. This will allow your camera to capture the changing color with relative accuracy. I would also consider bumping the "setup" upwards a few notches to open up the shadows and lower the overall contrast.

Regarding the spotlight setting: Try it during a dress rehearsal, but I've found that in many situations it still leads to overexposed faces. Perhaps using it in concert with an AE shift adjustment will give you a good result, as well as an automatic response to changing lighting.

I usually set the camera on Manual exposure, and adjust the aperture when necessary. This can lead to a few seconds of camera induced exposure change "bumps", but for me it's preferable to know my overall exposure is correct.

Ditto what ken said about shutter speed and zebras.

Good luck.

Barry

I'm waiting on a GL2 I ordered from Zotz Digital (great place to order from by the way)....and I was wondering what kids of test I should put it though to check to make sure nothing is wrong with it?

Anything I should tape, like light and dark backgrounds to check for hot spots or dead pixels? Anything mechanical, like tape transport? Is there a checklist I should go over?

Hello, i`m reading all these things about mics and what i want to know is the differents between a zoom mic and a shotgun.

I make footage from rallycars an if i`ll zoom in to the car then i want to zoom also i with the sound, how can i do this??

(sorry for my bad typing)
greetzzzz

Well,

I'm no expert but I beleive that you can't zoom with sound. A zoom mic may be a misconception. There are shotgun mics which can either be cardioid or hyper-cardioid. These types depend directly to the shape of the pick up pattern which affects them. Most of the conversation involved around mics and video are about the shotgun style of mic ( long thin with a narrow pick up pattern ). These mics are traditionally used in two ways - camera mounted, and on a boom. The boom is a long pole operated by a boom person. The boom allows for the mic to be placed at an optimal location to pick up sound. Usually close to the action or the talent. Camera mounted is *alright* but it will pick up sounds that are in front of the mic which may not be the talent/action solely.

For your purposes, you may want to have a mic closer to the action, which would go to an external recording device ( ex. MD ). Then mix those sounds in during post preduction ( editing )

I'm not sure how much of this you knew so I added all I could think of. I may not be entirely correct. If anyone can add to this please do.

Patrick

The "zoom microphone" typically has multiple pickup elements. The zoom effect amounts to varying the mix of sound from the several elements to electronically change the net pickup pattern to make it more focused on things in front of the mic and to increase rejection of sounds from the sides and back.

I believe that they are mainly seen in the consumer market. However, I can't say how well they work, but probably not as well as the corresponding fixed pattern mic for any given 'zoom' setting.

A shotgun mic has a pickup pattern that is focused to the front and provides a greater rejection of sound from the sides and back - perhaps by a factor of 10 or more depedning on the frequency of the sound. Shotgun mics usually do this by having long pickup tubes (a bit like a shotgun barrel) with slots that provide acoustic cancellation of the sound waves from the side and back.

I don't think there is any list, at least not to my knowledge. Just
USE the camera. Put tape in it, record varying things. I did that
at least because I was curious to see what it would and would
not do.

Just do the things that makes the most sense to you and can
satisfy you!

Congratulations Jim! You're in for a real treat. It's a fine camera.

There is one anomaly, documented first in this thread (http://www.dvinfo.net/conf/showthread.php?s=&threadid=3430), then more recently in this thread (http://www.dvinfo.net/conf/showthread.php?s=&threadid=6163) which you should check for. Please read through the first thread completely. I know it's long but it's worth the read.

Have fun, Jim!

Hi, I've heard that Pentax filters are thes best. I want to buy a polarizer and a UV filter. I 've found these 2:

http://www.bhphotovideo.com/bh1.sph/FrameWork.class?FNC=ProductActivator__Aproductlist_html___41637___PEUV58___REG___CatID=0___SID=F32F2 70CEC0

http://www.bhphotovideo.com/bh1.sph/FrameWork.class?FNC=ProductActivator__Aproductlist_html___40964___PECP58___REG___CatID=0___SID=F32F2 70CEC0

(I haven't found how to enable HTML: sorry)


Do I need an adaptator for these 2 filters? (if you have a link...)

Is there any others filters that does the same good job and cheaper?

