Wondering how others determine when their XL-1 should go in for preventive maintenance. Hours of use, every year? Every time Pauly Shore makes a really good movie?

How long does it take? Is it usually all cleaning and adjusting or are there wearable new parts needed?

How much does Canon charge?

Thanks!

I'm a, If it ain't broke, don't fix it, guy. But I also have a backup camera. I would suggest an annual checkup if you want to be on the safe side.

Jeff

My XL1 charger/adaptor will suddenly no longer charge batteries. Thankfully, it will still power the camera. I think this must have something to do with the contacts or the snugness of the connection. I cleaned the contacts, but it still won't charge.
Anyone else have this problem? Any easy fixes or even not so easy fixes?
Thanks!

This is going be a repair issue for Canon USA; if you bought the camera from an authorized U.S. dealer less than a year ago then it should be covered by warranty.

Or you could replace it with a third-party dual batt. charger from VariZoom (you'd have it in a day as they are also in Austin). For a review, see http://www.dvinfo.net/sony/articles/article09.php

This is on the VX2000 site, however the charger comes with adapter plates for Canon batts. I use one myself and it works fine. Hope this helps,

I can't wait to see how Canon, Sony, Panasonic adapt this technology to their cameras

http://www.pocketpcthoughts.com/index.php?topic_id=7722

You got a Canon XL1s for Christmas!!! Damn you must have been one hell of a good boy - Santa was never that good to me!!! :)

Now that's a future-shock-class display. Wow. Thanks for sharing that.

Very nice! Wondering what the TTM (Time to Market) will be on
that technology. As always, we'll have to wait and see.

Thanks!

Does light wave have a web site?

http://www.lightwavesystems.com/

Okay. This is starting to annoy me.

I've been capturing vid from this camera in 1/30 mode with no problem for months in Final Cut Pro. I'm shooting some stuff in 1/60 now and need to capture it.

I set the sequence settings for 60, I go in and set the capture settings for the camera to 60 and double, triple check them.

I've optimized my media drive (segmented in 2) as well as all other drives.

My in point is well into the start of the footage shot in 1/60 so there wasn't any 1/30 to skip through and my out point is also well before the end of the footage.

Every single time I get the dreaded "Dropped Frames were detected during last capture attempt"

I even get this when I use the "capture now" option.


ideas?????

SOLUTION - no matter what speed you shoot at (I just figured out) frame rate-wise, DV is still 29.97 (NTSC) and you import it at that----

That is correct Kevin (for PAL it is 25 fps)!

I had my old XL1 outside on a shoot yesterday for four hours.

It was a legitimate minus 15 degrees when we started, warmed up to around ten above zero.

The camera performed flawlessly once again, even though I forgot to bring a case. It was exposed to the elements the entire shoot.

I never cease to be amazed by that thing.

Mike Avery

Though I never want to own such a large cam, I agree with you that it is a great cam (and so is the GL2). A family member owns 2 XL1S cams, 2 GL1 cams and now 2 GL2 cams...but he wants to sell the GL1s. For most of his jobs, his GL1s/2 work just fine.

Cold weather? Shrug/shake/shiver---chattering teeth---that's why I moved from Winnipeg to Vancouver. I had enough of Winterpeg---but someday I'll move back to the country around there, sit back and watch the twisters in the summer, and hire someone to shovel the snow in the winter.

Is the Kaeseman filter usable with an XM2 (GL2), or should I buy a Multicoated

Polariser: Circular or linear? I know it depend how the cam makes the Autofocus (XM2/GL2)

Thank in advance.

Get a "good" one...linear or circular doesn't matter for the internal video optics. The performant ones are mostly circular. Get one with a good scratch resistant coating. With a Kaeseman filter you'l get (theoretically) somewhat more polarisation (extinction ratio), somewhat better polarisation uniformity and a "flatter" structure for the ultimate resolution. Those super performances are an overkill for video.

I noticed on Scott Billups' web site www.pixelmonger.com that he has two stills from the XL1s with the ISII auto lens and the Manual lens. The difference between the two images is phenomenal. I was wondering if the difference really is this noticable or maybe his images have been compressed differently or some other factor at play. I am allways interested in getting the best out of the camera because its just such a lovely machine. Ultimately I am after the manual lens with an anamorphic adaptor on the end, but am unsure of the actual advantages in terms of image quality (of having the manual lens). Many thanks for any advice/information.

