Hello, I'm tying to transfer mini dv to mini dv. Is there going to be any loss in video quality and if so how much by using a canon cv-150f 4 pin dv cable? If there is any loss will it be noticeable when I burn the copy onto a dvd recorder for the tv since dvd is only 480 lines? Will it matter if I record from a one chip camcorder to my three chip GL-1?

Is it true that the mini dv tapes can shed or loss quality like vhs tapes after being played back or recorded more than 4 or 5 times?


Thank you,
Tony

Using firewire there is no loss in quality. Its an all digital format.

I haven't a clue how many times you can replay a miniDV tape. But unlike VHS, miniDV is all digital. That means until you start losing bits, there is no degradation.

Tony

<< canon cv-150f 4 pin dv cable >>

Don't buy that thing... it's way overpriced. Any generic 4-pin to 4-pin FireWire cable will do. If it says it's the IEEE1394 standard, then it's all you need.

<< If there is any loss will it be noticeable when I burn the copy onto a dvd recorder for the tv since dvd is only 480 lines? >>

No loss.

<< Will it matter if I record from a one chip camcorder to my three chip GL-1? >>

Nope. The recording section is pretty much the same on all 1-chip and 3-chip camcorders.

<< Is it true that the mini dv tapes can shed or loss quality like vhs tapes after being played back or recorded more than 4 or 5 times? >>

All tape-based media is prone to data loss through improper storage and handling. However DV tapes can be recorded over and played back many, many, many times. That said, if it's valuable video, record it once and don't re-record over it. Why bother with that, because tape is cheap! Dirt cheap. Even the best DV tape is inexpensive. So don't compromise, play it safe and record a tape once only unless you're just playing around. I've got a couple of tapes I use for practice shooting that have been re-recorded twelve or fifteen times. But my paying jobs are strictly one-pass affairs (and back-up copies to go with 'em). Hope this helps,

Some tests of DV transfer published in thelate 1990 went 100 generations of copying with no noticeable losses. The losses you get will be cumulation of efects of any drop outs and read errors on the tape - very different from analog formats like VHS, S-VHS, Hi8 and 8mm.

I have read that the GL1 has a 58mm that will fit most Tiffen still photo filters. I have heard good things with the enhancing filter. I dont know the size of the GL2 lens, but if it is that same i see no reason that it wouldnt work there too. I have not tried this myself, but I read about it in RES Magazine.

The lens is one of only three things that did *not* change between the GL1 and GL2 (the other two things being Frame Movie mode and Optical Image Stabilization). The GL2 lens is identical to the GL1. Hope this helps,

I'm going to Disney World with the family. First and probably last trip with my sons Grandmother around. We're leaving on the 21st of April.I have an XL-1 but the thing is just too darn big to use for this type of trip. The wife says I look like I'm shooting a feature film when I use it on family outings. (So what's the problem with that?) Anyway, I'm in the San Francisco Bay area. I'll sign an agreement that make me responsible for any damage. (Just for the record I'm horribly anal about my equipment, It will be in good hands.) If you are from my area I can loan you my XL-1 so you have a camera to use. It hase the 16x auto as well asthe 16x manual lens. Plus lots of accessories. Any other options would be appreciated. I'll pay for shipping if you are out of the area.

Regards,

David Mesloh
408-202-2214 cell

Hi Mike,

There's a post where you wrote:
Testing:

Put the cap on the camera. Gain up to 18db. Set shutter speed to 1/8th a second.


Viewing:

Set monitor brightness to full bright so the blacks levels are washed. This way you see the full extent of the image.

If your using the LCD 2.5 screen Turn the brightness setting to full. Clear all data on screen.


Well I have a dead pixel, but only when the shutter is at 1/8 of a second. I have heard that some people get their cameras back worse. Can this dead pixel thing get worse? Should I even bother sending it in? I bought it just 10 days ago.

How can I smoothly make a not-to-noticeable manual exposure adjustment while recording? Whenever I shoot in manual there is always this very noticeable shift in exposure when I adjust my shutter speed or aperture, even when I do it very slowly, little by little. I am sure many of you have run into this problem. What is the way to fix it...if there is one?

Thanks

Scott,
To a very great degree this is a matter of judgement that comes from extensive practice and critical review of the practice.

