Maybe the firewire cable broke the firewire on your camera. I had this problem recently, 1 of the 4 pins in the cable was bended en broke one of the four pins in my camera and was therefore unusable

Do you mean Vegas Movie Studio?

I use the full version of Vegas, but I assume that VMS has audio envelopes too. This is what you want to do. Select the track in question and go to "insert / audio envelopes / volume." A purple line will pop up on your audio track. Double click on it to add points, and then just adjust as needed.

Zebra Stripes (The Meaning of IRE?)
 

Once again I come along to show the vast ignorance that I have when it comes to digital video.

I play it safe always so I would like to know in simplest terms, several things.

1. What is IRE and what so the numbers (80, 85, 90 ect.) mean to me?

2. What are my options to fix the stripes without messing up the rest of the picture?

3, What is the best setting for the Zebra stripes?

I am shooting it Black and White, if this makes any differance at all.

I have about a year to plan but I want to get on it now and learn all I can so any help you could give me would be awsome.

IRE = Institute of Radio Engineers, now part of the IEEE. They were responsible for the standard.

It is an arbitrary unit describe the amplitude characteristic of a video signal, where pure white is defined as 100 IRE with a corresponding voltage of 0.714 Volts and the blanking level is 0 IRE with a corresponding voltage of 0.286 Volts.

For broadcast NTSC, black is 7.5 IRE, but most MiniDV camcorders set black at 0 IRE per the Japanees standard. Obviously electrical signals may go above 0.714 volts (100 IRE), and you get whites that are "whiter than white," meaningless in a normal video system, and prone to cause interference, especially with audio, in an analog broadcast TV system.

The zebra IRE setting is the point in image brightness (as read from the video signal) at which you see zebra in the viewfinder. The stripes are in the camcorder, not on tape, so ther is nothing to "FIX" otehr thatn perhaps adjust esposure to avoid blown out highlights where you see extensive zebra. Thus they can serve as a warning to the shooter of possible over exposure and corresponding blown out highlights. Use this as a guide to acchieving the image effects you want. (After all, maybe you want to blow out the highlight)

Experiment with IRE settings and shooting to find what works best or you.

Wind sock over the stock xl1s mic
 

Does anyone know what wind sock I could use to go over the stock xl1s on camera mic?

I was looking for something inexpensive such as the products by windTech.

Eric, I use Rycote Mini windjammer, see link:
http://www.bhphotovideo.com/bnh/cont...lue=366276_REG

I use it for my XL2 but it should fit perfectly for your XL1S too. I'm very pleased with it.

pitch of zoom gear on 16x manual servo lens?
 

As the title says, I'm figuring out the pitch of the gear on the zoom ring of the manual servo 16x lens. The larger Canon lenses seem to use 0.5M metric gears, and this looks close to that, but I haven't found a hard spec even on the included instruction sheet.

Thanks,

Eliot

Anamorphic lens and the old 16:9 issue I read about
 

Hi everyone I am new to the forum so please be gentle! ;-)

I own an XL1S and I have read through pretty much every post on this forum and on the net concerning the 16:9 issues (shooting with an anamorphic lens, true widescreen on XL2, etc...). However I don't think I've answered my question yet. Although I own it, I am not the operator for my films but I do the editing (as well as act, write and produce them).

THE HISTORY:
We filmed a feature 2 years ago with this camera in 4:3 but we framed for widescreen with the white bars that are activated through the camera's menu (I believe from what I read this is called "shoot and protect"?) and I added the black bars in post during editing. We also used the "frame mode" for a film look and then I tried to add a film look in post but that did not work (I'm guessing because it was already down to 30fps?).

THE GOAL:
I want to shoot a new feature and of course like everyone (and because I now own a 60" Widescreen HDTV) I really want to shoot widescreen. I have no intentions of transferring to film but I do want the film look and to make a widescreen DVD to distribute while keeping the best quality. My budget does not allow me to purchase an anamorphic adapter for now but not ruling it out either.

THE QUESTIONS:

I read about the widescreen feature preserving more vertical resolution, even if they aren't as good as using an anamorphic or a true 16:9 CCD. But no one mentioned anything about the format itself.

1) Putting aside resolution and that debate, does the widescreen function of the camera actually frame 16:9 correctly? Will I see a 16:9 image on a widescreen TV and be able to putput a widescreen DVD?

2) Do I absolutely need the Optex or Century Optics anamorphic adapter for the framing to be correct?

3) If I shoot and protect again, is there a way to still end up with a 16:9 image or create a widescreen DVD so that it won't output black bars on the sides as well as the top and bottom?

4) If I do purchase the anamorphic adapter, can I still use my 16X manual zoom lens or wide angle lens? Does this anamorphic adapter just go over these?

5) Can I mix frame mode with 16:9 or am I better of filming at 60fps and adding a film look in post instead?

Sorry for the long post and sorry if some questions sound stupid from a newbie. I just cannot find the answers to my quite simple questions!

ntsc and pal problem on website?
 

