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Old April 1st, 2006, 06:49 AM   #496
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Yes, this works with the right equipment.

Connect the firewire out of the computer into you camera/deck, then connect the video out of the camera to you monitor.

I have used a Canon Xl1s in this manner at times. Please note that there is no wear on the camera if the tape is not running.
Dan Keaton
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Old April 1st, 2006, 07:37 AM   #497
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without spending any money you could also just run the A/V cords to a tv.
video : xl2 / letus35xl / bogen 503
photo- canon 1dmkII - bronica etrsi
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Old April 1st, 2006, 10:28 PM   #498
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Assuming your camera has the desired "pass-through" capability, Sony Vegas allows you to preview on a TV/monitor. Just hook up your camera to the port (powered on, of course), connect the A/V outputs to your television, select "preview external monitor," and you're golden.
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Old June 3rd, 2006, 10:25 AM   #499
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Best 'deck' for dubs - HELP!

Greetings. I have a newly acquired VX2100 and a G5 dual w/a 160 media drive. I have about seventy mini-dv tapes that I wish to go through and archive - take the personal shots out - put those on a new 'master' and categorize the other stuff that I've shot - wildlife rescues - onto their own 'masters'. I've tried using my GV-D300 and, whatever, the tape I transferred to had a black line to one side....and the deck had JUST BEEN to the cleaners! : ( ... Okay, question is, do I try and get the deck cleaned/gone over (costly) or do I purchase a $200-300 mini-dv camcorder and use IT as a deck? Any opinions? Other ideas?
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Old June 5th, 2006, 09:24 AM   #500
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Need a DV Deck?

I recently purchased an XL2 and am wondering about a supplemental DV deck. I am worried about the usage on my XL2 for all the things it is having to do. I am thinking I need something to do the following:
1. Play back my recording to get it into Vegas for editing
2. Record timecodes (I assume I still need to record entirely through the tape with the lens cover on the XL2 to get consistent time codes before using the tape???)
Rewind my tapes
3. Record back to the tape?

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Old June 5th, 2006, 10:02 AM   #501
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John, you concern is valid. Using your XL2 as a playback deck is not a good idea, as its hard on the transport and can shorten the lifespan of the camera. You can buy specific Mini DV decks, which I think are coming down to close to a $1000. What I do, and I know other people do this as well, is shoot on the XL2 and then use a cheap Mini DV camcorder as an editing deck. I have an older Canon ZR10 which works great. An added advantage is that you'll have a back up camera if you ever need it. You can pick up a Mini DV camera these days for about $300.
With the XL2, it is not necessary to black the tape (record all the way through first to get consistent time code). So long as you don't eject the tape, you can just press the "end search" button on the camera, and it will go to the end of the last recorded segment, and the timecode will remain unbroken.
If you think you will have to eject the tape, just roll a bit longer on your last shot. Then when you go to use the tape again, make sure you start recording over the tail end of you last shot, and the time code will pick up where you left off.
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Old June 6th, 2006, 04:31 AM   #502
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An other playback deck is alway better for your camera. Your camera is for recording, and the deck for playback. It gives the camera a longer life... I'm also looking for a good playback deck for achriving...
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Old June 6th, 2006, 04:46 AM   #503
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We just returned a Sony DSR11 due to apparent compatibility problems with the xl2 and 24p advanced. We replaced it with the panasonic - which so far - works great with the xl2.
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Old June 6th, 2006, 05:50 AM   #504
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Assuming your are transferring via 1394 then any DV tape transferred to a computer is basically just a bit for bit transfer, changing VCRs etc should make no difference. That's not to say that buying a good VCR (like a DSR-11) isn't a good idea however I doubt it'll make any difference to this issue.

Are you certain you have FCP setup correctly?

I'm no FCP expert but I've used a number of PC NLEs with a pretty wide range of VCRs and cameras and never had this problem. The only time I've seen black bars on the side of the frame is when ingesting from analogue sources and in that case they should be there (and ideally masked out).
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Old June 6th, 2006, 10:28 AM   #505
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John, I have a Panasoniv dv-2000 deck that I am selling for $1,100.00 and I ship. This is the Panasonic Pro/Line deck. Email me if you are interested. Bob
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Old June 6th, 2006, 05:09 PM   #506
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Does the DSR 11 really have problems with 24p recording? Even my little ZR 90 plays back 24p (not the 60i kind, the 2:3:3:2 kind)
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Old June 6th, 2006, 10:26 PM   #507
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I don't think FCP would cause a black line to be on one side of the footage. If settings are wrong with FCP, you'll usually get something that's the incorrect aspect ratio or nothing - I've never seen a case where it distorted anything the way you're saying.
Are you sure it isn't present in the actual recordings? You may need to watch it on an LCD disaplay to see it if it's at the very edge.
Also, would you be able to post a frame grab of this issue?
hope this helps
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Old June 7th, 2006, 10:48 AM   #508
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I've got the Panasonic AG-DV2500 deck. It has no problem playing back tapes from my XL-1s or XL-2. Plus, it will play back DVCam and full size DV tapes also. Goes for about $1500.00. I've never regretted spending the $$.
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Old June 15th, 2006, 03:56 PM   #509
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Deck for multicam editing

Hi everybody!

Ok this is my situation. I have 3x Canon XL2 PAL cameras and I will be shooting multicam scenes with these cameras. I will sync the cameras using the built in "free run" time code setting. And I will be editing using FCP on a dual 2ghz powermac G5.

So I need a timecode accurate deck which outputs the camera recorded TC to my editing suit.

Any suggestions?

Thanks from Iceland ;)
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Old June 16th, 2006, 01:05 PM   #510
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This is how we do it.

Timecode is left at record-run.

Once all three cameras are rolling, the talent claps his hands once to give us a slate point. All three cameras continue to run until the action stops.

If the cameras have to stop, then a new slate is marked when all three cameras are rolling to provide a new sync point.

In post, the clips are cut right at the slate mark and are then turned into a multiclip in FCP. All three cameras are usually in perfect sync and don't drift at all. These multicamera shoots run about 10 minutes and are edited down to short segments, usually two to five minutes long.
Dean Sensui
Exec Producer, Hawaii Goes Fishing
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