<<<-- Originally posted by kermie klien>>>

What is funny is, i could never spend $8000 on a mini35 if my output was still in the end PAL resolution, i cant see the worth.

___________________

The worth is in images that come close to 16mm, but at a total cost of
$5 for an hour of editable product instead of THOUSANDS.
Believe me, once you've seen what this rig can do
with an arri film lens, you'll lust for it like everyone else.

35mm wide zoom w/ EOS combo anyone?
 

I love the look of good glass, and if
I could afford it, I'd be shooting using
the PS Technik adapter and film primes . . . sigh;)

The images produced when using the EV 100-400mm
and EOS adapter are a huge improvement over
the stock 16X, so I am wondering if anyone has tried the EOS with a wide telephoto such as Canon's
16mm or 18mm zoom?

I've tried it with the Canon EOS EF 17-35mm. The image is very sharp, sharper than the 16x (white lens) and the 14x manual lens. The problem is it is only a 2x zoom (122mm to 252mm) and the range is rather limiting. I've borrowed a Canon EOS EF 14mm and it also is very sharp. But it works out to be a 100mm lens. It's all nice glass and very sharp, but no versatility.

Jeff

Hey Jeff,

thanks for the response. This is the kind of information that really
means something. I want better images out of the gear I presently
own and buying another lens that will bring those home maybe a
cost effective upgrade.

I realize that a 122-252mm lens doesn't have much versatility,
but hey, it will do what it does well. Another screw driver in the
tool box.

I would love to buy a new PS Technik/XL1s combo, but I don't
want to dump a bunch of money on a NTSC or PAL camera just now.
HD and progressive scan are the future imo, and that is where I'd
like to invest when the prices come down in 1-3 years.

I am wishing for a 720P XL1HD cam, but I don't
know if they can pack enough pixels into a 1/3" chip to do that (yet).
If Canon goes to a bigger set of CCDs, then the lenses & adapters we all own
won't work. Issues that manufacturers like Canon have to think about . . .
backward compatability is just one.

The "near future" alternative would be for Canon to license the CCDs from
that new panasonic DVX100, which would at least output 30P.
That's a big improvement, but no where as big a leap as what the
Panasonic varicam achieves with much higher resolution and
variable frame rates. That's what I really want . . . a video "film"
camera.

Hi Jacques,

I'm a Canon 35mm shooter and I've tried most of their lenses, at one time or another, on the XL1. The L series lenses are the sharpest and on film I can really see the difference. The difference on tape is more subtle. Sharpness is what most people notice. But contrast is greatly improved, as well as color. The multi coating and optics handle high contrast scenes much better. Flare and ghost images are better controlled. Just all around better optics. Standard Canon EF lenses are usually sharper. But I don't see as much difference in contast. I was very surprised recently by the Canon 70-300mm IS lens. I shot jet skis, wind surfers, sailboats etc. at the beach and compared the result to my 100-400 IS L series and was surprised how well it held up.

Jeff

EF Adapter
 

I'm wondering what is a good use for my EF adapter for my XL-1. I've tried putting wide angle lens on it. But they just don't look very wide through it.

How are other people using it?

Thanks Todd

The ef adapter will not get you very wide, because 35mm still camera lenses are just too LONG for the smaller imaging device (CCD) of a camcorder.

The rule of thumb is that the equivalent field of view willbe about 7.2x what it is if the lens is used on a 35mm still camera.

That 20mm super wide, installed on a XL1/EF adapter combo will give the effective field of view of a 144 mm lens on a 35mm camera.

Many folks use the EF adapters for nature photgraphy, surveilance, etc.

Questions on the XL1S
 

I just pruchased the XLS1 camera and seem to be a bit lost.I cannot find the counter reset and when using the vcr playback through a computer using the dv port ,the display shows dv in ,is there a way to switch the dv to output .I am finding the computer does not pick up the dv signal quickly wondering if this is because the dv from the vcr defaults to dv in .
Also I wouldn't mind some views on the ef adapter to enable eos lens use,I bought it but I'm wondering just how useful this will be .

