Don't forget that you need 1Gigabyte of hard disk space for every 5 minutes of DV footage captured into PC.

There is a good magazine called Computer Video which is based in England, but you are still able to get it in America, which has every thing you need to know about desktop editing and DV.

URL: http://www.computervideo.net/

But as Chris says, we need to know what platform you are going to be running it on.

Ed

Flicker in PAL images in US
 

I found flicker in my PAL video image which I created with XL1S PAL.

All the outdoor images and indoor images with a strong halogen
lights are OK with no flickers.

The images under florescent light, or a weak 75W tungsten
bulb show some flickers.

It is the PAL problem, not XL1's.

PAL has 25 fps vs NTSC's 30 fps.
In lower frame rate, you can see more flicker.
Film has even lower 24 fps.
Power cycle of 120v /60 is also contributed to flicker in US.
Europeans watch TV as much as americans do and they don't
complain about flicker. Their power is 220v/50

I am not an video expert, but I can see PAL images have more details and better color representation comparing to NTSC images from XL1S NTSC.

I can view PAL images on Adobe Premire with some image degradation and the $460 13" JVC TMH 1375SU multi-format monitor with no image degradation.

Most people in US would not want all the hassle to deal
with PAL image, such as buying a PAL monitor and converting
to NTSC in which the video quality is degraded somewhat.

This is my hobby and I don't need to convert my PAL image to
NTSC. I would give my PAL image to my friends in AVI, or Quick TIme format. Computer monitor handle both PAL and NTSC.

Framerate?
 

If "frame" is chosen as the movie mode- must we modify the capture rate in our DV editing program to 30 fps or leave at 29.97?

(I read somewhere that "frame" uses 30 FPS- just want to see if that was rounded out for advertising reasons.)


Proud XL1S owner.
Final Cut Pro

Hello Steve,

No, the frame rate of the XL1s (and most other video cams) is set. In North America under the NTSC standard that actually works out to somewhere around 29.97 fps. The "frame" mode of the XL1s specifies that the camera will capture full-frames as it shoots those 29.97 fps, rather than interlaced frames. Nevertheless many XL1, XL1s and GL1 shooters generally prefer to leave the camera set to frame mode as it is often a more pleasing image.

Good luck and welcome to the proud XL1s owners' club!

As noted the frame rate is 29.97 for NTSC. It is not 30 because for color, 29.97 eliminates soem potential interference between boradcast signal components that would happen if it was precisely 30.

Frame mode on the XL1 captures the whole frame at one instant exposure (1/60 or faster) and then sends out the fields (odd and even lines) out in normal interlaced mode.

There is some interpolation going on, a sort of vertical pixel shift, as well, which accounts for the slightly reduced vertical resolution when using frame mode.

Life expectancy of XL1
 

I am looking at some used XL1's. What is the life expectancy of an XL1? How often should it be serviced? Thanks for the help.

I'm rather somewhat insistent that these cameras be sent in to Canon Service for cleaning and tweaking at *least* once per year. As far as life expectancy, no one can say because they're still going strong. The internal clock goes up to the year 2020, which is refreshingly optimistic on behalf of Canon. Life can be as short as the five-foot drop to concrete, or as long as tender loving care provides.

Upon buying used, your first action should be to send it in to Service for an oil change.

The old Canon Hi-8 A1, L1 and L2 (now those were the good old days) had problems with leaky capacitors at the end of their cycle. But technology has changed since then. Take proper care of your XL1, and hopefully the biggest problem you'll have late in its life is finding DV tape for it, after we all switch to a disc-based or drive-based consumer-level High Definition video format (anybody want to guess when that will happen). DV's got plenty of good year(s) ahead, in my opinion.

For all pragmatic purposes, the life will be limited by availability of repair parts, which usually is assured for on the order of 5 years after it is discontinued. Beyond that it is hit or miss. In some cases makers will sell their parts inventory after 5 years to a third party repair shop. The XL1 and XL1s may share some, but not all parts.

Head life is what, 1000+ hours or so, followed by a significant head replacement charge. What it is, several hndred $.

Of course, repair cost can be an issue, and there is the temptation to get a new camcorder with all the improved bells and whistles.

Wondering about XL1s steady cam like feature
 

Was wondering, about XL1s....the option to steady the shot, how good of a feature is it on the camera, sure it wont replace having a tripod for you, but does it take care of uneasy handheld bumps?

just wondering..

Steadycam Feature?
 

I've got the XL1S and they must have forgotten to include my "Steadycam like feature" or maybe I just haven't realized one is there.

If you are referring to the optical Image Stabilization, it works quite well. But if you are thinking about the small flip-down shoulder support, well I guess it's better than not having anything at all. It really just offers a way to steady the aft end of the camera but does little to support any weight.

Ed Frazier

It's Canon's famous Optical Image Stabilization, which is used on professional Canon 35mm EOS still photography lenses, Canon broadcast video lenses, and other higher-end camcorders such as the Canon GL1 and Optura 100MC. Some other companies have a license to use it; Sony calls it Super Steady Shot but it's still Canon technology.

