filtering Wide angle adapters
 

the subject says it all...

are there wide angle adapters for the manual 16 that can be filtered? or, if i want to filter wide angle shots, do i have to go with the 3x?

thanks

Re: filtering Wide angle adapters
 

Check out: www.centuryoptics.com

cool martin m, thanks!

EV PL80 Microphone
 

Hi,

have just been rummaging through my old band gear and discovered my old EV PL80 mic. It is in pristine condition as I only used it for about 6 months. Nice surprise!!!

At the time it was a mid priced mic that was widely used here. Does anyone have experience of this on an XL-1 through the MA-100.

Regards
Andrew

How can I get rid of 60 Hz Hum on AC adapter?
 

I just have a quick question on anyone's experiences on getting rid of hum caused by connecting the XL1s to power through the AC adapter. I'm also tied into the house PA and somewhere in between I'm getting a pretty serious ground loop that gives me a ton of grief and noise!! If I run from batteries all is well but I have a couple of days worth of recording to do and this may pose itself to be a bit unpractical. I'm also using the high impedence input since that may make a difference.

I appreciate any help you all can provide.

Thanks!

I know there are signal cleaners available. These go between
the power adapter and the power grid. These things clear out
any noise and make sure the signal is withing allowed limits.

Other than that I suggest getting a large battery, this is usually
better anyway since you can move the camera anywhere anytime
without worrying about cables (for power at least) and such....

Picture noise
 

Is something wrong - or is it just me ?

Every body is talking about the great image quality of the XL1. Well I just don’t know. When filming in a massive light set up indoor studio I will agree the overall picture quality looks stunning, but when it comes to outdoor shooting in great sunlight, I find it almost impossible to get an acceptable picture quality, and am not going to mention focusing difficulties as that seems to be an acceptable problem with the XL1, not s.

Could it be the camera?

When shooting outdoor early in the morning or late evening things seems to produce an acceptable result. As long I stay away from the build in ND filter on the lens. When filming in mid day, problems don’t seems to stop. First of all; pictures seems to be washed out with absolutely no picture contrast, and turning on the ND filter (or a POL filter) to reduce light slightly (zebra strips is still visible in the EVF in some light area, as the sky and my white car), noise will appear as if I where night shooting with absolutely no key light.

Should I manage to set the camera controls just right for the picture quality that I would like to receive; lets say its a sunny day and my camera settings would be: ND filter ON, -3db (or AUTO), F5.2/50, Wide angle shoot and every thing looks just fine and then, a lonely cloud moves in front of the sun reducing the overall light and what happens: the picture will look grainy and noisy again. You don’t se this in the EVF, so you think every thing is just ok, maybe a little darker, but that’s just natural because of the cloud, until you watch it on a monitor, and you have to go out there to re-shoot the footage because of picture noise. Pretty annoying I should say.

Is this normal ?, How should I operate the camera whiteout carrying around a monitor for every shoot I take. Please give me some advice so I can start not to worry every time I get paid for a critical one-time-shoot.

I have been using the XL1 professionally for 2 years now, and I like it, but it have got me in to trouble too many times now - one time with a burned out pixel on the CCD chip in the middle of a concert - so the camera have just been checked . Therefore I have to wonder if my camera skills lack knowledge when it comes to operating it. Please help me out here!

Are you using unbalanced high impdance connection? That is the worst possible configuration for noise pickup. It may be coupling into the audio leads from the A/C supply leads. For running any audio in a studio or other location with lots of wiring, best to use balanced audio as much as possible, and go with low impedance if you can. You may also need a ground lifter on the balanced audio.

Battery power is generally lower noise. Have several batteries and chargers going to keep fresh batteries available.

You can always extend it (raise it), or mount it on your tripod or pole.

How's this choice for wireless and handheld?
 

Hi there profs,

I placed an order for the following:

1 SEEW101PC

EW101P(C) Camera Mountable UHF Plug-On Wireless System with EK100
Receiver and SKP100 Plug-On Transmitter

2 ELND767A
N/D767A Super-Cardioid Handheld Dynamic N/DYM Vocal Microphone


well every piece is worth to me.

I've decided to go with this setup as I won't need lavalier mics in my shootings yet. But this hanheld from Electro voice can be used as wireless with plug-on transmitter.

After reading so much on this board I think I made a right decision on the setup.

Tell me your impressions, err what's your take?

Kairat Salikhov

WB and artificial light ?
 

Hi,

just got my Frezzi Mini Dimmer Fill. Any secrets on WB when using on cam lights?