Greetings

What kind of computer do you have. I have to guess a PC because a Mac will automatically take control of your camera when you launch the editing software and the camera is plugged in via firewire. What software are you using. I use Final Cut Pro, Primere and Avid. If we know what software it is easy to figure out the device control problem. DV footage on the XL1 records timecode. You can use that instead of thinking of a counter reset. Are you useing composite input/outputs?

You cannot reset the counter. Timecode is automatically maintained
by the camera. Have you switched your camera into VCR
mode when exporting to your PC?

To add to Don's post, the primary application of the EF adapter is to achieve extreme telephoto lengths using Canon EOS lenses plus the inherent multiplication of focal length (by a factor of 7.2) when it's used on the XL1.

For more info, see "Guide to XL Lens Options" in the Articles section of the XL1 Watchdog at www.dvinfo.net/xl1.htm

Plus, from the Watchdog FAQ at www.dvinfo.net/xl1faq.htm:

Q: What should I know about using Canon 35mm EOS lenses?
A: The effective focal length of any 35mm still photography lens is multiplied by a factor of 7.2 when mounted on the XL1.

Hope this helps,

new camera owner
 

I am using a P4 2.4 intel ,I use the dv input to the computer through the ATI video In.I'm using Ulead 5.0 ,tried the ati MMC but it does not see the dv in .I have not tried premiere I always found premiere difficult to use .I also tried roxio's video creator but it only accepts an low res mpg and the output looks low res.
The XP movie maker is quite good but its streaming output is not one to archive.I would like to be able to make dvd quality and store it on dc.
I do switch the camera to vcr mode when outputting ,i thought the vcr would show dv out but it does not ,I wonder if thats why the ati MMC software cannot see the signal.
I do get all the controls to work with the computer but really miss the counter reset.

I'm still not sure exactly what your problem is. The counter can not be reset. It reads the time code on the mini DV tape. It resets when the cassette door is opened and a new tape inserted. It does not have resetable user data code or tape counter like VHS, Betacam etc.

If you not able to capture try posting the exact nature of the problem and your system specs in the PC section. Have you gone to ATI's site and downloaded the latest drivers for your card?

http://www.ati.com/na/pages/na_index.html

The EOS adapter allows Canon EOS EF lens to be attached to the XL1. Post additional questions in the XL1 lens forum or use the search button at the top right, to search related topics and questions.

to Jeff
 

thanks for the reply ,I now accept there is no counter reset.
I had the option of returning the eos adapter and decided to keep it.
Using premiere 6.0 I made an avi,then ran it through a conversion prg to make that file a mpg then to roxio to make the vcd format to run in a dvd player.
It works fine except the res could be a lot better ,but roxio only will work with certain files so I guess that the linitation.
I am going to reload the ati MMc and that might pick up the dv input which i would rather use.

The conversion program is the weak link. Post about MPEG-2 encoders in the PC section and you'll get some suggestions for a better encoder. They may have covered that so, might want to use the search function also. VCD should have the quality of VHS tape or a little lower. SVCD will have DVD quality with a better encoder, but it is not as compatable.

Jeff

If you want more resolution on a CD try SVCD (480x480 for NTSC
or 480x586 for PAL, MPEH2!). Nero is the product to burn such
stuff. Otherwise a DVD burner comes to mind.

EF adapters and telescopes
 

Dumb question # 36425, 35mm cameras are used for astrophotography, can the XL1S be used with an EF adapter and telescope. could a video camera catch it and display it. Is it possible to hook a video camera to a telescope. A star party from the middle of your living room, remote viewing. I have never seen such a rig so it must be impossible, right?

Not only is it possible, it's easy. Any telescope that can accept a 35mm camera mount (in line, not at 45 or 90 degrees) can be hooked up to an XL-1 or s. (Shop Orion telescopes for hardware).
The problem is mounting the two pieces of equipment on a stable surface, and keeping the telescope ABSOLUTELY in step with the movement of the star, moon, planet, etc. This would require a good alt-azimuth mount and an accurate clock motor. Without such a set-up your subject will fly across the field like a race horse, its movement magnified by the telescope and the camcorder. Hardly seems worth the trouble just to let people avoid going out and enjoying the night air!

