Peripherals
 

Just wondering, what kind of accessories are out there for the XL1?? I am familiar with the usual suspects (viewfinder, lenses, adapters, etc.) But what are some of the "unknown" peripherals that compliment or enhance the XL1s performance?? (i.e. matte boxes, filters, things of the like) What are the must have "unknowns??"

Chris, search these topics, because volumes have been written on matte boxes, filters, focusing aids etc. There are articles on the XL1 Watch Dog (part of the DV Info Network) that go over accessories too.

Thank you. I'll check it out.

Argghghg, all right, one more time guys. . .setup?
 

Okay, so I've been to the Adam Wilt site, and read some threads on here, but the setup thing still confuses me.

What the deal is, is that digital cameras DON'T add setup, right? So you actually get a wider contrast range, due to the lowered blacks, then you are capable of broadcasting on NTSC, right?

So, if I use the XL1s' presets to lower the black level, say, two notches, will this negatively affect me?

We already have a thread running on this subject here, so
I'm closing this one.

But basically, see it like this. In the standard setting (which is
broadcast SAFE more or less) the camera is NARROWING your
available bandwidth / contrast. You are not getting the whole
range. If you lower setup you get a larger dynamic range, but
it won't be NTSC safe anymore. Is this an issue? That depends.
When going to DVD, VHS or web it shouldn't be a problem. If
the tape goes straight to a TV station it might (although they
can compress it there too realtime I think, not sure).

Animal Planet
 

Did any of you catch the new show on Animal Planet last night (20 Jan)? It takes place in Africa and all the wildlife shots are done with the XL-1 and G-1.

UK: SinCities on FTN
 

If you happen to have FTN (comes with freeview, sky etc) look out for the programme 'Sin Cities'. I think it was entirly shot on the XL1s.

(WARNING- THIS SHOW CONTAINS MILD ADULT FOOTAGE)

Need some good points to justify using XL1s over DVX100 for meeting today
 

Hi all,

I work for a company that shoots a news show and uses 3 Canon Xl1s. We have been instructed this year that all shows will be delivered in a 16x9 format. The main company is moving to HD. They have not required us to do HD (as they do not want to pay more for the show). Actually they are not currently giving us anymore money, so this puts us in a bind. We shoot all over the world on an extremely tight budget (sometimes almost impossible).

To cut to the chase they did a upconvert of our show to HD from our 4:3 master (protected for 16:9). They liked some scenes but saw artifacting in others. Curse of 4:1:1. Unfortanetly the show is shot in frame mode (oh makes it tougher), great picture (reduced resolution). The frame mode look is part of the style of the show. Plus the Canon is professional looking, detachable lens, camera. Gives us more respect and happy shoulder mounted camera men.

The big company is now talking about us using a DVX 100 (requiring unless we can show why the XL1s is needed). I suggested the SDX 900, but unfortanetly it comes down to no increase in pay, which means no way for that beauty of a camera.

So if you were me and wanted to put points on the table for keeping the XL1s, as opposed to the DVX100 what would you list. I have made a list but I want to make sure I got everything for my boss when he goes to the meeting tommorow in the afternoon.

I truely believe that for many reasons this is the best solution when no further pay (budgets tight with all companies now-a days)is availble.

Also we have started shooting so waiting for the mythical XL2 coming at NAB is to late.

Thanks

Michael

P.S. Already used a 16x9 adapter, it limits us on the adapters we can use on the lens and does not work with style of shooting.

You already own the Canon's. That should be a pretty good
point, I'd say. Keep in mind that the DVX100 is still 4:1:1 DV,
so if they are complaining about compression / color space
artifacts then the DVX100 should have it too. Also your crew
has the experience and knowledge to operate those camera's.
With the DVX100 you will need to learn a new camera. And it
definitely isn't shouldermount ofcourse!

From your piece about shouldermount I figure you guys have
invested in some/quite a lot of accessoires. Those will be wasted
on the DVX100 as well and you will have to buy new things if
you require additional stuff.

Voiceover ME66 or Senn 100 wireless?
 

Voiceover ME66 or Senn 100 wireless?

Any suggestions as to which would sound better? I have some acoustical foam in the room I'd be recording in that softens the sound some & has made a big difference.
I'd also take this as advice for any interviews in the same space.
Thanks, Chris.

For a voiceover you want as clean a clear a mic as possible. Generally a lav and wireless in particular is used when another mic can't get close enough to the subject. I would try the me66 first. Stand away from any walls, but with your back to ward the corner with the most absorption. Put the mic a little above your mouth, to avoid breath, but so that it points toward your mouth and this dead corner. You'll want it as close as possible, while avoiding any breath and the over indulgence of proximity effect. I would use your wind protection to avoid t's and p's blowing into it. {unless you only have a full blimp, it might make it hard to read}

In an interview, you may not want a mic six inches from your subject.

