Hum introduced by AV wires during output to VCR.
 

How do I eliminate or reduce the hum that I am getting when recording to VCR using the AV wires provided with the XL1s? It's really loud.

Thanks.

Rental place in Dallas, Texas?
 

I own a Canon XL-1 (NTSC) and I'm shooting a project with it in the next month or two around the Dallas/Fort Worth area, and I aiming to try my XL-1 out with different lenses and attachments available.

Does anybody know of any rental place that might have any of the list below:

- Canon 3x XL lens
- Century Optics .6x wide angle adapter
- Century Optics .7x wide angle adapter
- Century Optics 1.6x tele-converter

or a 16:9 lens adapter

I tried looking but there isn't much out there.

Also, if anybody knows of any good Austin places, then that would be fine cause it could be worth the 3+ hour drive.

- Art
artman009@hotmail.com

That's pretty unusual. I'd first try a different cable -- you might have a broken ground connection.

If that doesn't work, try isolating the VCR from ground (use a 3-prong adapter without the wire connected to anything.

If that doesn't work, connect a separate ground wire from the frames of both the VCR and the camera.

If that doesn't work, try running the camera on battery only.

If that doesn't work, just nuke the whole setup!

Rental Place in Dallas
 

Try www.mpsfilm.com They are located in Dallas off of Regal Row and 183. I know they have an XL1 and P+S Mini 35 Adapter for rent, so there is a good chance that they might have the other accessories from Century Optics for Rent. They have tons of stuff, and a large studio you can rent oo.

I don't know if they make 16:9 Anamorphic Adapter for the Canon XL1 Series.. I think companies (Optek and Century Optics) are in the works on making one, but haven't released on yet..

What kind of shooting / work do you do? I live in the Dallas area, and am always curious what my neighbors are up to.

later.

-Brad

how far can you run non XLR wire
 

How far can you run a non-XLR (is it un-shielded or un-balanced?) microphone wire, before having to worry about any sound loss/interferance/other problems? Assuming I don't run that wire past any live extension cords or anything.

I have a Sennheiser MKE300 which is has a mini-plug jack. I'd like to put it out on a boom and get it off my camera.

With low impeance mics it depends on how electrically noisy the environment is, the quality of your cables, and how demanding you are. You might be able to go many 10s of feet with acceptable results, or a few feet may be too far.

With high impecdance mics high frequency loss becomes a real isseu above around 15 feet or so.

Note that you could put an unbalancd- to-balanced transformar at the mic, run you cables, then a balancd to unbalanced at the other end again. For best results use transformers around 600-to-600 ohms that are designed for audio.

Has anyone spliced an XLR cable before?
 

See, I've got this problem.

I have a hole, the size of a doorknob hole in a door, that I'd like to fit an XLR cable through. The cable itself will fit, no problem. It's getting either end of the cable through that's the tough part. The XLR connectors are just a bit too thick.

Recommendations?

Thanks!

Is this a permanent or temporary installation? If it is permanent, just desoldier one end and then feed the cable, re soldier the XLR connection. If it's temp. just splice it. Wires are color coded so just match them up and tape away.

Jeff

PC to XL1s to TV???
 

HI.

I can't hook a tv directly to my PC. I am using Adobe Premiere and I would like to preview my movie on a regular tv. Is there a way to play the PC video through the xl1s and onto a tv?

thanks for any help.

Yes. Put the XL-1 in VCR mode, connect the XL-1 to the computer via firewire, and connect the XL-1 to the TV using the RCA connections. This will allow you to view what is coming over the firewire on the TV. NOTE: The sound will still come through the computer speakers.

Make the hole a little bigger?

You will have to press play in the premiere window to activate the program to output through the camera to the tv. If you apply effects you will have to render them or press <alt> + left mouse click on time line where you have effects applied...otherwise, you get a red x on the tv.

Extended warranty
 

I have an option to buy a 3 year extended warranty for my XL1s for $486. I assume this is about average for such a warranty. I was wondering what kind of repair bills can be expected for this camera ? The only post I could find was a fellow paid about $1000 for repairing some dead pixels. So far the camera has worked great what little I've used it over the last year so I am on the fence as to what to do.

Get some more details:

Determine who is going to be performing the service on the camera past the one-year date (Canon provides its own one-year parts and labor, provided you've bought from an authorized Canon dealer).

If you're assured that it's going to Canon service, then you might consider the warranty.

If you're told it's going to Hermline Electronic Repair in Kenosha Falls, Wisconsin (or some similar third-party outfit), then walk away from it.

In the USA, only the Canon service facilities in Irvine, CA and Jamesburg NJ are properly equipped to repair an XL1S. Any service contract not involving Canon directly is worthless.