Steve Siegel
Miami, FL

Yes easy but dangerous!

You can build a setup by yourselft with the right parts.

This works without the XL-1 to EOS converter but it is rather tedious.

First you need part number YA1-1681-000. This is the reciever that a normal XL Lens connects to on the XL-1 body. That little silver ring that has about six screw holes in it. BTW Canon doesn't normally provide the replacement screws. Also you need some little screws that will fit nicely into the lens mount. Then get some black plumbers pipe. About 2" so you can place the mounting ring on the center (absolute) pipe and screw the little screws in.

Second you need the standard attachments that you would normally use when attaching a 35MM Lens. Mount them to the opposite end of the plumbers pipe. Remember to make the pipe long enough to pass your focus knob on yr telescope.

Now that you have these things put together, gently put the pipe on the camera body and attach to the telescope and balance real good while holding the telescope to the body.

Now you must have a bracket to hold the camera in place or you will bust the mounting ring on the "body" and Canon will charge you $1500 to fix it. So measure and build that mount and have it so it afixes to the camera body quick release screw hole.

So now you have your mount for the camera, mounting ring, T-Ring, and T-Adapter.

So there ya go. Now you are shooting at about f5.6 & what ever your telescope is in MM.

You can use other adapters with a Star Diagonal etc.

Now, I did all this stuff. But there is an easier way. Buy the appropriate camera that adapts to your telescope and hook it to your computer just like the pros do.

Call http://www.sbig.com/ up on your computer. These guys are sometimes hard to get along with. I don't like doing business with them. But they do know their business. They just "talk down" to most everyone that doesn't know what they want first. They are not help for the novice.

Regards,

EF Adapters and Telescopes
 

I would suggest that you try the Sky & Telescope website. The ad's there for CCD items, that attach directly to your scope with out the necessity of all that costly hardware, will probably appeal to you.

Yes, they are expensive. But, so is coustomising the scope with the add ons.

Also, a CCD, is a better connection to your 'puter. It dosen't eat up your entire memory.

Image Stabilizer power source on eos lenses??
 

Hi ive got a ef converter and a canon 100-400 IS USM lense set up for my xl1s could anyone tell if the image stabilizer is powered by the battery in the ef converter or from the mainbattery on the camera itself?
thanks

Per the EF adapter documentation:

"Power is supplied by the camera for EF lens/EF adapter control. A 2CR5 lithium battery inside the EF adapter supplies power for driving the EF lens aperture"

"Current supplied by the came: 100 mA or less. Current supplied by the lighium battery inside the EF adapter differs depending on the lens."

" Unlike the Adapter VL, this adapter does not have an AF function, so focusing must be performed manually."

DOF - EF mount.
 

I know I might get blasted for posting this, But I can't find
the answer in any post. It's just a quick question!

I know the DOF on the XL1 is not equal to 35 mm film. And I know why too:)
But if I buy a EF mount and a EF lens, (with shallow dof) will the extender
mess upp the shallow dof, or the picture I get with my EF lens on a SLR camera is the picture I get on the XL1? (with x 7.2)

Hi,

do a search for "dof" and you will find an article called "The Ultimate Depth of Field Skinny". This should answer you queries.

Cheers
Andrew

I've done the DOF search :)
I've read almost everything there is, But still I can't figure out
how this will apply to the EF adapter. I can be honest and say
that I might not be the sharpest tool when it comes to calculating
physics. But I was looking for a simple answer to a "simple" question.

A yes or no would be quite enough if someone really knows.
I don't know if there are many people here using the EF adapter.

Regards,
Andreas

The lens should have the same DOF for the same aperture and object distance but because the field of view of the formed image is very different (by a factor of 7.2) it will not look the same.