Cheers
Andrew

Going from XL1 DV to FILM
 

Im planning on shooting a short using the XL1 with a Fujinon Lens. I plan to transfer my footage to film at Swiss Effects. What do i have to keep in mind when capturing my original image? Will the NTSC be as good as the PAL? Can I play with the Shutter Speed? What happens if i play with the gain? Is the laser or the analog transfer better for this format? If anybody has gone film from XL1 DV let me know what your results were.

Eduardo, you need to read the four-part DV to 35mm Guide on the Watchdog. Go to www.dvinfo.net/xl1.htm and click "Articles Menu" then "Post Production." The link to the Guide may be found there.

Any More News related to XL2 Rumor?
 

Hello XL1 fans,

A while ago I heard rumors (on this message board, I think) about a newer version of the XL series of Canon DV cams coming out sometime soon.

Is there any late breaking news on this front?

I just looked at Panasonic's description of their AG-DVX100 scheduled to be released this September (only 4 months away!) for a manufacturers list price of $3,495! 24p DV, no less! I'm hoping Canon responds to this with a killer XL upgrade.

Tim

Hello Tim,

You'll find a huge thread about the new Panasonic 24P camcorder in the General DV forum... just do a search for it. Since the XL1S came out only last July, I doubt there will be any replacement for it soon. However, I have a *feeling* that the GL1 is about to be replaced shortly, and that's what a lot of us are waiting to see. Hope this helps,

Manfrotto 3265g Head + 3205g
 

Wonder if anyone can give me advice on buying this tripod for in the field use for My XL1s...
Is the trigger grip effective, and as versatile as they claim...
I will need to move the camera around alot on the tripod to follow action, but still want to be able to pan. Any views from you guys in the know? I can buy the tripod New for the equivalent of $200 in South Africa.

Thanks once again
Brin

Live recording
 

I need suggestions on how to record a live band, I've gotten the optics down, and the gl1's onboard mic is horribly overdriven with bass and overall sounds terrible in smaller venues. How should I go about getting quality live audio? Thanks in advance, Max

Howdy from Texas,

That 3265 head is *not* going to work well with your XL1S at all. A friend of mine who is a pro photographer has one and it is great for still photography but lousy for video. You will not be able to smoothly pan with it. It is intended only for still photography and will give poor results for video cameras because it cannot pan or tilt smoothly like a true video head will.

Consider the Bogen Manfrotto 503 head, it's perfect for the XL1S.

In my opinion the 3205 sticks are not enough of a tripod for the XL1S. They're fine for still photo cameras but you should consider a larger tripod for video cameras and get one with a mid-level spreader. Bogen makes a number of affordable video tripods. We've discussed tripods here before; do a search on tripods to turn up all the various threads on this board. Hope this helps,

Please see reply in the "Son of Watchdog GL1 Pages."

rain cover
 

Hola ¿alguien habla español?

Necesito saber donde puedo comprar un funda para la lluvia para la CANON XL1 en España no la encuentro.


gracias ;)

Thanks Chris
 

Hi From Cape Town,
Thanks for that Chris, will look for sturdier Legs and the 503 head... Dont know what I would do without this DV community and your input. Much appreciated.
Regards
Brin

Hola de Tejas,

Hablo un poco español. Usted desea el raincover de KATA RC-10 (grande) o RC-11 (pequeño) para XL1. Entre en contacto con esta distribuidor de KATA en España: Video Cine Import -- vci@terra.es -- telé 349 166 364 66 -- espero que esto le ayude,

muchas gracias
 

muchas gracias por la respuesta y la rapidez. Me pondré en contacto con KATA saludos




:-)

Any news of recently announced Hard Drive recorders?
 

Does anyone have information as to when the portable hard drive recorders announced at NAB might be available?

Any links or other information appreciated!

SP-100 replacement?
 

Does anyone actually use the SP-100 that comes bundled with the XL1s? I find the thing miserable to use. After spending a bundle on the camera I hate to invest in the MA-200, especially since I don't currently need the XLR jacks. Is there an alternative. A true "on the sholder" as opposed to an "against the sholder" pad like the SP-100?

Yes, see the Articles section of the XL1 Watchdog at www.dvinfo.net/xl1.htm -- look under Support Options.

The ma-100 and I'll assume the 200 pretty much suck too. The trouble is the body assy. and lens still stick too far out front for really good balance. I think I like snuggling up to the body with out any shoulder pads better. It gets the weight as far back as possible.

More reasons the xl1 footage looks good? It forces us on to tripods! Just can't be beat if we're serious about our video.

