XL1 / XL1S various posts

Don Palomaki · December 9th, 2003, 07:04 PM

Use 48 kHz/16-bit mode unless you have a a compelling reason to do otherwise. About the only real reason for most people doing serious work is the need for 3 or 4 channels of audio during original recording.

Eric Adam · December 10th, 2003, 07:10 AM

I recorded with a direct line in on audio 1 from a mixing board. The signal was clear and the play back from the tape is clear (however I now hear a high pitch noise where before none existed) but when I try to capture into FCP4 I get only about 1/3 soild audio and the remaining is just static. It doesn't matter what size the clip is, it does the same thing. Is this a problem with xl1 or FCP4 or am I unknowingly doing something wrong?
Thank you.

J. Clayton Stansberry · December 10th, 2003, 11:37 AM

If the tape is ok on playback from the XL1, then it is a problem with capture. Is the "high pitch noise" a hum of some sort? Did you have the XL1 plugged in or were you using batteries? Have you checked your settings in FCP - audio capture settings?

Rob Lohman · December 10th, 2003, 04:12 PM

It is not always easy to adjust the controls you want, because
you might not be able to do (mostly due to low or bright lights).
Mostly I use a fixed shutter speed and change the iris in
combination with the builtin or an external ND filter.

But if you are shooting a scene where you want the shortest
DOF possible you might need to resolve to change the shutter
speed.

I use a custom preset with my black level as much down as
possible and I always try to underexpose slightly.

John Dovydenas · December 11th, 2003, 10:13 PM

Ive been using the ME-66 for some time, mounted to the camera body. However, becuase the mic protrudes so far out if mounted to the normal mike attachment, especially with the system isolator in place, I modified the sennheiser mic blimp (whatever the handle with rubber bands is called) and attached it to the handle on the XL1. Purely in terms of sound quality, its fantastic. It picks up whispers at 20 feet. However, I have no other experience with any other mike, other then the crummy shotgun that comes with the camera. No doubt the higher quality sennheisers are better, however, the longer the shotgun mike the more cumbersome it is. I did one shoot though with an audio technica wireless outfit using the same ME-66. I had another ME-66 on the camera itself. Surprisingly, there was very little difference in quality. Anyway, its a great mike.

Craig Harris · December 12th, 2003, 09:25 AM

Greetings to everyone, and thanks to those who make this group possible! I just purchased a pre-owned XL1 and am preparing to do an instructional video. My experience is limited as I work as an animation artist, and have only worked around videographers. My first concern is that the camera did not come with a WL D-2000 wireless controller and I am having problems finding one. Anyone have one lying around? Question: is the feature set and quality improvments that much better in the XL1s that I should have saved my pennies and waited ? Glad to be here and thanks!

Rob Lohman · December 12th, 2003, 09:59 AM

Well it's a bit late to ponder over the changes between the
normal and S model. But yes, some features are readily
improved on the S (like not going to standby, higher signal
to noise ratio and other things).

I think you can order the original remote control from Canon.
Give them a call to find out.

Phil French · December 13th, 2003, 07:03 PM

Hi guys. I know I read about it here somewhere, but darned if I can find it. Someone was discussing the fact that they desaturated the color on their XL1s, then resaturated it in post to provide them with more room for correction and control. Is this a practice you recommend? How exactly do you acheive this (what values -dB do you recommend? Also what about contrast? I would like to use this in my next project to bring my overall look to a higher level. It is about flyfishing and I want it to look "pretty".

Charles Papert · December 13th, 2003, 07:06 PM

Hmm. Seems like that would be a negative thing. Traditionally you want as many options available to you to work with when going into color correction. What's the difference between desaturating a full saturated image and starting with a desatured image?

Aaron Koolen · December 14th, 2003, 03:02 AM

It would seem to me that if you desaturated in camera, you're losing colour resolution and therefore cannot get it "exactly" back in post. Sort of like if you crush your blacks or blow out your whites, that detail is gone and aint coming back.

Aaron

Tom Krasin · December 14th, 2003, 10:22 AM

I think I know the answer to this, but it sure isn't spelled out the "wonderfully information skimpy" manual that comes with the XL1.

WHEN IN THE RECORD OR E TO E MODE....not playback

The DV output of the XL1 apparently only outputs audio from ST 1 (16 or 12 bit), whether the source is the camcorder's mic or line in from rear the RCA jacks.

Anything input through ST 2 will be recorded on tape, mixed with ST 1 or ST 2 only.

BUT, the XL1 will not output any signal from ST 2 through the DV output to another device, mixed with ST 1 or not, the only output signal is ST 1 clean.

Unless I am missing something which might allow me to get the ST 2 signal out as well. Is this possible with an XL1?