The O.I.S. is no replacement for a tripod, but if you're careful to hold the camera as steady as possible, it will help a great deal.

.
 

That's why I'm asking. I've done a fair amount of close up work and never seen a need for macro lenses...either on the standard lens, or the new 16x manual.

Just wonder if I'm missing something.

Mike Avery

Macro lens
 

Macro lens (close up adapter) is nice for shooting full frame views of small stuff (e.g., an inch on a side) when you still want some stand off room so you can light the suject. While you can get real cose with the XL1, it is at the wide positions and you end up right on top of the subject. With a +2 close up adapter you can get 35mm negative size objects in a full frame from around 16 inches or so.

First and last 3minute..Tape Problem??
 

I always had a jumping Video/Audio problem at the first and Last 3 minute with Mini DV Tape.

I think it might be my Xl1 has a tension problem.
I'm using Sony Mini DV Tape.

I want to hear if any recommandation before bringing it to Canon AS.

Try fast forwarding a new tape all the way to the end and rewinding it completely before the first recording. This will properly pack the tape and ease the head tension. Might help your problem. Good luck,

XL1 isolator problem
 

I had my camera serviced recently and I had to replace the EVF cable because my SI-XL1 Isolator attatchment caused alot of strain on this cable. I asked Canon to give me a longer one but I guess they can't as they're probably pre-made. I hope it won't happen again as I hated shaking the cable until the image worked properly! Anyone have this problem or a solution?
Thanks....

used EOS lens adpt on XL1?
 

I am a semi pro stills wildlife photographer who is thinking of getting into DV with a 2nd hand XL1 (no point dragging it round if its not broadcast quality) so that I can use my professional Canon lenses, apparently the 500mm becomes an incredible 3,600mm lens. Has anyone any experience of using these lenses on an XL1? in particular, I have a 35-350mm lens and wondered if it had the same problems that the standard zoom has with holding focus when zooming? I am planning to use it mainly from hides and I already use a Manfrotto 501 video head (without a 75mm ball) for my big lenses, which is handy.

XL1S Manual Lens Kit?
 

The XL1S has been out for six months now.

Anybody know if Canon have made any plans to release a XL1S + manual lens kit - just like they ended up doing with the XL1?

Nielzen

Focal Length
 

Right now I'm attempting to figure out a way to calculate the depth of field for the XL1s camera. Rather than trying to understand how this CCD stuff works and find a circle of least confusion for it, I've decided to find the 35mm equivilent of the focal length of the lenses.

I've tried several seemingly logical ways to find the ratio, but none seem to work. In the manual, more specificly the section on the EF adapter, it states the difference between the CCD and 35mm film is 7.2x.

I never trust manuals, so I'm here to ask people who have been doing this a while how accurate this is. Would this mean that the standard CANON 16x lense with 5.5mm-88mm focal lengths is the equivilent of a 35mm camera with focal lengths 39.6mm-633.6mm?

I would much appreciate it if someone could clarify this for me.

The 7.2x factor is for field of view, not depth of field. And Canon spec for the standard 16x lens gives its 35mm equivalent as approximately 39mm-624mm.) Of course, field of view must be tempered by the 4:3 ratio of video as opposed to the 3:2 ratio of 35mm stills.

Believe that the depth of field is what you would expect with the corresponding focal length lens and aperture, no matter the format.

Nielzen,

I don't know if Canon will or has come out with an XL-1s with manual lens, but there are retailers who will sell you the body with any lens. I just bought an XL-1s with the 3x lens from ZGC - one of the sponsors of the Watchdog. Check them out. They are in the US and you are in Denmark but their prices are reasonable and their service is excellent. www.zgc.com

Shooting PAL vs. NTSC
 

I'm shooting a film (probably using the XL1S) and want to get as close to a film "look" as possible. Do you have any thoughts about shooting PAL? In his book "Digital Moviemaking," Scott Billups makes some good points about the benefits of 25 FPS, higher resolution and color space of PAL -- but his book is mainly about shooting in DV and then printing to film. We won't be printing to film -- we'll distribute on DVD and Beta SP (NTSC.) We're editing on a Media 100 XS. Given that, do you still see a benefit to shooting in PAL?

Xm-1?
 

In his book "Digital Moviemaking," Scott Billups talks about a Canon XM-1, which he says is the PAL version of the XL-1 that "lets you shoot in 25fps, progressive, and has an anamorphic setting that actually compresses the image horizontally" so that you can get true 16:9 images. He references Canon's www.canon.co.uk site, but the XM-1 they show there appears to be the GL-1. Does anyone know about any version of the XL-1S that offers an anamorphic setting, rather than the 16:9 cropping that the standard model does?

Scott Billups makes very, very few errors but unfortunately he is mistaken about the Canon XM1. As you have discovered, the XM1 is the European designation for the Canon GL1.

The PAL version of the XL1S will be available soon in the USA (since it's about to be popularized in Canon marketing ads about Steven Soderbergh using one to shoot his movie). How it will be designated, re: model number, I'm not sure.