Remember, though, that Manual mode is not the best solution for all situations or even most situations. In fact, it's generally a poor solution for live event coverage where the light may be unpredictable or erratic. Using Tv or Av will generally be a better choice in such situations.

Scott,

Unfortunately, what you are trying to do is virtually impossible with the gl1/2. The xl1s ramps manual aperture changes, giving you a smoother transition, but the gl1 just bumps the exposure in notches (the gl2 may be a bit smoother, but is still very noticeable).

Barry

Scott, you've voiced a complaint I've had for ages, that the half stop increments of the little exposure wheel are very visible on screen. Ah, but I've found a camera where they're invisible, and the Panasonic DVX100 deserves great praise for circumnavigating this problem. Maybe the XL1-s is the same - I don't know as I haven't tried one. Anyway, the TRV 900/950 and VX2000 all suffer this fault.

I can't go along with you though Ken. Leaving the camera in full automatic (which is what Tv and Av are) is allowing the exposure to be influenced by white shirts, dark backgrounds and lights in frame. This looks worse than the half-stop hicups in my view.

tom.

Been waiting for a little bit now as my GL2 was coming from insurance replacing my Panasonic MX500 (a great camera as well)

Hey---congrats! I guess we won't be seeing you on the MX Forum anymore. Those 50 Fuji miniDV tapes should hold you over for awhile---I guess you'll have to get an extra, longer battery now.

Sorry if this is a silly question, but I'm a novice and want to make sure I don't lose any quality.

I'm dubbing mini dv tapes from a gl-2 to a gl-1 but it is very difficult to see what I'm dubbing because of the small lcd screen, so I hooked up an s-video from the vcr to the camcorder that is playing the tape (source I guess) so I can view it on the tv while I dub it. I'm pretty sure since I'm not recording to the vcr that I should not lose any quality at all but want to make sure just incase that extra connection somehow throws off the signal.

In the manual it said that if a digital vcr is connected and an anomalous signal is sent from the vcr the images recorded on the tape may also be anomalous (although it may not appear so on the TV image) or not recorded at all. The vcr I have is a svhs. I could hook the s-video to the tv, but it won't reach.

Any help would be appreciated

Thank you,
Tony

You should be OK.

hi everyone.
i just aquired a really nice used GL1. i'm stupid with exitement!! now i can make the movie i've been composing in my head! i have a few random questions for the experts here on the forum:

1. the guy i bought the camera from said he only ever used TDK minidv tape. i know it's not smart to just switch to another brand, but i've read that you can do it fairly successfully as long as you run a head cleaning tape through the camera first...? everyone here seems to use FUJI or PANASONIC tape. all i want to know is if TDK tape sucks... does anyone have horror stories about it? if not, i'll just stick with it i guess. i certainly don't want to beg for trouble with a used camera, even though it's in perfect shape.

2. one of the things i want to try on my movie is using filters on the lens. i'd like to try a pro mist warming filter, and i know i should probably use a polarizer for outdoor shots. i live in new mexico, and the sunlight here can be very stark, even late in the day. but it's great light... anyway, what i'm wondering is, can i use both filters at the same time? also, if and when i got the wide angle lens for this camera, could i use the filters with it?

3. i need a case for the camera, and what i'm really lusting after is a pelican case. are there other companies that make this type of case? it doesn't necessarily have to be watertight, etc. basically, where can i find a cool hardcase with customizable foam that doesn't cost an arm and a leg?

sorry for the length of the post! i've been reading the forum diligently for a while now, so i wanted to be thorough and ask all my dork questions at one time. (who am i kidding... i'll have more!)
thanks in advance.

martino

I will be going ahead with buying an XM2 this month I hope. Now I want to know if the camcorder comes with its own firewire to firewire cable? The sockets on the back of my PC are 6 pin I believe. Also, I read somewhere about a very cheap but good battery for the XM2. Anyone have the link? and do they ship to England? Also, tapes. Any tapes will do? Or do I need specific ones to get the best out of the camcorder?

I will be buying extras like a mic, tripod etc, but that won't be straight away.

*Stew thinks a bit more*

erm, anything else I might need straight away?


Thanks

It doesn't come with a firewire cable. There is an USB cable for the stills, but you will have to supply the firewire. Mine came with the 1394 adapter.

Cheap batteries can be "Hänchel", hope I spelled it right.