Adapter to hold two BP-945 batteries
 

Hi all

Is there such a thing that will hold two of the above batteries on an MA-100?

Thanks
Donie

The device you're looking for is known as the CH-910. It can hold two batteries, can be used to charge the batteries and can be mounted on the MA-100's plate.

White noise over headphones
 

Hi all

When I listen to the sound with manual gain (happens in auto as well) and I have the volume fairly high (70%) I can hear this hiss noise that is amplified if I increase the volume.

I plugged out the mic to see if it's coming from the mic but it is still there (no change) when the mic input is disconnected.

The sound is similar to a anologue tape drive. Just low level white noise.

Is this normal? Will this effect my recordings?

Donie

thanks
 

thank you, just bought one on ebay for $138

regards
donie

You are hearing the noise floor of the preamps. All preamps have an noise level. Earphones close couple the sound to your ears and make it more apparent than normal listening with speakers. With the XL1 it is typically more than 60- dB below peak record levels at the mic setting. It will not cause a problem for typical program material and applications.

If you need lower noise floor, try MIC ATT or line input level settings and use higher quality (read expenisve) external preamps, or swtich to separate professional audio recording systems.

Noise
 

Ok, thanks. It seems awful loud but I will do a few more experiments to see if it's going to effect recordings.

Thanks for the help
Donie

Thanks Martin, but I just found out that a close friend got a digital recording set up + a very nice mic (don't know what kind) so it looks like I've got a much better alternative. Chris

B&H has used 3x
 

Just did my weekly visit to their web site to visit my "wish list" They have the 3x used for $899. I've ordered one so don't know how many are left. If your looking for a place you can trust I'd recommend B&H (after all that's where I got the XL1S from).

so this is what they call the 'dark side'. got me xl1s finally!
 

been playing around with it, it's a neat little thing. v. expensive but i honestly think it was worth every penny. briefly flipping over the manual i notice there's a setting for field of depth. will this truly give you a 35mm look? i haven't had time to experiment.

Congrats on your new XL1s. For depth of field information, go to articles and click the DOF Skinny link.

thx. =).

Expensive repair for hot pixel!?!
 

I sent my XL1s into the Canon Service Center last week because there was a hot pixel which was showing up on the video. I got the estimate from them today to fix it - close to $900. They say they have to replace the CCD - appx $400 for parts and more than that for labor. Has anyone run into this problem before. Is there any other solution? I had read somewhere that some pixels can be mapped to an ajecent pixel.

Anyway, I just think $900 is a lot for one hot pixel. Just making sure I'm not getting ripped off when there is another solution (besides only shooting in bright light situations). The camera is no longer under warranty by the way. Thanks for any input!

Annie Cheatham

white level for polorized filter
 

Should I be setting the white level for my XL1s manually when I use a polarized filter or is it ok to just use the auto or sunlight setting when I'm shooting outdoors?

Using the daylight preset white balance when using a polarizer will be fine, Phil. (I don't recommend ever using the Auto white balance feature.)

Thanks Ken - I think neglecting to set my camera to daylight might have been my problem in a few clips. I can fix in post.

Canon XL 1SE and accessories
 

Okay, this may be a dumb question, but here it goes:

Is the only difference between the XL 1S and XL 1SE just that the SE is PAL? I am thinking of getting the SE (for the better resolution, and closer to flim fps), and I want to know if I would have to get accessories from Europe or if I could use accessories made purchased in N. America for the XL 1S (i.e. lenses, MA-100 or MA-200 mounts).

Also, anyone have any good recommendations on where to get an XL 1SE?

Thanks all!

The "E" designation is not part of the standard Canon model nomenclature, but might be used by some advertisers to designate a PAL system (European) version. Although Canon's model number system is different for every other PAL camcorder than make (for instance, the GL2 is the XM2 in PAL system countries), the XL1S is still the XL1S according to Canon.

Many shooters in NTSC countries prefer using PAL system camcorders for the exact reasons you state (higher resolution and 25fps). Most all XL1S accessories are interchangeable between the NTSC and PAL versions, including lenses and XLR adapters.

There are no authorized Canon dealers in the U.S. that can sell the PAL version of the XL1S (the sole exception might be B&H). However any Canon dealer in Australia or England (or Europe) would probably be happy to sell one to you. Keep in mind, PAL system camcorders are not serviced in the U.S. Hope this helps,

mic help!
 

Hi guys, been a while, but I've got a few questions that I really need some quick answers on.