Why our friends across the Pacific do some of the design things they do or don't do, constantly amazes me.

Peter Summers · December 15th, 2003, 05:39 AM

Just a querie from across the water; Does anyone know of any news about an XL 2 release in the near future? I know, I know, everyone and his brother wants to know about it, but I'm thinking of upgrading my XL 1 and don't want to miss out.

Rob Lohman · December 15th, 2003, 09:28 AM

Do a search on XL2. The subject has been much discussed
already. The short answer: no-one seems to know yet if and
when something is coming, what it will feature and how
compatible it will be.

Paul Bittlestone · December 16th, 2003, 02:51 PM

I'm going to be using the XL1S with Anamorphic and wide angle lenses and I'm after some feedback from people who have used them before.

Mainly whats the best adaptor and how to sort out the obvious zoom in frame problem.

Cheers.

Hobie Thompson · December 16th, 2003, 07:47 PM

Does anyone know a 'quick-fix' to glue or weld the metal body of the XL-1? The part that sticks out from the left of the start-stop on top of the camera, where the viewfinder and mic are mounted? A heavy object fell ontop of the camera breaking it. The cam works fine, now its secured with nylon straps (cheesy)

December 9th, 2003, 07:04 PM	#1036
Don Palomaki Wrangler Join Date: Sep 2001 Location: Northern VA Posts: 4,487	Use 48 kHz/16-bit mode unless you have a a compelling reason to do otherwise. About the only real reason for most people doing serious work is the need for 3 or 4 channels of audio during original recording. __________________ dpalomaki@dspalomaki.com

December 10th, 2003, 07:10 AM	#1037
Eric Adam Tourist Join Date: Sep 2003 Location: Stuart, FL Posts: 1	Audio capture problem xl1 to FCP4 I recorded with a direct line in on audio 1 from a mixing board. The signal was clear and the play back from the tape is clear (however I now hear a high pitch noise where before none existed) but when I try to capture into FCP4 I get only about 1/3 soild audio and the remaining is just static. It doesn't matter what size the clip is, it does the same thing. Is this a problem with xl1 or FCP4 or am I unknowingly doing something wrong? Thank you.

December 10th, 2003, 11:37 AM	#1038
J. Clayton Stansberry Major Player Join Date: Sep 2003 Location: Colorado Posts: 316	If the tape is ok on playback from the XL1, then it is a problem with capture. Is the "high pitch noise" a hum of some sort? Did you have the XL1 plugged in or were you using batteries? Have you checked your settings in FCP - audio capture settings? __________________ I understand everything about nothing.

December 10th, 2003, 04:12 PM	#1039
Rob Lohman RED Code Chef Join Date: Oct 2001 Location: Holland Posts: 12,514	It is not always easy to adjust the controls you want, because you might not be able to do (mostly due to low or bright lights). Mostly I use a fixed shutter speed and change the iris in combination with the builtin or an external ND filter. But if you are shooting a scene where you want the shortest DOF possible you might need to resolve to change the shutter speed. I use a custom preset with my black level as much down as possible and I always try to underexpose slightly. __________________ Rob Lohman, visuar@iname.com DV Info Wrangler & RED Code Chef Join the DV Challenge \| Lady X Search DVinfo.net for quick answers \| Buy from the best: DVinfo.net sponsors

December 12th, 2003, 09:25 AM	#1041
Craig Harris Tourist Join Date: Dec 2003 Location: Pauma Valley, California Posts: 2	New member without remote Greetings to everyone, and thanks to those who make this group possible! I just purchased a pre-owned XL1 and am preparing to do an instructional video. My experience is limited as I work as an animation artist, and have only worked around videographers. My first concern is that the camera did not come with a WL D-2000 wireless controller and I am having problems finding one. Anyone have one lying around? Question: is the feature set and quality improvments that much better in the XL1s that I should have saved my pennies and waited ? Glad to be here and thanks!

December 11th, 2003, 10:13 PM	#1040
John Dovydenas New Boot Join Date: Dec 2003 Location: Chicago Posts: 10	Ive been using the ME-66 for some time, mounted to the camera body. However, becuase the mic protrudes so far out if mounted to the normal mike attachment, especially with the system isolator in place, I modified the sennheiser mic blimp (whatever the handle with rubber bands is called) and attached it to the handle on the XL1. Purely in terms of sound quality, its fantastic. It picks up whispers at 20 feet. However, I have no other experience with any other mike, other then the crummy shotgun that comes with the camera. No doubt the higher quality sennheisers are better, however, the longer the shotgun mike the more cumbersome it is. I did one shoot though with an audio technica wireless outfit using the same ME-66. I had another ME-66 on the camera itself. Surprisingly, there was very little difference in quality. Anyway, its a great mike.

