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Canon XL1S / XL1 Watchdog
Can't find it on the XL1 Watchdog site? Discuss it here.


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Old June 2nd, 2003, 11:21 PM   #826
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xl1s / blue line on bottom border of video?

i filmed an entire tape this sunday, outdoors. after reviewing the footage, there appears to be this fuzzy blue line going across the entire bottom edge of the entire tape. is this a known problem? i was using an xl1s with the stock lens and a tiffen uv haze-1 filter. thanks.
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Old June 3rd, 2003, 08:17 AM   #827
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Does Cavision's Mattebox go with an anamorphic adapter match - yes

Hi Forum,
I asked Cavision the following question:

Hi Cavision,

I bought a Cavision bellows Matte box a while ago, and now I am interested if it will work together with an anamorphic adapter either from Optex or Century?

I have a Canon XL1S PAL camera. Thanks!!!

Here is what Cavision answered:

Dear Thomas,

An anamorphic adapter lens can be used with our matte box.

Regards,

Cavision Enterprises Ltd.
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Old June 3rd, 2003, 08:45 PM   #828
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video head cleaning

Recently a few people have recommended cleaning video heads between changing tape brands, or if the heads are dirty.
It appears that the preferred materials (better than abrasive cleaning tapes) are a chamois swab and a fluorinated hydrocarbon solvent. That's all fine, but can someone explain how to do it. As I look into my XL1-s, I think I can see a (one) video head, but surely couldn't reach it safely with a swab, and even if I could only about 25% of the head surface is exposed. You can't get it to turn with the chamber open. Is this really something ordinary people can do?

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Old June 3rd, 2003, 09:24 PM   #829
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Steve,
I'd really recommend sticking with a cleaning tape. (No pun intended.) As long as you don't overuse them (ex: daily, weekly) they'll pose no trouble at all. They're not quite the sandpaper that you may have been led to believe. Leave the swabs work to Canon technicians who have the tools and skills to perform such cleaning properly, generally with the transport subsystem removed from the chassis.
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Old June 4th, 2003, 02:28 PM   #830
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One of the longest threads on this board is about this "problem".
Yes, it is a known problem. Most people don't have much problems
with it...

The thread can be found here

Why isn't this usually a problem:

1) output for TV: the line is outside the TV safe area and will not display on a TV

2) most people letterbox their movies to make them more cinema like. This will overwrite the line with a black bar

3) for web output you need to lower the resolution. Crop the last couple of lines before resizing and the problem is gone

4) if you are going to view the full resolution video on a computer in DV/DiVX/QuickTime/MPEG etc. you will see it. Depending on the situation it might not be such a bad thing to either overwrite that couple of lines with a little black bar (just a couple of pixels high) on top and bottom of the picture or crop it out.
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Old June 5th, 2003, 04:44 PM   #831
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wide angle adapters/converters

Has anyone tried or used the wide angle converter made by OPTEX, one with full zoom through??

How does this perform in relation to the similar or equivalent one by CENTURY OPTICS???

Or is the difference only really noticeable with expert equipment or under very tight tests????
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Old June 6th, 2003, 11:38 AM   #832
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Can the XL1S still give "cinema-like" characteristics when NOT in frame mode?

Does anybody have any tried and true techniques to shoot in regular movie mode with cinema-like results? It seems that the partial loss of resolution/picture quality in frame mode irks me. Thanks in advance for your suggestions.
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Old June 6th, 2003, 11:57 PM   #833
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The how-to-get-a-film-look question is so prevalent that we've dedicated an entire forum to it (see Towards a Film Look Using DV). Although all points are arguable, my own feeling is that the quality of content and production values far outweigh a "film look" anyday. That said, put your money into filters, a matte boxs and careful lighting. I'm sure others will have additional advice,
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Old June 7th, 2003, 11:59 AM   #834
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intermittent color changes on medium shots

We shot a graduation ceremony in a large pavilion that uses fluorescent lights. One of our XL1s' was, I'm guessing, 40-50 feet from the stage doing medium shots, plus some zoomed close-ups. Our other XL1s was off to one side shooting close-ups, while another company's GL2 was front and off-center doing medium shots.

Everything looks good except for the medium shots from the far away XL1s and the GL2. There seems to be what looks kind of like color desaturation that goes in and out intermittently. Can't speak for the GL2, but our cameras were set on Av, with the gain at +6.

What happened?
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Old June 7th, 2003, 04:10 PM   #835
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Using aperture priority exposure mode. Check the shutter speed on the recording from the data code. You may find that the shutter speed has changed from 1/60 or 1/20 during the time of shifting color.

This might be cause by a beat between the pulsed light output of the flourescents (120 Hz arc) and the camcorder field rate (59.94) If this is the case, using shutter priority at 1/60 or perhaps 1/120 would probably avoid the problem.
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Old June 9th, 2003, 07:59 PM   #836
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Film Production Audio Questions

New user here just thought I would ask a few questions.

I am currently weighing the purchase of an audio set-up for my film work. I do not wish to have audio locked in cam, prefer to have audio and video separated until post. Looking at something like this:

-HHB portadisc or Tascam DA-P1
-Sennheiser me66/k6 or MKH-416/418 (stereo)
-sennheiser, Lectrosonic, or Azden Wireless system (x2)
-Shure FP-33 field mixer

Now, the goal here is to create a complete audio system that will endure camera change and time, so that I do not need to purchase extra widgets and doohickeys in the future.

Question time: For those of you on this board, am I missing anything? Are there better set-ups? Personal Set-up recommendations, etc. I am open for suggestion; it has been my experience that buying high quality equipment saves a lot of headache, in the long run. Also, has anyone used the beachtek DXA-6?


Cheers,

Dick Steele
3rd Coast Cinematics
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Old June 9th, 2003, 09:21 PM   #837
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I used the Korg D12, and it was great- 12 channels, 4.5 gig HD that would record like 18 hours of cd audio on one channel, digital in/out, 1/4 / xlr in and out... it was perfect. Except for the fact that it needed to be plugged in. If the power was interrupted, you lost everything that wasn't saved. If you will have reliable power, I'd say this was the way to go.
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Old June 10th, 2003, 12:32 AM   #838
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I use a Sennheiser 416 for my own stuff, it's a lovely sounding mike and solid as a rock. Most of the recordists I work with on a pro level use Shoeps or newer mikes I've never heard off, but naturally they are much more expensive. The 416 is sort of "old school", but works just fine for me.
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Old June 11th, 2003, 10:23 AM   #839
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anyone use the portabrace rb-1 bag?

anyone use this bag for their xl1s? i'm really considering this bag because of its size. does the viewfinder and mic have to be removed in order for the xl1s to fit in there? thanks.
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Old June 11th, 2003, 11:28 AM   #840
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Sennheiser MKH-418

Does anyone know about this stereo shotgun mic, the MKH-418 M-S Stereo Mic?

Sennheiser uses a 5-pin XLR connector to carry a stereo signal, instead of a 3-pin and states that it is designed for film and broadcast use. What would be the effect on sound when using a stereo shotgun for a boom mic or camera mic. How does it work? Is there anything on the market at current to facilitate the use of 5-pin XLR? Would it be necessary to step it down to 3-pin?

Lot of questions, little info on the net.

Cheers,

Dick Steele
3rd Coast Cinematics
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