I bought the sennheiser wireless mic set for my camera. At the moment, the camera isn't picking up anything from the wireless mics. So I thought, ok, maybe I just need to play around with it.

So, to make sure the mic input was working, I took a mic and via XLR, plugged it into the MA-200, like I've done so many times before. For some strange reason, the camera isn't picking up the wired mic. No matter which slot I plug it in to.

I'm going to consult the book, maybe I hit something, and since I didn't think I changed anything for quite some time, I probably forgot how to properly set up the camera for another mic.

Anyways, I was hoping to get some help from you very smart people, in what might be causing this, and how to remedy the situation. I'm going to be needing the camera this coming weekend.

Thanks

Many things might not be at the correct setting. Things to check:

Connected to audio input (e.g., Audio1)?
Power connector for MA200 connected?
The audio source selected (e.g., Audio1)?
The audio source set to the proper input sensitivity (mic or mic att best for the MA100/200)?
If manual gain, set to a resonable level.?
Monitoring system (earphones?) gain above zero (watch for indication on meter)?
Earphone jack/meter set to monitor audio source of interest (e.g., ST1)?

I had the same problem with mine.

Everything was plugged in correctly and it still did not work.

I restarted my camera and it all worked fine. Donno why.

audio on to xl1 by means of other cam
 

I will be doing a shoot with to camera's One broadcast camera Ikegami HLDV7 and my trusty old xl1. I want to record the audio from the Ikegami on to the tape of the canon. This might save me a lot of time then doing it in the edit. My knowledge of audio on to the xl1 is slim. Is it possible, will there be any delay problems or later on in the edit? Do you know of any practical setup? I have done this thing with broadcast camera's only so I want to know if the canon can chip in. The timecode lock will not be possible because i think you cannot "slave" the canon. Does this have practical consicences for audio lock?

greetings to you all

What a difference a day makes
 

Well today has arrived the 7" teletest monitor and the vari zoom VZ Pol L, and what a difference, The focusing is now so much easier with the LCD, And with the elimination of movement when zooming and focusing the footage is rock solid, I should have got these a lot earlier. I cannot recommend them enough (No I don't work for them) I hunted around and found in an old second hand camera shop a hotshoe extender bar, with 3 hotshoes on it, So I now have the mic, floodlight and LCD on it, weighs a ton now, best nip down the gym for some weighlifting. These items were purchased after advice from some of our readers, thanks to them this site is priceless

Regards

Jed "Happy little bunny now" Stone

I think people dont understand my question. Is it possible for the canon to record audio from another camera WITHOUT a mixer to give line out?. I think it is not possible but need to know for sure. I cant do a test because I dont have the other camera yet. anybody?

There are some differences between the XL1 and XL1s, the XL1s has a few more audio-related features.

The XL1 can record audio from a consumer line level source (e.g., -10 dBV) or mic level sources via the Audio1 input during original capture. It is not configured to allow audio dub later.

I believe that the XL1s model does allow audio dub latter if you used12-bit, 2-channel audio recording mode during original taping.

Sony UWP-C1 wireless mic,,,Please Help
 

First, Thank-you for taking your time to read this note.
I have the Canon XL1S and also got the wireless Mic Sony UWP-C1 and not able to get a sound on the camera, I have read the instruction a thousand times, but they sound like chinese to me, Sorry, but I'm new on this camera, if some one could help me telling me the exact setting that I should use on the camera,, I'm planing to use both mics, the one that the camera has, and the wireless, please, I will appreciate any help.

Thanks.

It depends on how you use your system. If you are using 16 bit audio mode you will need to switch to Audio 1 and connect your mic to the audio 1 inputs.

12 bit audio reduces audio resolution but allows you to use 4 audio sources simultaneously. You can then use the on board mic and run the wireless into audio 2 inputs. Be aware that not all editing packages will allow you to use 4-track (12 bit). However, there is a package called Scenalyzer that will let you merge the audio with most NLEs.

XL1 and light meters...
 

Is there a way to use the Sekonic Studio Deluxe II L-398M light meter with an XL1s?

If we assume 1/60 shutter speed and 30 fps frame mode, it would mean an assumed shutter speed of 180 degrees. I believe.

But ASA/ISO = ?

XL1 ASA rating, part 1
XL1 ASA rating, part 2

Also see these threads:

http://www.dvinfo.net/conf/showthrea...threadid=17351
http://www.dvinfo.net/conf/showthrea...&threadid=4913
http://www.dvinfo.net/conf/showthrea...&threadid=4166
http://www.dvinfo.net/conf/showthrea...&threadid=2852

Please take the time to read through this information, thank you.