telephoto lenses
Hi i am writing a paper for my film class. I have to pick out a scene from the purple rose of cairo and say what type of lens is used in the shot. I picked a shot where cecilia goes inside the movie and is sitting at a table while the party is going on. i am confused as to whether or not this shot uses a telephoto lens. The foreground is clear as well as the midground, but the background is blurred. Also Cecilia is very prominent in the frame. I was wondering if someone could help me to figure out whether or not this sounds like it is a telephoto lens shot.... perhaps someone could help me define the characteristics of a telephoto lens shot or direct me to a website. thanks a bunch.

Most basic 35mm photography books (available at your public library) will show examples of different lenses and different lens to subject differences. That should answer most of your questions. I don't think I can answer your question without the images from the movie in front of me. Sorry.

Jeff

it is not clear to me how much difference there is in image quality between shooting with an adapter and cropping in post, then blowing up to film. Has anyone tested the difference? If there is not a huge difference, it seems as though cropping is the best solution for a difficult situation. The adapters seem problematic in several ways: 1. shortened zoom range. 2. difficulty of composing with a stretched image, rather than the actual format. 3. having to render the widescreen in post (final cut 2) 4. added weight, cost, etc. Does a better solution exist?

I am an XL1 user who owns an Audio-Technica 815b microphone. I would like to purchase either the AT8410a or AT8415 shock mount. Other than price, microphone size accomodation, and clamping alternatives, what are the major differences? Does one work predominately better than the other?
Since I plan to use it mainly for boom operation -but, would like the option to occasionally stick it on my camera - could someone please pass on a suggestion?
Thank you.

"Does a better solution exist?"...Yes a native 16/9 camera. Anamorphic lenses, (have bee used in projection too) are , optically spoken, a mix of difficult to take/combine tradeoffs. aberations,reduced zoomranges...The future (for the widescreen believers) is native 16/9.

By virtue of the smaller size, lower weight, and additional attachment alternatives the 8415 may perform better on camera and be more convenient for field use. Performance spec (vibration damping) is rated the same by AT.

Hey that's tomorrow!

Hi.
I found useing about 20 cents woirth of black electrical tape works very well.
It is just soft enough to let the XL-1 (s) mic holding part grip it firmly.

Bruce

I have need for some kind of a mounting bracket. I have
Canon XL1 with EF lens adapter and then Canon 100-400mm
telephoto lens. Problem is how to best mount this on a tripod.
Camera weighs about 4 pounds, lens about 5 pounds and
need something to balance them on the tripod. Hard to focus
on wildlife with constant adjustments to the tilt, then weight
of lens wants to pull setting down when camera is mounted
to tripod. I read a previous thread from U of M professor who
mentioned rigging some kind of a bracket. How to do this?
Dave

I had to make my own. Well, not me actually. I took my camera and lens (EOS EF 100-400 AF) to a machine shop and explained my situation. We discussed several possibilities and I left it up to him to design. He had me come down and discuss a few details and give him the quick release to my tripod (Vinton). The design was brilliant (probably because I didn't have much to do with it) and allows for the camera to adjust forward and back over a greater range. Stability is noticeably improved. The total cost was around $100 for the materials, design time and all.

Jeff

Jeff,

Thanks for the reply. I'll try that.

Dave

Is there a site out there that has a buttload of free sound FX for download? Or is there some collection I could get that isn't $500?

Try http://www.findsounds.com/ - it should have something to suit you I hope.


/Jon

Thank you sir.

If you've read the thread below I have a busted viewfinder which upon inspection is an easiy fix. I want to just buy the part and fix it myself. Does anyone know if one can get parts from Canon? Does anyone have a list of parts with part numbers that I can use?

Thanks in advance

Rob

Parts can be ordered from canon. Call their 800 number and follow the prompts to parts.

What part of the veiwfinder is broken?

The pivot part broke because the attachment handle broke where the hand grip strap connects to the camera. Fell only two feet but that was enough.

Thanks for the info.