See also our web page about DOF at http://www.dvinfo.net/articles/optics/dofskinny.php

As Don points out, the main drawback of using the EF adapter will be the extreme difference in Target Size (details on article at link above). Hope this helps,

macro
 

I was just wondering about the use of the macro lenses with the EF adapter. How would it look and how would the DOF work? Granted they dont make a wide angle lens, but I was just wondering.
Thx for that link chis good infomation.

Rob

Canon 100-400mm EF Lens on XL1
 

I thinking of buying the Canon EF 100-400mm f/4.5-5.6L IS USM lens and with the adapter using it on my XL1 for a filming trip to Kenya.
I use a Manfrotto 501 Head.
Has anyone tried this combination before and if so what extra plate or support brackets did you use or do I not need any?

Gareth

My goodness, you'll need that 501 head. You do realise the magnifications you're takling about? yes, I'm sure you do, but for the others, that's like shooting 35mm through a 700mm to 2800mm zoom. It introduces all sorts of problems but with one big plus - you'll be using the central part of the lens' image, and - should the air be clear enough - you should get some spectacular telephoto compression distortions.

tom.

Thanks Tom,

Yes I certainly know what it is capable of. By tomorrow I will have it. Obviously I'm not just buying it for the XL1. It will also get a lot of use on my Canon EO3 but I have specifically bought it now for Kenya because it's focusing range is going to be ideal.

The main point to my question was the plate/rods support. Is it necessary?

From a reply in another website forum who has used this lens before apparently not!

It is only 460 grams heavier than the Manual 16X Lens and that lens feels fine when using it on my 501 Head.

There is an article on the XL1 Watchdog site

(http://www.dvinfo.net/canon/images/images09.php)

which actually shows a picture of them using it on the XL1 and some of their results and I'm sure looking at it there is no support. The guys hand is by the lens but I bet he is focussing and not holding the lens. If anyone knows of a correct email address for Jim Kinsey I wouldn't mind having it. The one in the article is not valid anymore.

Anyone else got any other information particularly if they have experience of it?

Gareth

It really isn't necessary with this lens. Iv'e used this lens in the past both handheld and on a tripod. With the IS switched on, it is amazingly smooth as the IS was originally designed to work with the larger image plane of a 35mm still camera.

The 501 head will do, but make sure you pack along a tripod pan handle so that you can apply weight to the back of the XL1S (on the tripod handle) as needed with your hand while focusing. You would realize even smoother tilts with this lens with the 502 head.

What sticks will you be using with the 501 head? Hopefully, the sticks you are using will alllow you to go very low to the ground - so that you can maintain a low profile when shooting.

Where will you be going exactly in Kenya? It's beautiful there. I have been there twice and also visited the Nairobi National Wildlife preserve and also the Sudan desert region. You'll have plenty of light there! In fact, too much light - so do plan on packing some ND and Polarizing filters and also pack a few white towels to keep your camera cool in the hot African sun.

Please do let us know how you make out!

- don

Canon 100-400 on xl-1
 

Hi Gareth,

I have used the above lense on my xl-1. The major problem is that anytime you push or pull the lense - you will also be applying pressure to the entire system - even if just a little. Therefore, your tape image will show movement. I have found that you will lose a bit of footage (due to movement) until you "latch onto" your subject. Then you should get some really good stuff. I shoot the camera in aperture mode - to get really good d of field. Don't leave your normal lense home - take it too - for vistas. And try to find a vacuum cleaner when you drive thru any towns, stay at hotels, etc. IT IS BETTER TO SUCK DUST OUT THAN BLOW IT IN - by using compressed air or bulb blower. I found this out in Namibia !