Thank in advance.

filters are a subjective thing: some say b+w, some heliopan and others swear by hoya. i went for pentax baby!!!!

i'm planning on gettng a pentax polarizer in the future. the hoya shmc filters are very good option also (cheaper). i've been told that pentax filters are made with hoya glass and rings and they apply their own patented coating. the heliopan multiple coating (uv) filters are hard to get (special order) but they have the best of both worlds: schott glass/brass rings and a pentax formula based multicoating.

in europe you might a better deal on these filters than we can. good luck in your choice.

p.s. - no filter adaptor is needed if the xm2 has the same 58mm thread as the gl2. all in all the hoya shmc is the best bang for the buck (at least here in the us)!

I have a B+W filter on my GL2. Very very nice, and pretty cheap. Great filter! You won't be disappointed.

http://www.bhphotovideo.com/bh5.sph/FrameWork.class?FNC=ProductActivator__Aproductlist_html___11990___BWUVMC58___REG___CatID=0___SID=F2B 75AC2CA0

Hi, I'm pretty new to this forum. I've been reading messages for a couple of months and find it very helpful.
I bought xm2 about a week ago and started noticing a strange thing. It's hard to see through a viewfinder or lcd but on a tv screen I can clearly see how images are distorted at the edges. It's like a slight fish-eye effect. I tried filming in frame and normal modes and also with and without a UV filter. The distortions are very noticeable especially when I pan accross something vertical like buldings. I tried viewing some still shots on my pc and I get the same problem. So I think it might be something with the lense.

Did anybody have anything like this? Any advice? Should I just take it back?

Thanks for your help.

That's strange. There must be something wrong with the cam. See if you can have it replaced or repaired, since it is a new cam.

A picture would help. If you have the lense at its widest setting
some distortion will occur as well (naturally).

I was doing some tests last week and one of them was zooming and focussing to a grey carpet in my room while lights were rather low.
What I saw was some red, green, blue "flickering" in the pixels ...
Could this have something to do with my UV filter? (Prinz UV filter - I'm going to update it to a B+W soon)
Or is this typical for low light conditions ... ?

Where you in interlaced or progressive/frame mode?

This was in interlaced mode (no frame mode).
If I notice this in other situations, I'll post a recording online ...

Bart

One guess would be that it has something to do with the light source-- it may be deviating slightly from the standard frequency (I believe 50hz in most of europe), thus causing a barely perceptible flicker at normal light levels-- It may be that under low light that the added gain in the camera's processing is enhancing this problem. Or what you are seeing is simply the camera noise while it trys to "re-create" the grey carpet in low light----this would typically be a mosaic of red green and blue pixels that would pulsate somewhat, but if you stand 10 feet away from the TV would look like a grey carpet.

Barry

If I put a Tiffen Uv filter between my GL2 and my 58HD wide angle lens, Will it change the focal length or any other factor in the lens while I am shooting.
Thank you
This is a great forum, I just got my GL2.
Thomas

I put a Hoya UV filter between my WD58H and the camera and shot a little bit with and without the filter...I saw no discernable difference. I might have seen a little tiny bit more barrel distortion with the UV filter on, but my eyes may have decieved me.

Technically, yes, most filters change the focal length of the lens. B + W makes a big point of designing their filters not to effect the focal length. Leica (E. Leitz) also designs their filters not to effect focal length. In practical terms, it is usually not very noticeable. The change of focal length changes the DOF and how DOF scales and charts are applied.

Hello,
I have a new GL-2 with a Sign Video XLR Pro adapter, enabling me to use a condenser lav mic. I have a question about where to manually adjust the audio levels: do I set the camera controls to maximum, and regulate the audio on the adapter, or do I set the levels on the adapter to maximum and adjust the audio levels on the camera? Does it make any difference at all? From my initial testing with headphones, I can't discern a difference. Thanks.
Chris

You should set the camera's audio levels to about 2/3 the way to max level and adjust with the xlr adapter. IF the audio isn't loud enough, then start turing up the camera's audio level. Some camera's have a slight distortion when they are cranked up all the way. That's why I say to START at 2/3 of max level. Charles

Hi folks,
i've found a dealer of the mic in subject.
I've to use it for live music recording with my personal XM1.
Do you think it's a good choise?
Thanks

i will help you listening some audio tracks recorded with those microphone.
Enjoy your listening and write me back your impressions please
Bye

www.nomasi.com/rmbl/sndtrck001.html