Rob

In the past I've used the panasonic DVC200, and I've used an external light that attaches to the camera with excellent results. Is there a light like this that I can purchase for the XL1S? As far as I've seen on the canon website, there isn't a light for the camera. If canon doesn't make one, does another company make one that could work (but may not be made for) the XL1S?

Canon makes only one light to fit these cameras. It's a small 10 watt light (the VL-10i) that connects to the cam's shoe and is powered (separately) by the same model of batteries used for the camera. While it can be handy, it's not a very powerful light at all.

If you are looking for a powerful ENG-style on-camera light there are several brands available. Frezzi has perhaps the most popular model available for the XL1s. (Use the Search button at the top of this page to read more about Frezzi lights, since they have been discussed often.) Cool Lux is another brand often used. Be aware, however, that neither the Frezzi nor its competitors uses Canon batteries or power from the camera. They nearly all use professional-grade 12v batteries (such as Anton Bauer's) which are rather expensive.

I recently ordered this filter:

http://www.amazon.com/exec/obidos/tg/detail/-/B00004ZCJL/qid=1034738194/sr=1-4/ref=sr_1_4/102-6766845-6901712?v=glance

for my XL1s. Question is: How do I get it on? It seems too small to slide over the lens....? I know this is a stupid question...

This filter, and those like it, -screw- onto the front of the lens. The 72mm size is corrrect for the XL1s' standard lens.

There are no stupid questions around here.

Part of the sound setup I'll get for my Xm2 will be one of the XLR adapters out there. I've narrowed it down to either.

Studio1 XLR BP
Studio1 XLT BP Pro
Beachtek DXA4P

Any of those will work nicely with an ME66 (The studio one's will not work with phantom power, or line level outputs, so I assume I'll need to run the ME66 off battery - no biggy)

I was wondering if anyone found the belt mounting to be a pain in the arse in anyway, or can see it being one? I'll have a wired shotgun going to it, and was wondering if it'd be a pain with the cable pulliing on the thing? I guess if it's pulling when it's on my belt it's better than pulling the camera over ;)

Cheers
Aaron

BTW: It's sad when it's cheaper to order these things from the US than buy them here...

the canon/ikegami black and black and white viewfinder fu-1000 comes with a voltage convertor that fits into the battery compartment, and changes the BP batteries voltage (7,2v) to match the viewfinders voltage (12v ?). the adapter also provides the video signal to the viewfinder.

the fu-1000 is great - but i can't afford a new one and i couldn't get a used. i found an used sony black and white viewfinder DXF-3 which slides perfectly on the viewfinder bracket of the xl-1-power and signal are provided through an 8-pin connector (found on sony dxc 327/637 etc).

the perfect solution would be to integrate a small voltage convertor in the viewfinders housing or in a small box and then connect the bw-viewfinder directly to the viewfinder socket at the front of the XL1 body. has anybody done that or does know if that works, (can you convert the dc from the viewfinder socket to 12 V/ 2,1 W)

the other way would be to get the canon battery adapter that comes with the fu-1000.

can i get that part from canon (part # / price) and will it work with the sony viewfinder?




thanks for your assistance in advance

---------
bloomi

<<<-- Originally posted by AaronKoolen : Part of the sound setup I'll get for my Xm2 will be one of the XLR adapters out there. I've narrowed it down to either.

Studio1 XLR BP
Studio1 XLT BP Pro
Beachtek DXA4P

Hi Aaron,

I am using the XLR-BP PRO with the GL-2 here in the US. It is great. I have tried the Beachteck unit, had some problems with it, mainly noise when I connected it to an audio mixer. No problems with the BP Pro. I have used it with a variety of mics, including the ME-66.