Someone else wrote about cheap batteries here:

http://www.dvinfo.net/conf/showthread.php?s=&threadid=5290

or here:

http://www.dvinfo.net/conf/showthread.php?s=&threadid=6672

Tapes: Stick to one brand due to lubricant issues. As long as you don't get dropouts you are pretty much set, since DV is digital. I personally go for Sony tapes, but a lot of people here swear to Panasonic.

Good luck

Hans Henrik

Filters: The more glass the more chance for flare, etc. and greater chance for vignetting in wide shots. Best to minimize the number of filters. Also, dust on filters can show in images due to the large depth of field, especially in wide shots.

Some wide angle adapters/converters can take a filter, and some cannot. Depends on the model. Again, vignetting is more likely with wide angle adapters.

The camera offers manual and auto white balance. You maybe able to achieve a color filter effect by white balancing on a card of the complementary color. But some prefer to apply color effects in post. That way you can change it if the effect turns out wrong.

Have not used TDK tape, and have not read many comments about it. Test a few cassettes and see if you want to continue to use it. Keep in mind that tape is ususally lowest cost part of any production.

Hi

I recently read a thread about the Canon wide angle converter. Is any input on the tel converter(1.7x) because I'm planning to buy the Sony plus a Matte box in order to fit a polarized filter on it.

Any other options.

Regards.

Here is my dilemma: I will be shooting a cooking show at a location that has cameras mounted above the grill which is nice since I don't want to get food splattered on my camera.
The only way I can see to get the feed from these cameras is to have it taped on a S-VHS system. My question is when I put these two feeds together on a video how noticable will the difference be?
If I were to capture the feed on a GL2 would it be better? How about a regular DV VCR?

If you have the original S-VHS tape, and the camera is high quality, the scene is well lit, the S-VHS recorder is a good one and the final format for the edited tape is VHS (with its limitations), it should be OK. You probably will have to do some image matching in post

If you can get a second MiniDV recorder (even a MiniDV camcorder with analog input) and record from the camera or S-VHS recorder's analog output during recording rather then workign from the S-VHS tape you should get better results.

Thanks Hans. I'm getting more excited everyday :)

Any sites you recommend me getting tapes from? Or should I just order them along with the camcorder?

And does the camera come with a power lead, and batteries?


Thanks

It comes with battery (the small 1 hour one), charger, and a cable to power the camera directly from the charger.

There have been several sites mentioned here where you can buy tape cheaply in bulk. I cannot remember any off the top of my head, but I am sure a quick search on the board will find you an answer for that.

Hans Henrik

I just purchased the Canon VL-3 off of Dell's "peripheral/software" site for $39.59 shipped to my door. If anyone else is interested, check it out now while they have their free shipping.

- Gil

That's a pretty good deal!

<<<-- Originally posted by Chris Hurd : That's a pretty good deal! -->>>

I found it unusual that dealtimes.com or something like that had dell.com on their site.

I currently have a VL-10 and needed something with less power.

Sorry, I almost forgot it, over a GL2/XM.

Ignacio

I will soon buy a camcorder and likes the Sony PDX10 because of it's 16:9 functions. But... I want to make video's for websites and will be using Cleaner 6 for compression.

My question: How important is it to shoot in FrameMode when shooting for web? What is the difference in this case from shooting in "normal" mode?

The Sony PDX10 has no frame mode so maybe I should concentrate on my second choice - the Canon XM2 ?

Bjorn

Still a bit unsure about how to tackle this scene. Using a GL-2, I'd like to zoom in, maunual focus on subject's face (maybe 50' away), zoom out slightly to fill frame and then slowly zoom out as subject approaches and walks through camera. I've experimented with this and it seems that the camera holds focus through the approach. But others have said that this shot requires a follow focus (turning focus ring while zooming out). On another forum, someone said that the GL1,2 cannot zoom and focus at the same time. Any definitive help from GL-2 users would be really appreciated.
Bob

<< someone said that the GL1,2 cannot zoom and focus at the same time >>

No prosumer (non-professional) DV camcorder can zoom and focus at the same time... that's a limitation of these servo zoom lenses. This is common to all of them.

There is no follow focus available for the GL1 / GL2, but switch to a manual lens on the XL1 / XL1S and you have a variety of options readily available.

