Hey

This is a real minor thing, but it bugs me. Has anyone else noticed then when the cover of the tape loader is closed it has a little bit of play in it? Or maybe I need to get out more.....

Hey Joe,

this is by design and can be found on every XM2/Gl2.



Chris

I'm looking to add a microphone to my new GL2 (on its way from Zotz) or maybe my old GL1 (whenever it gets back from Canon). I've looked through many of the archives, read the article from the LA FCP group, talked with birdsong recordists, etc.

I know that the Sennheiser ME66 gets very high marks for this use but is too expensive (don't have time to go the eBay route). I've ruled out the Azden's based on reviews and comments (especially about the high end).

Tom, over at Zotz, recommended a Schriber. Price is ok, range in the high end looks a little clipped (14k). Do any of you have any experience with this microphone. Any other suggestions of a shotgun (preferably a shorter shotgun) at less than $200 for a GL1 or 2?

Thanks.

Taped a Wedding at the weekend with my GL2 and put an Azden pro series wireless lapel mic on the groom. Everything went well with vows etc, but all of a sudden I got some major interference (almost like the sound of trying to find a radio station on a dial radio?). I noticed that i did not have the antenna on the receiver attached to the camcorder all the way up, but still got half the ceremony no probelm. I am very new to this game and was wondereing if someone new what may have caused this. Any help would be greatly appreciated. Has anyone else experienced this probelm before? I had my headphones on for initial soundcheck, but took them off during ceremony and just kept an eye on the volume bar in LCD screen.

This is the nature of wireless technology. There was probably some interference from another source near you that was on or near the same frequency your wireless unit was using. Many people buy a multi frequency wireless system like a samson micro 32 or any # of other brands that alow you to choose a freqency that seems clear and free of interference but you always run the risk of something like this. Has rarely or never happened to me so far but there is a risk and if you have a single frequency wireless unit the risk is much greater.

One other option is to buy a minidisc recorder with a mic input and get rid of the wireless for your situation.

Mini Disk is a good idea as a safe guard. Is your wireless system VHF or UHF? VHF is prone to interference. Anything from CB radio's to microwave ovens to cordless phones can cause problems. I doubt you would of had that problem with UHF unless there was an electric component that failed.

I have the Azden wr22 setup, and have never had problems with it. I guess the antennas are extremely fussy with these units, and need to be set the way the instructions say.

SA568 or SA600? Low end looks like a fast falloff below 200 Hz as well. Also, the 1600 ohm impedance at hypercardoid setting is a bit on the high side for use with the GL1, which has 600 ohm input. That said, it may work OK, but as a minimum the effective output will be less than expected due to the mismatch.

http://www.nrgresearch.com/sa568.htm
http://www.nrgresearch.com/sa600.htm

Is it possible to keep the camera from shutting down when i'm in camera mode?

Somehow to over ride the film head protection setting from automaticaly shuting off after 5 minutes of being on?

Manual, page 36.

You can't stop the recorder from shutting off but you can change the setting so the camera stays on and only the recorder shuts down, as opposed to everything shutting down. When shutting down only the recorder, camera settings are retained.

In setup under VCR setup, change the PWR SAVE mode from "shut off" to "VCR Stop". This will leave the camera powered up but still protects the head.

I appreciate that as i have been trying to get to know the camera and it keeps me turning it on and off -lol-

Thanks again.

I have an older Shure with XLR connector (round ball type), but do not know which model. Don't know much about mics. Will this mic work with the mic input of the GL2, and is there a special cable adapter to do this? Thanks. JH

Hello All,

#1. Im realy curious as to what exactly this ND filter is for. It seems to go very dark when I press this button and the manual says to use it when it is very bright outside. Does this compisate for the light with regards to the iris? Im not sure what this is. Can someone give me a good lamens terms of the use for this and when?

# 2. Also, why is it that when i flip the view screen around that I can't work with menu settings? Is there a way to show it when the view screen is reversed?

Thank-you for your comments.

The ND filter is an internal neutral density filter. It cuts down the amount of light the camera receives so you can shoot in bright light. The camera will tell you when you need to use it by putting up a message and it will also tell you when you need to add more filtration beyond the ND filter if it is too bright for the first ND filter. The manual explains it. Can't help with the other issuee...

Jason,
To my knowledge, no, the full menu displays cannot be activated on the LCD when it's rotated. Note, though, that the viewfinder -is- active when the LCD screen is rotated, so you can work with the camera's menus through the eyepiece.

Sorry it took me so long everyone. I have been a busy guy. Here is the Pictures I promised you Grazie, And everyone else out there who is interested in the MINI ROVER. This is a great accessory for the GL2, I don't do handhelds without it anymore!

You can check out the pictures here:
http://image1ex.villagephotos.com/2231890.jpg

Have a great Day. If you have any questions.... please don't hesitate to ask.

Tustin Larson
tlarson@cathedralcity.gov

ATTENTION ALL NEW GL2 OWNERS
Have you seen the Title Mix Function Video??? It is very informitive. You can find it on the Son of Watchdog Page, or look for the thread in this forum.