Russ

Hi Don,

Thank you for the information.
You are not the first person to say I don't really need any extra support for this lens. Iv'e had the lens since Friday but due to other committments haven't had the opportunity to go out and use it. Hopefully this weekend I will.
I did find the time to quickly try it on the XL1 just to see how the weight felt and it wasn't as bad as I had anticipated, even with the lens fully extended and you could loose a bit more weight by taking off the tripod collar.
My main concern was with prolonged use it might damage either the electrical contacts and/or lens mounts on the adapter and XL1. You think not?
I use a Vinten Pro 5 system which has been very good so far but I hadn't intended on taking it to Africa because we will be working mainly from a jeep with a couple of other people who will also have equipment so tripods would be a squeeze. One of my options for the jeep was to attach a Manfrotto Super Clamp to the bars on the jeep and then attach the head to that. These superclamps can take a load of 15kg. I haven't heard of a 502 Head. 503, 505, 510 yes but not a 502.
I'm going to the Maasai Mara. It's a training trip hosted by Piers Warren and the BBC Big Cat Diary host Jonathan Scott with Camera specialist Warren Samuels.
From your experience would you say an NDX4 be okay?
Going back to the lens support I have exchanged a few emails with a company called Cavision in Canada who say their RS152511 system would do the job at $210. See this webpage.
http://www.cavision.com/Mattbox/rods.htm
This is fine if correct but I'm UK and they are Canada. Could be a waste of money if it's no good.
Optex over here say they could make something but are quoting prices at over £294 Thats roughly $470 which seems a bit excessive to me!
Nice website by the way.
Whilst writing this reply I see another reply by Russ Gutshall. Hadn't really thought about any problems with pulling or pushing the lens whilst filming. Will have to think about that one.
Do I assume you had an unfortunate experience Russ in Namibia?
I will be taking the standard and manual 16X lens and probably a macro lens incase something small comes my way!
Many thanks Don and Russ for your reply.
PS. I'm over your way in May for a weeks holiday with my son. New York actually. Really looking forward to visting your country.

Gareth

I've been using 35mm lenses with video cameras for years. First with 2/3" chip outfits and progressing downward until arriving at DV. The one consistent in all the years is the need to brace the lenses from vibration, supply support to the lens for better balance and protect the camera/lens mount from damage. I've designed various braces to support different lenses on different cameras. Usually the costs never go over $100 if you can find a cooperative machine shop.

The push/pull design is the one feature I don't like about the 100-400mm IS lens. It is very difficult to focus without zooming slightly or vice versa. The two touch zooms are better at maintaining focus and zoom, but preclude doing both simultaneously unless you have a third hand. If you prefer the two touch design I would recommend the Canon 35-350mm zoom.

<<<-- Originally posted by Gareth Trezise : Hi Don,
<SNIP>
I use a Vinten Pro 5 system which has been very good so far but I hadn't intended on taking it to Africa because we will be working mainly from a jeep with a couple of other people who will also have equipment so tripods would be a squeeze.
<SNIP>

Hey Gareth,


I have the 100-400 EOS and it is a HUGE improvement over the stock 16X
in both sharpness and color saturation. You are going to love it so much that
you won't want to go back to Canon video glass.

That said, IMO you are going to have a lot of trouble trying to shoot
out of a jeep filled with people and still get stable footage.
I use a Vinten vision 3, which is a very smooth rig, but even with that,
at full zoom, the slightest
vibration from one's hands results in shaky footage.
It will be difficult to make your passengers
keep perfectly still, which is what you'll need them to do if you want
'national geographic' quality footage.

Fully zoomed out w/ the 100-400mm, you get about the same optics as the
Canon16x *fully zoomed in w/ the 1.6 extender!*
IF you could find a way to take your Vinten and are able to
jump out of the jeep you'll get some great images.

PS You will also want to think about building some kind of (additional)
tripod plate that can screw into both the camera
AND the lens so they are both supported and solid.

Best of luck!

The 100-400mm IS has a 35mm equivalent of approximately 720-2880mm. In terms of magnification, 2880mm is about 55X. At full zoom it will make distant objects 55 times larger or appear 55 times closer.

The 16X XL1 lens has a 35mm equivalent of 40-635mm (64mm to 1020mm zoom with the 1.6X convertor).

These types of magnification make even the slightest movement in a vehicle, huge amounts of movement when viewed through a lens at 55X.