If you are going to produce low resolution web video (50% or
below normal resolution) you do not need frame mode. If however
you are going to offer full resolution video or maybe do so in the
not too distant future frame mode is highly recommended (otherwise
you will see interlacing lines when playing back on a computer).

Bob

While Chris is correct regarding the functioning of the camera, I don't think you will have a problem here. If you were going in the other direction (zooming in while you try to focus on someone moving toward you) it would be difficult. But with the gl2, the chip's size works in your favor, giving you a great deal of depth of field, that will increase as you zoom wider.

If your subject is centered, I think that your best bet will be to use auto focus, as long as you are zooming wider, it should have no problem tracking your subject.

If your subject is not centered, try the manual focus procedure you described. As long as you are in relatively bright light, my guess is that it will still work, you can try to manually tweak the focus, but I don't think you'll need it.

I'd do a test beforehand to see which method works best.

Barry

is there a proper way to white balance (manually) on the gl2? are there any restrictions? sometimes i get it to lock and other times i can't. for example: for a warmer look i sometimes white balance out on the field using my blues jeans. from set up to set up i like to re balance. sometimes it locks and other times it doesn't! what gives?

does the stop on the lens have any effect on whether or not it will lock? should i be a minimum distance from the object i'm white balancing from? should i be zoomed in, zoomed out, focused or out of focus?

mb4

I would try to WB to an untextured material. Blue Jeans might be producing a moire pattern that is confusing the camera's WB. Search Warm Cards and you'll find posts on a commercially available product also instructions on making your own warm WB cards.

Manual WB will not work throughout an infinite range. The color temperature of the ambient light, combined with the color of your jeans may exceed the WB range of your camera. It may balance to a lighter or paler shade of blue.

I might add that manual white balancing is independant of focal length, focus or aperture/shutter speed settings. Yo can white balance on a grey card of course - in fact you can white balance on any shade of black, right through to white.

Some modern white papers aren't suitable though and the same goes for white shirts, as "whiteners" have often been added to boost the apparent whiteness to our eyes.

tom.

The whiteners are actually blue in color. If you've ever shot a flash picture of an interior white wall and it appears blue in your photo, that's why. It looks white to human vision, but film and white balance see blue. If you white balance to the wall or paper etc. it will warm your image.

Hello Everyone,

I just finished a course in special effects compositing for film and broadcast using "discreet combustion & Flame". The only problem is that i was using a DV pro ($30,000) and a digital converter to bring the video onto the flame UNIX machine to edit. Now, i want to continue making demo reel material and want to get a good digital camera. SO far the GL2 seems to be in my price range -even though it is a large purchase.

In your opinion with the quality of video I could capture (and degradation with compression = 4.1.1 threshold). Could i still use this to make good broadcast quality material for my demo reel to submit to post production houses? I have a slide show on my portfolio site to give u an idea of my first run at video compositing.

http://www.littlebearmedia.com/video.htm

I appreciate any and all suggestions.

I've screened hundreds of demos at my various gigs over the years. And just so you know I'm not talking out my ass, I'm a pro vfx artist with credits on many tv and films.

first thoughts...

-have another go at the black levels of your elements in your composited plate. Those are the first things that scream "composite photography" to anyone. Look at the blacks on your sand dune, then look at the blacks on your elements. Should be a simple levels/gamma adjustment.

- you should feather the edges, or better yet, use a bluescreen and then resample the footage in something like magic bullet so you can pull a decent key. Otherwise, you'll need a tool like z-matte for afterfx to clean up mattelines from DV's crapola chroma info. Learn to use multiple colourkeys, one for a holdout matte, then one to tighten up the edges.

-Make your stuff bigger... very difficult to tell skill of composite photography from such small elements. Get bold with your shot design.

DVCpro and all them dv formats are still 8bit with compression. They are all more or less the same, until you get into HD and DBeta. You have minimal ability to push the colour and levels around, but it is possible with a bit more care. Get a 3 chipper camera, shoot lots, learn and get good. When you pull in the dv clip, break it for frames RIGHT away. tiffs or targas are fine. It's totally doable to make a show reel from this. I've seen demos that have great shots, and if you want to know the power of high skill and small tools, have a look at "405 the movie."
There is a rash of starwars fan dv movies as well, and a lot of them make the mistake of poor compositing with 3d elements. Usually washed out blacks and colour correction. Ignore most of those. It's like playing chess against a dumb person... eventually you'll make dumb moves yourself.