We in europe shoot on PAL in the states you shoot on NTSC. But for an american website it should not be a problem now would it? They can use pal material also or not? I think its not but just checking for sure....

greetings

pal and ntsc are telvision systems. computers don't work that way. (I believe)

I think you are right....but was just checking for sure...

greetings

XL1 Settings for interior smokey night shot
 

I am shooting a scene for a short film this weekend and I was wondering what settings people might suggest for the following:

Door opens into large room. Lighting is low and image is out of focus. Camera focuses to show large table with 8 people sitting around it. It is lit from a large over head light just a few feet above the table. Like a light over a pool table in a bar.
Camera cuts in to close up of table panning along top of table. Papers with lists of names and addresses are shown. Maps, ashtrays and half empty glasses of wine. Hands of people around the table are seen writing notes, smoking.
Camera draws back to show wide shot of table with backs of heads. Names and addresses are being read out and ticked off on sheet of paper from one of the people sitting at the table.

What I am trying to reflect is almost a film noir style. What I am interested in is peoples suggestions as fstop, shutter speed, gain, AE settings etc

Thanks

Unless you are trying to acvhieve a grainy feel, consider lighting well tp give a good, clean exposure but with give the shadows you want, then adjust in post for the brightness (darkness) dark effects you are seeking.

Canon 50mm F2.5 Macro /Ef adapter
 

Hi guys

Does anyone have any experience they would like to share about the use of this lense with the EF adapter? It seems like a good balance between quality and price.... I'm looking for a good macro setup for filming insects.

Many thanks

Mat

If you can afford a quality windsock, do it, because so may problems are eliminated.

If you can't and need one badly, make your own. What follows is not new information, and it will work unless you want to face 20+ MPH winds. Even then, the results are noteworthy. Here is how:

1. Find yourself a plastic water or soft drink bottle WAY bigger than your microphone, but one that has pouring spout that should be close, but not exact, to the diameter of your mic (as this area does need some dampening).
2. Using an electric soldering iron, burn hundreds of small holes in to the plastic bottle. Make each hole about 5 mm diameter. Burning the holes preserves the structural integrity of the plastic, which is very, very thin.
3. Next, purchase a small square of fake fur fabric, sometimes sold as faux fur. This fabric has an open weave backing which has acceptable accoustically transparent characteristics.
4. The whole point of the exercise is to create an air space around the microphone which has little to no movement of air, because THAT is what causes wind noise.
5 Allow time for testing you finished prototype so you do not have to do, as I did, advise that the "thing" in the wedding arch was indeed a microphone, and not a dead cat.

Hey guys.

Well I have this lens strapped to a EF converter.....and WOW! It is great, macro indeed !! and the quality is fantastic. The depth of field is very shallow but I've not had a lot of light available yet the close down a bit.


If anyone is interested I will post a few snipits soon!


Cheers
Mat

Xl Series
 

Thats the beauty of the Canon XL series...anytime a new lens come out one of us guys (or gals) can go pick it up and everything will be all good. The lens itself, isnt as great you'd maybe expect...at least in my opinion.

Removal of zoom ring 'peg' from 16x Manual Servo lens?
 

Hello,

I'm working with a 16x manual servo lens. I built a geared mechanism that interfaces with the geared zoom ring on the lens, but there is a prominent 'peg' on the ring that interferes with the gearing.

The peg looks like it was designed to be removed, but applying small to medium levels of hand torque have not budged it. Has anyone removed this peg successfully, and are there suggestions to avoid damaging the lens body?

Thanks,

Eliot

I'm shooting near a MRI machine
 

Hi all,

I'm shooting near a MRI machine at a medical office in the next day or so. Has anyone had any experience with this. I am concerned about the powerful magnets that are part of this machine. I know there is a safety line I need to stay behind, but I don't really trust the techs at the medical office. Any thoughts?

Cheers! Jon

Jon. I have done many shoots in this situation, yes stay behind the line, shoot from the hall with the door open, or shoot for the technician's room if they have glass to see in the MRI room. Also you can do a "Mock" MRI where the patient lays on the table but they don't turn the machine on.

Mark,

Thanks for the words of advise. I have already scoped the place out and I was planning on doing exactly what you suggested. I feel a little more at ease, so thank you for responding so quickly to my post.

cheers, Jon

anyone using 30fps for lowlight?
 

Interested to hear your experience with this


thanks

I have used it once ot twice on the XL1, gets about a stop brighter, but motion is not as smooth. I did not care for the effect, and I do not use it anymore for what I shoot.

I will use 1/30 shutter if there is no other option, like additional lighting. That additional stop of aperture is sometimes necessary. It is way better than pushing gain up to 18db. The result is OK, but I am careful to avoid shooting any fast action, as I find myself limited in post.