It looks to be like they were shot different. The top image (16X IS II) looks like it has some reflection of the background on it. It fills less of the frame and is angled more. For a good comparison the shots should be identical. With that said, I own both lenses and find the 14X to be sharper.

What kind of difference can I expect from a canon XL1 compared to a new DV camera you can buy at best buy for $800.00 bucks? This camera I am getting is used and I think may be 4 years old. It's the canon XL1.

Anything I should be aware of?

I was wondering can you record in widescreen with the XL1? Or do you need a special attachment? If you need a special attachemnt, does it leave the black borders on top of the film and bottom?

Many of today's 1 CCD cams have very high resolution. The XL1 is more of a pro cam. It has better sound/audio controls, great manual controls, and the ability to use a variety of lenses.

Adam,

The XL1/1s both use 4:3 CCDs. They have a faux 16:9 digital function where the image is squeezed and stretched to fit the 16:9 format. When using the 16:9 effect there is some loss in vertical resolution. This may be a problem for you, it all depends on the look you are after. Many people will shoot in 4:3 then crop in post and add the black bars to achieve 16:9 images.

My personal experience has shown that using the 16:9 effect doesn't really make that much of a difference to the look. It still looks sharp(as sharp as the XL1 can be) and good. There are plenty of posts here on the boards so do a search on 16:9 and see what you think.

Yeah iv done filming in sub zero temps with snow falling on the camera (XL1s) before, performed flawlesly! Didnt have a case either so it got pretty wet, didnt want to let it get to wet though so I was only in it for about half an hour.

Did a job two nights ago and am reviewing my footage. There is a tiny red spot near the bottom of the screen. Is it possible I have a bad pixel? How could I know for sure? Is it possible that its something on the lens?

Put the lens cap on and shoot black. Play it back on a monitor and adjust the brightness and contrast and see if it shows up in the same spot. If it does, you've got a bad pixel. I believe Canon Service will attempt to mask it out.

In my search for a better lens cup I searched and found one solution here at DVinfo.net. Based on this I did purchase the Hoodman H-XL1, but I am not quite satisfied with that one. In my continued search I came across the i-cuff. Now I would like to know if there is someone who have tried this product? It looks very good, and seems to keep it´s shape better.

The site is: http://www.i-cuff.com/

Ivan

Ivan,
The i-cuff is a good product. It may take a bit of getting used to, particularly if you wear glasses. Still, for the XL1s' standard viewfinder, it's a darn sight better than the standard cup. Just make sure you buy the correct model for your camera.

I recently shot some footage with my xl1s and it looks pretty bad. I lit the shoot with a tota light, set my Zebra's to 100% looked fine in viewfinder, but it came out over exposed.

Is there anyone out there from T.O. that knows the Xl1s inside and out that could show me a few things? I want to feel like I am driving the Camera/light, rather then the other way around

thanks,

Michael

I will be purchasing a XL1s very soon.

Any suggestions what I might need to purchase with it.

Also I am finding quite a diversity of places to purchase it from, with a wide range of prices. Any suggestions on where to purchase it would be helpful.

I will mainly be using it in a studio enviroment.

Also does the XL1s have a LCD screen like many of the camcorders do today.

Thanks

With all due respect, but if you are asking whether the XL1s
has an LCD screen I think you might not have done your home-
work well enough to buy one. It is an expensive piece of gear
and you must make sure that it is suited to your needs! Make
sure that it does.

There have been a lot of threads on this topic and there is even
one at the top of this forum (http://www.dvinfo.net/conf/showthread.php?s=&threadid=22).

Also where not to buy (http://www.dvinfo.net/conf/showthread.php?s=&threadid=6439).

Personally I have set the zebra at 90 instead of 100 (and in
case with your IRE levels in NTSC land I'd drop that to 80) to
make sure I have a little bit more room before it blows out.