Combustion is an interesting package. Workflow a lot like after effects, but with a discreet 'skin' on it. I prefer DFusion and then Shake for desktop compositing. They have much better colour correctors imo. You can do pro level work in combustion, but it's just my preference for the other packages mentioned. At my last place of work, we had 3 infernos and flame, and a slew of DFusion seats. I prefered the DFusion cause it let me check my cg renders on my windows workstation and build the node flow as the renders came in.

Adrian


<<<-- Originally posted by Jason Balich : Hello Everyone,

I just finished a course in special effects compositing for film and broadcast using "discreet combustion & Flame". The only problem is that i was using a DV pro ($30,000) and a digital converter to bring the video onto the flame UNIX machine to edit. Now, i want to continue making demo reel material and want to get a good digital camera. SO far the GL2 seems to be in my price range -even though it is a large purchase.

In your opinion with the quality of video I could capture (and degradation with compression = 4.1.1 threshold). Could i still use this to make good broadcast quality material for my demo reel to submit to post production houses? I have a slide show on my portfolio site to give u an idea of my first run at video compositing.

http://www.littlebearmedia.com/video.htm

I appreciate any and all suggestions. -->>>

Anybody know where the half stop goes when you switch from movies to stills on the XM2? In the movie mode the lens is an f1.6 to f2.9 but when you switch to stills you loose a good half stop - the maximum (at wide-angle) being only f2. Maybe it's to do with the non-interlaced mode used for stills?

What the specification doesn't tell me is how much wide-angle coverage you have in the stills mode. The Sony TRV950 has a lot more wideangle to memory stick using the whole mega-pixel chip area - is the XM2 the same?

tom.

I use the Sony 1.7x teleconverter on my GL1 for bird photography and like it. It makes the camera front heavy and it can be tricky to get the tripod set right (I may add some weight to the handle to compensate).

If I had to do it again I might try the Century Optics teleconverter instead. It MIGHT be a little sharper. Until I can get an XL1s and an EOS 100-400 lens it seems to be about the best you can do for bird photography.

To keep the lens clean in the field I use something called a Quick Cover made by Saran Wrap to cover bowls of food. It looks like a small shower cap.

Thanks Jeff.

I think I'll go to thre Century. Also their Matte box fixes right for the filters.

Ignacio

I will be filming a project early next year, and at the moment it's just in it's planning stage. Should I buy a GL2 now, and use the time from now until then to get used to it's features and practice using it. Or should I wait until nearer the time when probably a newer super duper GL3 will be out?

Thanks

Ha! you should wait 'til about 3 months before you're ready to shoot. 3 months is plenty of time to get familar with a new cam. Also, if you wait, well, you just never know.

Frank's advice is very good. You still have another option too. Buy now, and if a new better cam becomes available sell the GL2 then and buy the new cam.

Why?

There are lots of things you will need to know unless you have lots of experience with video in general. Also you may find a number of accessories you may want before you start your shoot. Most of those accessories (except maybe lens accessories) will be usable on the new cam.

So this means you might have to eat $500 to maybe $1,000 to upgrade. The experience you gain may well be worth it. Besides, if you discover you need 2 GL2s, you'll be halfway there.

my thought would be to pick up a used GL1 to play with. you'd miss working with the audio but that's no big deal and then when it's time to sell it you won't lose much since you bought it used in the first place. Sell the GL1 when it's time to upgrade and do that a few months before the actual shooting... or just get a new GL2 now. The only big thing I'd be waiting for was a cheaper 24 frame camera if you really wanted that. Short of that, the GL2 pretty much rocks from my perspective. :)

hello all...
little problem, i got the gl2 with the mic adapter (ma-300) but have not bought a mic as of yet... i plan to shoot short films mostly on closed interior sets... which mic would best work for me?
people have mentioned a shotgun boom mic... is that the way to go... also i'm not looking to spend more than $400.00.

is there hope for me?

-joe

Hello Joe,
Definitely do a Search on this topic. There's an enormous body of existing, and recent, information on the topic of mics around here.

Yeah, like Ken says do a search on this site. There are piles of info on this subject, and recent stuff too, as it is a frequently discussed topic.

BTW, you will be able to shotgun in the price range you want.