Tustin - Thank You! - I'm assuming you put the ext mic in a gizzmo on top of the Rover handle - within a separate shoe? This must taqke it outside of the "reach" of the WD Angle lens - Or does the lamp go in here?


Grazie

Yes, I usually use the EXT. Mic in the ROVER shoe. And the light on the Camera shoe. I have found that this setup works best for me personally. If you have any suggestions or comments, please let me know. I am always open for criticism.

Have a good weekend.

Tustin Larson

I'm just repeating what someone asked on another forum, hopefully I can convey the message back to him. Though I am curious to know as well:

"I wonder if anybody ever saw a gadget to be attached to a Canon GL/XM machine that functions as a sort of click-on between camera and battery that makes it possible to use NP instead of BP batteries?"

I got my EW112p over the weekend and couldn't make it work with MA 200. It works fine with the mini jack.

I read both manuals and believed I got all the cables the right way: Audio 1, MIC input, etc.

The only thing I can think of is that when I ordered the XLR cable CL100, they told me it was out of stock and recommended me a KORDEX cable instead. Maybe only the CL100 cable works with EW112p?

Please help me solve this problem. Thanks.

GL2 or XL1?
Please be more precise about your cable routing and switch and menu settings?

Can you be more specific concerning "NP" batteries? The Canon BP series batteries (and compatibles) produce 7.2v.

Don. thanks for your reply. I called Sennheiser yesterday and they told me that their XLR cable is wired differently than other companies'. I am going to return the KORDEX cable to MVP Audio and Video from whom I got the not very helpful recommendation. I hope the system will work after I get Sennheiser's CL100 cable. I'll let you know.

Hi

I'm a bit of a XM2 newbie and need some advice on camera settings when videoing motor sport events and similar.

I've done some work with JetSki racing with a Sony PC100 which I also own, but only in auto mode and have been more than happy with the results when burnt to DVD via Prem 6.5, Matrox RT.X100 & Sonic DVDit SE.

I recorded some gokart racing at the weekend with my new XM2, mounted on a tripod and in grown-up (Manual) mode. Manual focus & Zebra stripes were turned on. I only adjusted the aperture settings leaving the shutter & gain settings alone.

Back home and into Premiere. The results didn't look too good. All panned and action shots looked a bit blurred. Anyway, burn DVD @ 8mbs CBR and check out on big screen - argh - awful, looks like every driver is wearing 2 crash helmets or worse.

I guess maybe I should have gone for the 'Tv' mode and changed the shutter speed - but I'm not too sure - the're too many buttons to press on this cam and the viewfinder doesn't make these problems easy to spot.

So help - any suggestions as a good starting point for cam settings for this type of vid?

Also searching thru this forum I see that OIS should be turned off when using a tripod - would this have made any difference?

Thanks for any help

Adrian

You shoot in Frame mode?

I prefer the normal mode (interlaced), Shutter 1/50. Then I de-interlace in software.

Stay in Manual, leave Gain to 0dB. You can use an additionnal Neutral Filter (small aperture tends to blur a little the image), I have a B&W 102 (2 stops). Set the Zebra to 100% and don't over expose (You can over expose the sky, but never the subject).

You can leave the OIS on all the time. It is optical, not electronic.

I had such good luck with the recent question about my shotgun mike that I thought I'd try one about my wireless. I have a Samson UM1 UHF Series One receiver that I'd like to mount someplace on my GL-1, particularly during interview situations, both on and off the tripod. This is the same wireless receiver that the manufacturer pictures mounted on the tape access door of the XL-1 in all of its magazine ads. Is anybody doing this with the same or a comparable wireless, or is the camera just too small. Any ideas on how or where to mount it? The unit and its Sony ECM-44 lav works great for interviews and I'd like to use it with the GL.

Jim,

I have a mount that does just what you are describing that I use with my GL2. Had to have it fabricated because I couldn't find anything that would work well. Let me know offline if you would like photos/info.

Hi Guys

I have recently bought an XM2 (I live in Australia) and found that the still pictures look like there's a slight solarization effect applied to them. I am using fine mode, high quality. Has anyone else come across this?

Thanks heaps
Tim

In the auto mode the GL2 could be better for daytime video. I have seen this more often than not. Check the last 2 pics here:

http://homepage.mac.com/bhardy3/PhotoAlbum34.html

I have not included a frame in sunlight mode yet but intend to, as I am very impressed with the video in sunlight setting. Too bad it's raining today...

Yeah. It appears that the 2nd one is just saturated more. Still looks better though.

I use an azden wireless lav mic receiver that has an accessary shoe attatchment on it. It works out quite nicely as I don't have to worry about trailling cords, and it runs off a 9v battery. Now I do still have to use a 1/4' - 1/4' (or is it " for inch?) cord to the mic in on the camera, but that is a small worry. This set up works wonderfully for recording wedding audio with my gl2, and even better with the 4 channel audio of the XL-1. Hope that was what you were talking about.