Charles

My filters seem to attract plenty of dust/lint particals. IS there any special treatment I can use on the glass safely, that helps prevent this crap from sticking? (much like a spray used on furniture)

I'd like to reduce the amount of time I clean the damned thing on-location. this goes for indoor and outdoor use. I swear my UV filter is like a magnet

Use a "lens pen". Most types are graphite based and potentially lower electrostatic effects

Well, if you buy the Frezzi with the cigarette lighter plug, you can plug it into a whole variety of (cheaper) batteries, including what I use which is a VDO-Light pack with the female lighter socket and a 7 amp-hour lead-acid which costs about $20 to replace and fits into a Porta Brace waist belt pack. I also use the lighter plug to connect to a 12 volt bench power supply when I am near enough to an AC outlet.

The Frezzi uses a 50-watt lamp and is built rugged enough for run-and-gun field production.

I am a proud owner of an XL-1. At the moment, I'm about to embark on a project where I'm going to need a 2nd camera. I don't have enough to buy ANOTHER XL-1. I'd really like to use an Optura 200, but if I'm shooting, say, an interview with 2-cameras, will the XL-1 and Optura 200 cut together smoothly??? Or are the optics and the 1-chip/3-chip difference so vast that the edits between the two will be jarring???

How about a GL-2 and my XL-1???

Thanks in advance to anyone who's used the 2 together...

If you're referring to the older XL1 and not the XL1S, then I think the best match for it is a GL1 (discontinued, but often found used for about the price of an Optura 200MC). Hope this helps,

I always carry these four things:

Carson Lens Pen
http://www.carson-optical.com/lenspens.html

Kim Wipes (keep about 30 sheets in a plastic container)
http://www.2spi.com/catalog/supp/05200-10.shtml

Large Blower Brush DXL
http://www.hakubausa.com/csite/c_products3.asp?cc=70&cs=10

Lens cleaning fluid
http://www.bhphotovideo.com/bh3.sph/FrameWork.class?FNC=ProductActivator__Aproductlist_html___232551___CLLC2___REG___CatID=0___SID=F1477 349890

I always clean my lenses and filters before a shoot.

- don

Transitions help vs. cuts. I'm using an xl1S, pd100a and pd150. If you shoot well, WB, and use transitions like cross-dissolve, it works.

Gl1 is a good bet though. I'd probably try and get a used xl1 as it's not going to be more than a gl2, new.

I've captured Cine footage before using my XLis, tonight however I cound.nt get the colour right, quite a noticable difference,.
How does one adjust the white balance when your are about to turn the lights out, or are you left to correct this in post.
I hope this makes sence, I have a variable speed projector, I capture direct to disc adjusting the shutter speed to eliminate flicker and zoom in to eliminate safe area but colour is way out.
Peter

Turn the projector to Run with no film in it. White Balance off the screen (it should be close to white) manually and then load the film and start taping.

Jeff

I would gess that film transparancy isn't allways neutral. In that case trying to white balance on a "transparant" film part would give a better chance to get the right balance. On the other, "color matching" is much more than just white balance. Dynamic range, gamma, colorspace differences (saturation, color primaries..) are all important issues, relating to the camera and the viewing monitor as well.

Hi folks

Do I need to connect my external mics (wired or wireless) through the MA100 or can I go directly through thte RCA jacks?

Thanks

Depends on the mic .

If it is a balanced low impedance mic, you may be better going through the MA-100, especially if there is much cord involved.

Some wireless receivers and some consumer mics are unbalanced output in which case direct connection to the RCA is probably better.

I have a December 1999 XL1 which just manifested a single pixel hotspot which is really only apparent upon playback. The original vendor (B&H) says it'll cost as much to replace the entire unit as to repair. Canon factory parts was guessing that replacing the prism ccd unit would do the trick (about $550 plus labor at 250), but they wouldn't evaluate over the phone. Camera has experienced moderate use and has not been exposed to lasers or directed at sun. Any thoughts?

Send it in for Canon Factory service. They have a New Jersey service facility that can handle the repair estimate. Details are provided on the XL1 Watchdog http://www.dvinfo.net/xl1.htm

Jeff

Hi,

I read some of the threads regarding batteries but I couldn't find the weight and dimensions of this power2000 battery compared to the original canon BP-945 and the replacement battery by Lenmar.