As an example of an extended warranty that does work very well, is the nationwide retail chain Ultimate Electronics. They interface directly with Canon service for their extended warranty. Hope this helps,

Extended wararnty is really a pre-paid maintenance agreement rather that a true warranty. Consider it a form of insurance, and like insurance, the seller and the insurance company usually make the money (especially the seller). Most individual buyer net a loss, but the few who have major covered problems may make out. IMHO: In the long haul it is not worth it averaged over many items. It may be worth it if you can afford the price of agreement but would have a problem comming up with the money to pay for a unextected repair, or if know that you are an unlucky soul who routinely has gear fail shortly after going out of warranty.

Chris' make good points. Historically a lot of folks have been left holding worthless agreement certificates when a fly-by-night outfit folded its tent, so research the provider carefully to be sure you are getting an agreement from a company that will be around 3 years from now.

Also, it is three years beyond the end of the Canon warranty? or three years from when you bought the XL1s, meaning effectively only two years? Other factors to consider are turnaround time, loaner gear, pickup and delivery, and arbitration of complaints/disagreements over coverage.

Anyone familair with the AG-DVX100?
 

Ive been looking for some comparisons to the Xl1s. Has anyone worked with this camera before?

the camera hasn't come out yet. It's not due to ship till Oct. 10th.

XL1 Monitors in the UK
 

Do any of you have any good name XL1 accessory dealers in Scotland or United Kingdom.

Im wanting to buy an attachable viewing monitor for my XL1.
I have noticed the 5" nebtek monitor on this site, but i cant seem to purchase it from a delaer in the UK. Im not too sure if Nebtek will send me one over from the US.

or is there any other good attachable monitors available in the £300-350 mark - around about $500 that i can purchase in the UK

Hi Scott,

try John at JMC Video, I think he also does second hand units.

john@jmcvideo.co.uk


Good luck
Andrew

XL1 UK Club
 

Does anyone know if there is a UK XL1/s users club yet?

I don't believe that a club has started yet. Some post here http://www.dvinfo.net/conf/showthread.php?s=&threadid=2948 have some interested owners as well. Sounds like you might have to team up and start one. Good luck.

Jeff

Connecting Azden WMS-PRO Receiver to XL1
 

Hi folks

I'm planning to purchase the Azden WMS-PRO to use on my Canon Xl1. I notice that the output plug from the receiver is a miniplug. I have an MA-100 attached on the XL1. Where on the XL1 do I plug this miniplug? Or will I have to purchase a mini-to-XLR converter so that I can use the MA-100? Or a mini-to-RCA and use the RCA jacks on the handle?

Thanks

Not being a WMS-PRO user you'll have to take this as somewhat speculative. But if it has a mini plug connection I would think that you would plug it into the Mic port (towards the camera's head) where the standard XL1 mic normally attaches. Note that there are two ports there. One supplies power to the standard mic and the other is a standard mini plug audio connection.

You could also get an RCA adapter to use one of the audio ports on the back of the handle. In general, my philosophy is to use the fewest such adapters as possible to keep the signal as clean as possible.

Check the specs on the receiver. Some Azdens have balanced output, and if you use a stereo cable to connect the output to a camcorder mic input jack, you will get left and right channel out of phase, a potential problem.

The approach I use is to is to use a RCA-to-Mini phone mono patch cord and connect that directly to the left (or right) channel of Audio 1 input. I can can copy the audio to the right channel in post if I want to.

Black frame around entire picture in frame mode
 

I recently imported some footage I'd shot in frame mode into VV3, and noticed that in addition to the black bar in frame mode along the bottom of the screen, there is now an additional one on the top and sides, creating a black frame on the picture.

I looked at some footage shot in regular 60i, and there's a smaller, but still present black bar on the bottom, and on the left side, the very edge looks a little funky, slightly brighter than the rest. Right and top are normal.

What's going on here?

This issue is discussed in pages and pages of detail at this thread:

http://www.dvinfo.net/conf/showthread.php?s=&threadid=1743

Long story short, the black edges are well outside of the TV-safe area, therefore for most folks it's not a problem. If you're doing video for final viewing on a computer display, then you should crop the image down to the TV-safe area (which is always a good idea regardless).

Much more in the thread linked above. Hope this helps,

Thanks Chris. . .but once again I've must've hit the retard button when I woke up. I somehow adjusted the track motion just enough to create that frame, but not enough so that I knew it wasn't some camera problem. Live and learn all that.

For monitors:

First of try the sponsors of these web pages:

Varizoom now deal in the UK, web: http://www.varizoom.com/uk/index.htm

No luck with them try:

Ntrac, web: http://www.ntrac.co.uk/ - I bought my 5.6inch monitor from them whole pacakage £320 (Monitor, battery, mains, bracket to fit on camera, charger, audio video cable and desk stand)

Or

OpTex: www.optexint.com or www.xl1s.com

Hope this helps,

Ed Smith

looking for examples of different lenses!
 