There are two ways to shoot in 16x9 with the XL1S. One is to shoot in normal 4x3 mode with the 16x9 cropping guides visible in the EVF. The other way is to switch to the electronically derived 16x9 widescreen mode which will cost you some vertical resolution.

A third way will come when there's a viable optical solution in the form of a 72mm anamorphic adapter. Optex has one that works marginally well; I understand Century Optics has one in development.

Answered your copy of this question in the General DV Discussion forum -- please don't double-post like that -- we can resume this conversation under that other thread. Thanks,

Automatic focus does not work on EOS lens with the XL1. So you'll be manually focus and zooming. To answer your question, zoom all the way in with your EOS lens and set focus. Everything in the zoom range will now be in focus.

From what I hear, the new EVF cable that comes with the XL1S is a bit longer. You could always make a short EVF extension cable out of Canon replacement parts. I agree it can be a problem.

Promax real-time card?
 

Has anyone heard any news about Promax releasing a real-time card? I read they had one in the works and it would offer uncompressed capability as well. I was thinking about getting the RTMac card but will hold off if the Promax card is real.

lenses
 

hey, i have been shooting with the xl-1 for the past few years and have decided it is time to move on from the standard 16x lens it comes with to something manual. i would like to treat this xl-1 more professionally, see what i can get out of it.
does anyone have any suggestions?

Check the XL1 Lens options article on the Watchdog, it basically says it all.

Syncronisation
 

Hello,

I want to do a several camera shoot for a school choir. Is there a possibility to connect several XL1 cameras to syncronize their timecode or will I have to use external recorders and a timecode generator?

Thanks,

Björn

We always just shoot each camera individually and capture the complete tapes individually. Once in the computer, it is a simple matter to get the tapes in sync. Just find some point where something specific happens and sync to that point. Some examples could include:

Camera Flash
Someone coughs
Start of the shows music

(Sound usually works better for syncing than visual events but a camera flash can get you very close.)

Once the sync is close, we will then play the sound of one tape with the video from the second tape and verify the lips are in sync. This frequently requires some fine tuning of 2 to 6 frames. Once these two are in sync, repeat the process for the third camera. We always sync to the sound we plan to use - frequently from an external microphone or direct feed from the sound board.

There is really no need to go to the expense of external device and the inflexibility required by laying down cables.

Nikon AI to XL Adapter
 

Has anyone used this adapter?
Optex also sells this one and it is a lot cheaper than the Canon EF adapter (which I would also like to know more about).
Any info is appreciated.

I Like The Bogen 3502 Ball Leveler Adapter
 

I just got the Bogen 3502 75mm ball adapter and paid about $72 delivered. Sorry Chris, I tried using ZGC but they said they did not stock them.

Anyway, if you are on the low end of tripods and heads, I really recommend this bad dog. It works fine Bogen 3221 sticks and at $65 makes leveling a snap. It is very rugged and easily supports an XL-1. My only regret is I did not have it when I was shooting from the Lion's Gate bridge in St. Augustine!

You may have to look around for it though. I know when I was in Pheonix last year looking for such a device, the camera store (which was very well equipped) they never mentioned anything about it.

Happy Mardi Gras,
Nathan Gifford

digital photo mode / frame movie mode
 

I am curious to know what you XL1s owners think about the XL1s' photo mode and frame movie mode. How does the camera perform in capturing a single frame at a time?

Any and all input is appreciated.

Scott

Photo mode is a freeze-frame for 6 seconds with sound. About 704x480 pixels. Good for web sites and informal newsletters.

Frame movie mode if you want video that approximates the temporal feel of film.

Each mode has its place, but is not a substitute for a digital camera if you are looking for high quality, enlargable stills.

XL-1 video noise during slow frame playback.
 

XL-1 Community

I edit with the XL-1 in Final Cut Pro 3, I noticed during Log and Capture mode I see video artifacts in the capture screen on the video being displayed (On the Mac). Occasionaly small multi colored video lines appear in the top of the screen. The recording modes all work fine, It is in the freeze frame mode where the computer is actually sending the Jog commands to the camera, where I see this anomaly. I thought my recording head might be dirty. Has anyone experienced this?

Thanks
Dennis

I don't think that is anything to worry about. DV is not known for its ability to change directions smoothly and play backwards and forwards in multiple speeds without a hitch. If it just happens when your are "searching" the tape at higher or slower than normal speeds and when you change the direction of the search on your tape, then I wouldn't be worried.

Now please send me a free copy of Final Cut Pro 3. I have FCP2. :)

How do I clean the XL1s - body, lens, etc.
 

I just came from the caribbean on a shoot and want to know how to clean the XL1s - body, lens, etc. It's not visibly dirty, but there was a lot of dust in certain areas. What is the best way to clean the lens under normal circumstances? Also, is there some type of camera cover that can minimize dust and dirt accumulation?

Any thoughts would be appreciated?

Gilbert Labossiere

Hi Gilbert,

I often shoot in extremely dusty conditions and use a PortaBrace rain slicker to protect the camera. So far it seems to be doing a very good job. There are other solutions discussed elsewhere on this forum that you might want to consider.

I'll let someone else address the best cleaning methods since I could use advice there as well.