Can someone shed a light on this please?

I've searched the B&H website for a good deal but I find $27 for transportation to Europe a rip off. Aren't there companies in the US how are more reasonable what this cost is concerned?

Thank you so much!

Dirk

The charge possibly includes fees for B & H to fill out papers for Customs. Ask, they'll let you know. The weight is within a few ounces of the Lenmar and Canon batteries. They all weigh about the same.

Jeff

Hi All,

Does anyone know if one can use dynamic mics with the XL1? Also if so is not not recommended or will they do me just fine as lav mics?

Thanks!
-SL

Yes. XLR adapter such as the MA-100 recommended.

However, check mic output/sensitivity level for your application. Some dynamic mics do not have as high output as the condensor mics often used with camcorders.

Dynamic mics work fine with the XL1. I am using the Sennheiser 815's. Like Don said you will need an XLR adapter like the MA-100 from Canon or the XLR-BP Pro from Studio 1.

Charles

Hi All,

Need a quick bit of advice for you folks, I need some lav mics. I found someone who will sell me, 2 Electrovoice Model 649B Lavalier Microphones for $40.00 + ship. Here are my questions:

1) Does anyone have any experience with these mics? And if so were you happy with them?

2) I know buying any kind of equipment like this sight unseen is never a good idea, but if it is a really good deal I am willing to take a chance on it?

3) Have any of you found that used mics are generally NOT a good idea? Or If taken care of well is it generally an okay idea?

Thanks for all of your help!

-SL

SL,

I've bought three used mikes and had no problems. Here is what I bought...

Sennheiser ME-66/Phantom from B/H Photo Used - Excellent condition shape and sound.

2 Sony ECM-44B lavs used from Ebay - Excellent/Good+ condition and sound.

I paid some money for these mikes. I don't have much experience with the mikes you are/would like to purchase, but it seems quite cheap. Make sure the sound isn't cheap, or unappealing to you. Nothing is worse when you get to post and there are clicks, pops, and garbage. (I am working through some of this type of audio editing at the moment)

If its your only avenue, then purchase the lavs and start shooting!

Cheers!

Derrick

I will shoot a short movie very soon (my first one) I like the 1:2.35 format best so I'm looking for the best way to get a 1:2.35 image with the XL1s. There are so many topics about Anamorphic lenses on this Board so I'm quite confused.

I would like to get the best image quality possible. So what would you recomend me to do. Should I just crop the image or should I use the 16:9 modus and use a 16:9 Anamorphic lens in addition (what lens would you recomand? optex?) or is there a 1:2.35 Anamorpic lens available for the Canon XL1s? Any other solutions?

I would just like to get best image quality as possible....

Thanx

Snaif

PS: I'm sorry for my bad English....

I was shooting for a couple of hours with my XL-1 and attached Varizoom PG-L (buttons). After a longer break I was about to continue without the control. To my surprise the camera zoom turned on itself and went all the way through without even touching the camera. This problem is still persistant after one day. I removed and replaced the batteries and the internal battery. Also strange: If I tip top zoom switch the lens zooms in resp. out without stopping. And: the displayed information on the left side in the viewfinder is gone. White-balancing and DVE work, but I do not see any information anymore.
Does anyone have an idea or suggestion? I would guess there might be some way to reset the camera... BTW, the sensor is turned off.

Thanks,
Marcus

Hey,

As far as i know there is no anamorphic adapter to get a 1:2.35 format. What you could do is shoot with the optex 16:9 anamorphic adapter and crop the rest in post.

Sounds like an internal short or maybe a loose ribbon connector. I would call Canon service and discuss the problem with them. It doesn't sound like a user serviceable problem.

Jeff

For that price, it's hard to go wrong.

Of course, nothing is more expensive than that item that doesn't work.

I have had very good luck at buying used mikes, but have never attempted a purchase as inexpensive as this.

If it works out, you've got a great deal.

If not, you've only wasted a little money to find out. Besides, you can always resell them... even at a loss... and recoup some cash.