Gareth and Jacques,

As Jeff points points out, the 100-400mm IS USM lens setup you have will give you significantly more telephoto reach than you would achieve with just using the 16X Manual/ Servo lens with the 1.6X extender. Although, since it is not too expensive, I would pack along the 1.6 extender for those times where you want something "in the middle" - more than just using the 16X Manual/ Servo alone and less than using the 100-400mm. I use the 1.6X extender on occasion for just these instances, in fact I always keep it in my "to go" bag.

As far as shakiness goes, I will again testify that the 100-400mm IS USM lens *with the IS switched on*, placed in front of the XL1S is remarkably smoother than you would expect, even at full telephoto. The IS on that lens was designed for the larger image plane of a 35mm still camera. When used on the Xl1S, it reduces shakiness considerably. The shakiness could be described as *significantly less shaky* compared to using that same focal length on a lens that did not utilize Canon's Image Stabilization.

If you are using the 100-400mm IS USM lens either handheld or on a tripod, you do not necessarily and absolutely need to use a seperate support system for the lens. Of course with prolonged use it is most assuredly a good idea and will certainly lessen the wear and tear on the XL mount. However, in *your* case, being in a vehicle and moving about, it would be absolutely necessary to use an additonal lens support which took advantage of the mount on the tripod collar of the lens. You will be subjected to an intense amount of high-frequency vibrations driving about in that JEEP.

Now, I based my previous comments on the scenario of being handheld in a static position or with the camera placed on a decent static tripod in a *non-moving* camera vehicle. Being set up in a moving vehicle - a JEEP no less - is entirely different. I have shot in Africa before and I do not recommend keeping the camera set up on top of a tripod while moving - quite simply, the roads there are extremely bumpy and unpaved and it will literally be impossible to achieve any type of useable shot without using a SteadiCam system - and that is a whole different subject! While you are driving around in the JEEP hunting for your next shot, you should keep the camera in a padded holster case *in your lap* while moving about to protect the camera from the high-frequency vibrations it would be subjected to if mounted on support while driving about.

Exactly what type of JEEP will you be using? If you are referring to using a Wrangler-style JEEP and you intend to have three different crew people shooting at the same time, you will be significantly reducing the number of chances you will have to *pull off* any useable shot (with any wildlife actually being in your shot). What I mean is that you will have to be very stealth-like and quiet when preparing for any shot. Just the subtle sound of the 'clicking noise' made when locking a camera onto a tripod head can scare off the wildlife as they are very keen to any unnatural sound and movements made in their environment. Be aware of this and plan accordingly. I'm sure you have addressed this issue with your crew but it can never be overstated. You need to blend in to the environment and maintain an extremely low impact. Having three people in a small JEEP bumping into each other may very well prove inhibiting. You imply that your goal is to achieve "National Geographic" quality shots, well, consider that these NG photogs spend days on end in one spot just to pull off one or two useable shots of wildlife.

As far as ND, I would pack some TIFFEN .6 and .9 FULL ND filters as well as a Polarizer. During the day (assuming that it is a bright blue shy day), keep the Polarizer on for the most part and add the .6 or .9 as needed. Shoot in -3db as much as possible and increase the shutter speed if you need to adjust for an overexposed image. Knock the Sharpness with a custom preset down two notches and boost the Saturation up one or two notches. Knock the Black Level control down one to two notches.

Will you be shooting in Frame Mode? How will you be repurposing this footage?