Jesse

I'm with Jesse on this. I have the same setup, azden wr-22 and a GL1. On the few occasions I recorded the audio into the cam, this was how I did it. I'm sure there is an accessory shoe attatchment for your reciever.

Just messing around in Premiere and made this. Tell me what you think.

http://www.visital.com/random/catseye.mov

Ryan Krga

I will explain it when I get back, sort of in a rush right now, sorry.

It's a good concept and it looks like the editing went fine.

The one thing that caught my eye is that the fan footage looks like it was shot handheld style and the fan circles and shakes as it twirls. That seemed pretty random. I think that a well executed tripod movement with a slow push into the fan would make it look really sharp. Then the fan would crawl in a slow, deliberate movement from the bottom left (or right) of the frame to meet the cats eye. Make it look like it was meant to be.

Ben Lynn

Apologies if this has been covered before.

After spending time with a Vid-Pro friend, and he asking me if I could "lock" MF when I power down I said I didn't know. Did a search here on our site - no show. Well nothing like direct action eh? - I tried this:

1 Switched on XM2
2 Slide to Camera/Tape
3 Selected MF
4 Switched off - MF disappeared on re-switch on - reverted to Auto focus, as expected.

Okay, repeated, but this time flicked lever to "Lock". Motors and drive switch off, viewfinder goes black. Reboot XM2 - MF still in VF!!

This appears to be in contradiction to XM2 manual:

"If you slide POWER switch to OFF or [ this is the killer point! ] the standbay lever to LOCK, the camcorder resets to auto focus" . . . well seems like the MF viewfinder info doesn't know or hasn't read the manual!

Interested? - Seems like a very useful function/feature. Means that at least the MF settings - maybe - aren't zapped. This means that I can keep the XM2 locked and OFF via the LOCK and save battery - not forgetting the less drive wear and roller stuff.

Grazie

Indeed, Graham, the "Lock" switch (on the GL2 and XL1s) is very handy for powering-down while preserving your settings (such as manual focus). It acts like "sleep" on a computer.

Ken - Perhaps someone should inform Canon Manual editor - yeah?

Thanks for the confirmation.

Ken, I'm getting busy to do my Horizon/Paralax test - see other post. Chris Hurd is supporting me on this one - but your feedback would be appreciated too.

Grazie

Yes, I've been following it.

I've read some posts here stating that dubbing from a three chip to a one chip will not cause any loss in the quality. Would it be correct for me to assume that dubbing from a one chip cam to another one chip cam via firewire using a mini dv tape that was recorded on a three chip will still not result in any quality loss?

Thank you,
Tony

Of course it won't affect the quality. The imaging system (lens and ccd) have nothing to do with transfering the footage...

Lets say you want to shoot small films or what-not. What mics are good at doing that. Are booms the best for getting what is only onscreen, so maybe you can still direct the actors but without being heard like in the movies???

Or, wireless, or good zoom mics???

Bob,
I recommend getting a copy of Jay Rose's book "Producing Great Sound for Digital Video" (http://www.amazon.com/exec/obidos/tg/detail/-/1578202086/qid=1051852878). It provides far more practical tips and information than possible in this thread.

Yes Tony as Alex said the lens and CCDs have nothing to do with transfering the footage from one camera to another. Footage transfered from one camera to another over firewire bypasses the imaging array and goes straight to the VCR section, you lose no quality as the footage is transfered as 1s and 0s.

Has anyone had any experience with this lens? I used to have the Raynox MX3000 fisheye and it was pretty good for skateboarding videos. I was wondering how the Optex would compare to this or the Century?

Thanks in advance

The Century is a big step up from the MX3000, price and quality wise. If you are filming skateboarding videos you want to make sure your capable of taking care and using this lens. I have heard many stories of boards flying and shattering the lens. With the Century you are going to get a lot more distortion and a wider angle of view. You are also going to get a noticable gain in weight with the lens on your camera. This is the premier lens for skateboard filming and is worth every penny in my opinion, but the decision is yours.

Hi again,

I´m still struggling to acheive a better sound with my new GL2..

Anyone tried out the DM 50 Mic from Canon?

How would it work for one-man interviews for documentaries?

Are there any other manufactures to consider as well?

Thanks again from Barcelona,

Anna

I've finally had a chance to give the new GL2 a workout and have a question/possible problem -

The viewfinder seems to be really shifted to the cool end of the spectrum. The LCD is fine, and what I have viewed on a TV is fine but the viewfinder really pushes the blues. For example, a hummingbird shot in sunlight showing a blue gorget when it should have been violet and an overall blue cast to everything in low light (but not so low as autogain kicks in).

Is this normal or a defect?

I don't know about the blue shift but overall I'm pretty disappointed with the viewfinder as a whole.

On my camera's viewfinder the color is oversaturated and it never seems like the picture is very crisp (yes I've used the adjustment knob).

Canon made a mistake by making the viewfinder color and it would have been a lot more useful if it were black and white.

Ben Lynn