December 12th, 2003, 09:59 AM	#1042
Rob Lohman RED Code Chef Join Date: Oct 2001 Location: Holland Posts: 12,514	Well it's a bit late to ponder over the changes between the normal and S model. But yes, some features are readily improved on the S (like not going to standby, higher signal to noise ratio and other things). I think you can order the original remote control from Canon. Give them a call to find out. __________________ Rob Lohman, visuar@iname.com DV Info Wrangler & RED Code Chef Join the DV Challenge \| Lady X Search DVinfo.net for quick answers \| Buy from the best: DVinfo.net sponsors

December 13th, 2003, 07:03 PM	#1043
Phil French Regular Crew Join Date: Feb 2002 Location: Lousana, Alberta, Canada Posts: 146	desaturation for color correction Hi guys. I know I read about it here somewhere, but darned if I can find it. Someone was discussing the fact that they desaturated the color on their XL1s, then resaturated it in post to provide them with more room for correction and control. Is this a practice you recommend? How exactly do you acheive this (what values -dB do you recommend? Also what about contrast? I would like to use this in my next project to bring my overall look to a higher level. It is about flyfishing and I want it to look "pretty". __________________ Nature Boy

December 13th, 2003, 07:06 PM	#1044
Charles Papert Wrangler Join Date: Jan 2002 Location: Los Angeles, CA Posts: 6,810	Hmm. Seems like that would be a negative thing. Traditionally you want as many options available to you to work with when going into color correction. What's the difference between desaturating a full saturated image and starting with a desatured image? __________________ Charles Papert www.charlespapert.com

December 14th, 2003, 03:02 AM	#1045
Aaron Koolen Trustee Join Date: Apr 2002 Location: Auckland, New Zealand Posts: 1,727	It would seem to me that if you desaturated in camera, you're losing colour resolution and therefore cannot get it "exactly" back in post. Sort of like if you crush your blacks or blow out your whites, that detail is gone and aint coming back. Aaron __________________ My Website Meat Free Media

December 14th, 2003, 10:22 AM	#1046
Tom Krasin Tourist Join Date: Dec 2003 Location: Avon Lake, Ohio Posts: 1	Xl1 Dv Output I think I know the answer to this, but it sure isn't spelled out the "wonderfully information skimpy" manual that comes with the XL1. WHEN IN THE RECORD OR E TO E MODE....not playback The DV output of the XL1 apparently only outputs audio from ST 1 (16 or 12 bit), whether the source is the camcorder's mic or line in from rear the RCA jacks. Anything input through ST 2 will be recorded on tape, mixed with ST 1 or ST 2 only. BUT, the XL1 will not output any signal from ST 2 through the DV output to another device, mixed with ST 1 or not, the only output signal is ST 1 clean. Unless I am missing something which might allow me to get the ST 2 signal out as well. Is this possible with an XL1? Why our friends across the Pacific do some of the design things they do or don't do, constantly amazes me.

December 15th, 2003, 05:39 AM	#1047
Peter Summers New Boot Join Date: Feb 2002 Location: England Posts: 11	News? Just a querie from across the water; Does anyone know of any news about an XL 2 release in the near future? I know, I know, everyone and his brother wants to know about it, but I'm thinking of upgrading my XL 1 and don't want to miss out.

December 15th, 2003, 09:28 AM	#1048
Rob Lohman RED Code Chef Join Date: Oct 2001 Location: Holland Posts: 12,514	Do a search on XL2. The subject has been much discussed already. The short answer: no-one seems to know yet if and when something is coming, what it will feature and how compatible it will be. __________________ Rob Lohman, visuar@iname.com DV Info Wrangler & RED Code Chef Join the DV Challenge \| Lady X Search DVinfo.net for quick answers \| Buy from the best: DVinfo.net sponsors

December 16th, 2003, 02:51 PM	#1049
Paul Bittlestone Tourist Join Date: Nov 2003 Location: England Posts: 1	Anamorphic lenses and the XL1S I'm going to be using the XL1S with Anamorphic and wide angle lenses and I'm after some feedback from people who have used them before. Mainly whats the best adaptor and how to sort out the obvious zoom in frame problem. Cheers. __________________ I shall devise and execute a most evil plan to conquer the world. Once I have done this I will probably chill with a beer and pizza.

December 16th, 2003, 07:47 PM	#1050
Hobie Thompson Tourist Join Date: May 2003 Location: plano, tx Posts: 3	broken viewfinder/microphone mount Does anyone know a 'quick-fix' to glue or weld the metal body of the XL-1? The part that sticks out from the left of the start-stop on top of the camera, where the viewfinder and mic are mounted? A heavy object fell ontop of the camera breaking it. The cam works fine, now its secured with nylon straps (cheesy)