XL1S - Used in Music Video
 

This last summer I posted a thread about my first attempt at makeing a no budget music video. (except for my time). I received feedback from forum members, which was appreciated, as well as the band members. The video very well may not get any farther than family and friends, but its a start. Take a look at it and provide any feedback.

www.reamenterprises.com/18Key256WMV.wmv

We used the XL1s as our primary camera, with a GL1 on hand for some additional pick up shots. We did use a light kit and in some shots it is obviously to bright. After the fact we have a field monitor to have on hand.
The sign was fabricated and shot creatively with it posted under the original street sign. Everyone who you see around the fire was friends - which was impressive to see so many people come out and support the band.

Thanks,
Chad

Chad, it's good, especially for no budget, give yourself a pat on the back. The pacing is really good. You kept it simple and it works well with the song. Good job.

xl1s as a pass thru?
 

i have an xl1s, and a panasonic SDX900 with footage shot in 50 bit dvc.

my dvc deck is having issues with the firewire port, and not working.

so my question is this...

can i run a bnc out of the SDX into the xl1s, and then thru the xl's firewire straight into my NLE? i want to capture this video via firewire that is working on the xls. but when i put the firewire in, the composite signal disappears.

is there a way to make it just pass thru the xls from the sdx into the nle w/o having to actually record it onto mini dv then dump down?

does this make sense?

thanks!

http://www.dvinfo.net/conf/showthrea...wire+composite

looks like it wont work?

As that linked thread indicates, there is no pass-through on the XL1S. However, you can record on the XL1S from the analog inputs, and then rewind the tape and play it back out over FireWire.

beachtek adapter?
 

just curious if this beachtek device will work with the xl1s.

DXA-6 Dual Phantom Adapter

I've not used it, but it looks like is should work.

Like Don, I have not used this device. However, the connection to the camera is identical to other beachtek products I have seen as well a my Sign Video version, which I have used on my XL1s with no issues.

XL1- capturing audio
 

I shot an interview for a documentary yesterday. I've had my XL1 for years but haven't been using it much because it's basically my "play" camera. The only time I've captured with it was systems at work. I now have a new system with the Adobe bundle at home.

I recorded ch. 1 cam mic (for backup) and ch.2 was a wireless via the XLR adaptor. Audio sounded fine in the field. Sounds fine now though phones. The problem is that via the firewire I can only hear the ch. 1 mic. I've played a bit with the monitor button and the audio out via the menu. I've only had a few minutes to look at it and I have to run out right now. I figured I'd post before I come back to look at it more later. Through the phones (using the audio monitor button) I can hear the good ch. 2 audio clearly, I just can't get it to go through the firewire. Any thoughts?

-Don

I don't know Adobe. Use FCP. Nonethless, I believe all good NLE system allow selection of which audio tracks to capture in the project set up menu. Just a thought.

Sounds like you did 4-channel sound. Many NLE/capture software combinations cannot capture 4-channel sound, only 2 channel.

If that is the case, an dif you do not have a NLE capture program that can deal with 4-channel audio, an option is to capture the Audio 2 channels via analog output form the camcorder.

Some folks use Scanalyzer (I think) to deal with 4-channel sound. You could do a search of the forum for more info.

XL1S VCR not showing footage on playback
 

Hi,

I have an XL1S that I've used a few times, but not very extensively. I had shot a tape in it, and had a few others lying around. Recently, after the camera had sat for a little while, I tried to playback a tape in it. I turned the camera to VCR, like I normally do, and played a bit of the tape, but it was a blue screen. It seemed that the camera couldn't find the scenes I had shot. I went through a few other tapes that had footage on them (that I KNEW had footage), and still nothing. I've seen the tape cleaning suggestion, but could it really be that simple?

Any thoughts would be great, thanks.

Scott,

You won't hurt it by running a head cleaner just to see. If that doesn't help, give Canon a call. :)

Canon Factory Service
Attn: Video Service
100 Jamesburg Road
Jamesburg, NJ 08831
Tel: 732-521-7007

Proper audio playback through camera, not so much on DV deck
 

Here's one for ya: shooting on the XLS and preparing to load raw into the NLE. I remove the tape from the camera, and drop it into our Panasonic Mini DV deck. Video is crystal clear, audio pops with static, almost electronic noise - not at all clear. But hooking up the camera to the deck using component cables, playback through the camera and audio is perfect. What the heck?

Error correction in the analog playback/output circuits that is not found on the digital output stream.

XL1s lighting issues
 

Hello all, have a new problem/question related to my XL1s... did a shoot today of a live military band playing on a well lit stage. I just got my camera back from Canon so just recorded the hour + on full auto. The stage was very well lit. The problem I had was that even though through the stock color viewfinder the colors looked good, playback on the TV or CPU was very bright. I viewed it through RCA to the TV and the uniforms are darker green (Army) and their heads are lighting up like a lightbulb. Also currently burning to CPU through the firewire and it is the same as the RCA, Bright! I know the video size in viewfinder is a bit smaller than what actually records, but I don't remember the video brightness being so different between the viewfinder and the external playback... any ideas?