I've still got a monopod from photo, and think it'd help if it needs to be "handheld."

anyone use a matte box?
 

Just curious, I was wondering what the advantage of it other than using it for screw on filters

Blocking stray light rays

Check out this thread:
http://www.dvinfo.net/conf/showthread.php?s=&threadid=1982

Logging Program
 

Does anyone know if there is program avalible that allows you to log footage onto a laptop conected to an XL1 while shooting? I know Avid made something called Avid Media Log, but I don't know if it's avaible any more. Thanks

See this thread: http://www.dvinfo.net/conf/showthread.php?s=&threadid=2077

Monopod, XL1s, & National Geographic
 

I was watching national geographic channel and this guy was toting around an XL1s filming turtles and other junk in the outback. It was neat to see the camera in action and on tv, yet I've seen this camera in just about every porn set. Anyway, the main point of this post is to determine which monopod the guy was using on the show? Or if anyone has a suggestion of which is a good light pod. I dont want to use a tripod as I need mobility.

The camera is certainly versatile enough to be used for a broad variety of applications. That's why you'll find it everywhere from National Geographic on down. As far as monopods go, *any* monopod from the medium-sized Bogen on up is a good monopod.

" Professional Grump, Nay-Sayer, Pessimist and Humbug "

That is what happens when you quit drinking coffee.... Have a cup or two, you will feeeeel muuuuuuch beteeeeeer :)

How do I bring my XL to France SAFELY?
 

I'm moving to Paris for a couple of years and, NTSC/PAL notwithstanding, I want to bring my XL-1 with me. Because I've also got a baby son, a wife, and a ton of other luggage, I'm not sure if I'll be able to take it as onboard luggage. Do I:
A)Take it in its portabrace soft case as regular luggage on the plane?
B) Repack the camera into its original box and trust the movers won't mess it up?
C)Other?

Any advice from anyone who has done something similar with their equipment would be greatly appreciated!
Thanks,

Themackdaddy

Bonsoir,

I have flown with the XL-1 as hand luggage before.

I made it a pre-requisite of my travel agent that with my air ticket that they had to give me written permission from the airline that I would be flying with, which they did. I just flashed that piece of paper when people got cheeky. The flight case I use is the std one issued for the XL-1 and consequently is too large for overhead. The flight attendents will find a spot for your XL-1.

Also investigate at the airport before you leave. There is normally at customs, a place where you can declare your XL-1 with serial numbers of all components so that you don't get penalised with duties on re-entry. At the very least take all your original invoices.

Viva le France, enjoy the experience. France is a beautifull and exciting place.

Cheers
Andrew

New Xl1s owner questions
 

After keeping my eye on these boards and the watchdog site over the past year I finally bought a Xl1s. Both have been great resources.

Question though - Which tape is generally recommended to use with the camera?

I had a Sony evw-300 (hi-8) and was told sony metal evaporated was the best to use in that - in fact I found it to be extremely reliable and outstanding. But I heard that you should not use the metal evaporated with the xl1s..

So what type of tapes are people using?

I would like to get a top brand/quality tape as I'm using the xl1s for independing moviemaking.

Thanks for any advice
Jeff

Hello Jeff and welcome aboard,

We've had several discussions about DV tape around here, so trying doing a search to bring up those threads. Basically, *all* DV tape is Metal Evaporated tape, so no worries there.

The one single hard and fast rule is, you need to make a choice between Sony or Panasonic brand tape, and stick with that brand and do not interchange between the two. The lubrications are different. One is not neccessarily better than the other, you are completely safe with either Sony or Panasonic, but choose one only and do not switch.

DV cassettes are the least expensive part of the production equation, so don't skimp on cheap tape. Buy the best you can possibly afford. Personally, I use the Panasonic AY-DVM63EB tapes, but you can't go wrong with Sony either. Just don't switch! For an excellent source of DV tape, contact our sponsor Pro-Tape in Austin, Texas (contact info at www.dvinfo.net > Sponsors).

Any other questions, we probably have the answers. Just search the forums and if you don't see what you're looking for, feel free to ask. Hope this helps,

"You Are Here" - Movie Shot with XL1
 

I just rented a film, "You Are Here" and as I was watching it, I noticed that it was shot on video. Then when listening to the directors commentary he mentions that the whole film was shot with an XL1.

I think his budget was around $43,000.

It a fun, quirky movie. Watching it gives you some idea how one can shoot a movie with an XL1.

The film website:
http://www.johnnypictures.com/