I remember seeing a website that showed the differences in lenses, how a 14x looked zoomed out all the way and how a 16x looked and whatnot.

One was a picture of a construction worker on a scaffold I believe

It may have been examples of a wide angle lens comepared to a regular and whatnot.

can somebody help?

I'm not familiar with the page you're describing.

As previously pointed out, there's no real difference between the 16x auto, 16x manual and 14x manual when they're zoomed all the way out at the wide end. The 35mm equivalent focal length of all three of these is approximately 40mm.

The 3x lens at full wide is equivalent to a 24mm lens in the 35mm photo world.

For more info, see Canon's lens guide page at:

http://www.canondv.com/xl1s/a_lenses.html

Plus my own "Guide to XL Lens Options" in the articles section of the XL1 Watchdog at www.dvinfo.net/xl1.htm

Also on the Watchdog is a review of the 3x lens which shows some comparison shots with the standard 16x. Go to the Watchdog > Artcles Menu > Lens & Optics to locate this article.

That's the best example page I know of. If somebody out there has the gear and would like to provide a new set of comparison shots, I'll be happy to add it to the Watchdog.

This is about as full an answer as I know to give you. Hope this helps,

telephoto lenses
 

telephoto lenses
Hi i am writing a paper for my film class. I have to pick out a scene from the purple rose of cairo and say what type of lens is used in the shot. I picked a shot where cecilia goes inside the movie and is sitting at a table while the party is going on. i am confused as to whether or not this shot uses a telephoto lens. The foreground is clear as well as the midground, but the background is blurred. Also Cecilia is very prominent in the frame. I was wondering if someone could help me to figure out whether or not this sounds like it is a telephoto lens shot.... perhaps someone could help me define the characteristics of a telephoto lens shot or direct me to a website. thanks a bunch.

Most basic 35mm photography books (available at your public library) will show examples of different lenses and different lens to subject differences. That should answer most of your questions. I don't think I can answer your question without the images from the movie in front of me. Sorry.

Jeff

anamorphic
 

it is not clear to me how much difference there is in image quality between shooting with an adapter and cropping in post, then blowing up to film. Has anyone tested the difference? If there is not a huge difference, it seems as though cropping is the best solution for a difficult situation. The adapters seem problematic in several ways: 1. shortened zoom range. 2. difficulty of composing with a stretched image, rather than the actual format. 3. having to render the widescreen in post (final cut 2) 4. added weight, cost, etc. Does a better solution exist?

shock mounts
 

I am an XL1 user who owns an Audio-Technica 815b microphone. I would like to purchase either the AT8410a or AT8415 shock mount. Other than price, microphone size accomodation, and clamping alternatives, what are the major differences? Does one work predominately better than the other?
Since I plan to use it mainly for boom operation -but, would like the option to occasionally stick it on my camera - could someone please pass on a suggestion?
Thank you.

"Does a better solution exist?"...Yes a native 16/9 camera. Anamorphic lenses, (have bee used in projection too) are , optically spoken, a mix of difficult to take/combine tradeoffs. aberations,reduced zoomranges...The future (for the widescreen believers) is native 16/9.

By virtue of the smaller size, lower weight, and additional attachment alternatives the 8415 may perform better on camera and be more convenient for field use. Performance spec (vibration damping) is rated the same by AT.

Hey that's tomorrow!

Hi.
I found useing about 20 cents woirth of black electrical tape works very well.
It is just soft enough to let the XL-1 (s) mic holding part grip it firmly.

Bruce

Mounting Bracket
 

I have need for some kind of a mounting bracket. I have
Canon XL1 with EF lens adapter and then Canon 100-400mm
telephoto lens. Problem is how to best mount this on a tripod.
Camera weighs about 4 pounds, lens about 5 pounds and
need something to balance them on the tripod. Hard to focus
on wildlife with constant adjustments to the tilt, then weight
of lens wants to pull setting down when camera is mounted
to tripod. I read a previous thread from U of M professor who
mentioned rigging some kind of a bracket. How to do this?
Dave

I had to make my own. Well, not me actually. I took my camera and lens (EOS EF 100-400 AF) to a machine shop and explained my situation. We discussed several possibilities and I left it up to him to design. He had me come down and discuss a few details and give him the quick release to my tripod (Vinton). The design was brilliant (probably because I didn't have much to do with it) and allows for the camera to adjust forward and back over a greater range. Stability is noticeably improved. The total cost was around $100 for the materials, design time and all.

Jeff