- don

Thank you very much for the latest replies. All of which are very informative and appreciated.
Basically depending on where I'm using it governs if I need extra support and I agree with all of you in a jeep I will it.
Don, I hadn't even thought about the vibrations caused by other people/vehicle moving about but that's exactly the sort of feedback I'm looking for and why this website is the best I've come accross. People actually talk to eachother and give good honest answers.
It's all about preparation which is what I'm trying to do. Some of it I have already thought about and some not. I rather know now before I go about what I can expect rather than find out these things when I'm there and it's all too late.
I've never worked from a jeep before but I had already thought about removing the camera from the Head when vehicle in motion and even taking the 100-400mm lens off if that's the one I had on at the time.
I must point out that this trip is purely a training trip and whilst yes I/We want to get the best footage we can there isn't no intention to market our final product. We just what too learn so refering to your comment Don about me implying my goal is to have National Geographic quality shots which I guess we all strive for I think it was Jacques that mentioned National Geographic, not me.
I will try and take a tripod and I do have the 1.6X extender so that was always coming with me.
Jacques, I wouldn't think twice about jumping out of the Jeep but for health & safety I don't think our hosts will allow it but if they do and someone is watching my back I will be outside with a tripod. I do most things to get the best shot. You mention you have this lens. Could you give me details of your support and where I could get it from?
I'm still looking at this rods system that Cavision do but one very important thing that a couple of you have mentioned is making use of the tripod collar on the lens which I don't think this cavision support does. It's basically a bracket that rests under the barrel.
Anymore feedback would be much appreciated in particular where I can get this support from.
I will be trying out both shooting modes, normal and frame.

Gareth

Hi Gareth,

I shoot regularly in the Kruger National Park S.A. I have learnt about the confines of a vehicle and some of the special problems that one needs to be cogniscent of in African bush. I am not trying to teach you to suck eggs here but just some issues that have caught me out.

a) As there is a large difference between viewfinder height and lens, one often finds that the vehicles wing mirrors get in the way if you film from the driver / passenger seat.

b) I agree, with all those people on the vehicle you will not keep the lens still. One of the better options and one which dampens vibrations better than clamps and tripod is to have a decent large "bean bag" as well to shoot from.

c) One of the forum members Ronald Pfister who resides in Switzerland came up with a really nice camera support system for vehicles, you may wish to send him an e-mail to get more detail.

d) Africa's sun is harsh and bright. This often forces one to use very small apertures which are known to create internal diffraction and a consequent loss of image quality. See the XL1 Watchdog for the article "Soft Focus Problem and Workaround". I shoot exclusively in Av mode and keep my lens at around F 5,6 or F8,0. In order to achieve this one needs a Polariser and the ND filter on else there is just too much light.

e) Owing to the harshness of light I always shoot with the Zebra Pattern on so that the important bits are correctly exposed.

f) I also make extensive use of the Av Shift wheel to correctly expose birds and the like when against bright backgrounds.

g) Learn to shoot with your arm hanging out the window with the XL1 held low and close to the road surface. I have got some great shots of animals running next to the vehicle.

e) Although I do not have the 100 - 400 I do use the 75 - 300 IS USM lens. A point that Don Berube made which I am not fully clear on is that when on a tripod one simply must have the IS Off. Perhaps Don is referring to keeping the IS on in the one plane only, perhaps you could clarify this please Don. With my lens when the IS is on, the XL1 on a tripod and you stop panning the image continues to move.

f) As the EOS lenses don't allow for auto focus one would do well to practice focussing. Practice with things moving toward you and away from you so you get the feel of which way to turn the focus ring. I still battle with this.

g) Regularly set your white balance, the lighting conditions can change rapidly. If you don't trust yourself to manually set your white balance then as a forced discipline switch the XL1 off between shots. The white balance will automatically be refreshed on startup. I once forgot and had one hour of lions feeding in the late afternoon with the mornings white balance settings...not so clever.

h) I always travel with a towel that I throw over the XL1 as a dust jacket, it is also handy for wiping sweaty hands on before handling the XL1. A soft 40mm wide paint brush is great for removing dust from your kit, you won't be sorry for packing one.

i) The single biggest problem for me is the sound. I don't have a parabolic mic yet but I find it near impossible to get good sound. Perhaps do some research on that before you go.

j) If you could run out of it....take it with you. Assume that you will not be able to buy CR 2025 batteries, tapes etc.

k) I bought a Frezzi Mini Dimmer and find this invaluable as a fill light in darkening conditions. It offers one that little edge in one or two more stops.


Good Luck
Cheers
Andrew