My viewfinder seems to make things darker then they are,
perhaps yours does it the other way around? I've learned
the most on how to judge my image in the viewfinder when
I hooked it up to a TV and compared the two. I suggest you
do the same. That way you can expirement more easily and
see what works and doesn't. I'd definitely lower the zebra
level though! It is only an indicator and it can better warn
you before you are about to clip instead of that it is already
clipping (which it does when you set it at 100).

Hope this explained it a bit!

I want to buy a couple of cheap mics. I want the clip on mics. Where is a good place to buy them. I would also like get a mixer. I don't want junk, but I'm on a tight budget right now.

Radio Shack. They have some decent lavs.

Yes, I would recommend that you read further both at the Canon site and the web. The XL-1S is not for everyone, but is quite a machine. Be sure it is the cam for you! Be like Goldilocks and make sure it is 'just right' for you.

The best suggestions of where to buy from are from sponsors of this site. These vendors know how to support users of these systems while cheaper outlets do not.

I am accustomed to linking the Timecode Out of one Betacam to the Timecode In of another so different angles of the same images have the same timecode. It is great for posting a multi-cam shoot.
Now my primary location cameras are an XL-1 and an XL-1s. Is there a way to have them share timecode?

No, the timecode that DV uses is not true SMPTE timecode. You can't jam sync or slave the timecode so they lock together. However, it is digital and the servo's are extremely accurate, so generally no slippage occurs. Most people who need to match frame multiple cameras do so visually. The use of an electronic flash (fired at the cameras while recording) will cause only one frame to be completely white. The common white frame is then used to match all the cameras in post.

Hey All,

Thought I'd post my experience of shooting with Tiffen's 1/2 Black Diffusion FX for interior interviews and the 1 Soft FX for exteriors with on camera talent. In short, I really like both filters for their respective abilities to smooth and control highlights without losing any crispness in the shot. Very subtle diffusion and in all the right places. I used the Manual 14x lens for both of these tests/

I first learned about these filters in the VideoSystems December 2002 article by Barry Braverman (who also took time to respond to my email. ) Barry had recommended the 1/2 Soft FX, but for the look I need, I chose the Grade 1 after testing both versions.

The 1/2 BDFX used with an XL-1 and an Arri Fresnel 650 / 300 light kit made my talent look even better on camera. Subtle lines / blemishes were eliminated without losing any crispness in the shot. Works just as advertised!

For the 1 Soft FX used with a Tiffen ND 6 and B+W UV filter (tested at 1pm in bright LA sunlight) the Soft FX created a half step loss in exposure which brought me down to skinny f4 at a shutter speed of 120. Changing the shutter speed also gave me more exposure control, which now ranged from a skinny f4 to a skinny f5.6 Up to now, exposure had always been an issue when shooting in very sunny conditions with no scrims / diffusion for talent.

For those considering these 2 filters, I for one am very happy with my investment. Rent them for a day and see if you like the results. I sure did!

Philip Rebentisch
Wine Table Media
Digital Video For Marketing and Public Relations

OK, I'm at a big soccer match and using my new Varizoom Pro-L and its great. Then all of a sudden it starts zooming out and the record button won't work to 'pause' until its fully zoomed out. Then it settles down for 15 minutes and then it goes again. Not all the way out, but definitely moving without being touched.

After a while its behaving itself pretty well and for the last hour of a two hour shoot there's no problem.

Have I got a dud? Anyone got any ideas?

That sounds like a defective unit. Contact Tom Smith at VariZoom, at www.varizoom.com

I am about to purchase a XL1s. My question is what is the benefit of purchasing it locally, say from a Wolf Camera shop vs purchasing it over the phone from say B&H Photo. Besides the $500 price difference wouldn't they both have to send it back to Canon to get it repaired.

Initially, if the camera didn't work right out of the box, you could easily exchange it. Beyond that, though, there is little (or no) advantage. Warranty & routine maintenance work needs to done by Canon.

B&H is one of the "Gold Standards" for service & dependability. However, ZGC is one of this forum's sponsors, and everyone that deals with them raves. Most are repeat customers. Don't let the bottom line be your only criterion. Read the threads about ZGC in the Community Marketplace section on this board.

Also depends on the local outlet too. If your Wolf outlet is like ours, it will not be of much help beyond warranty problems.

ZGC gets its money by being a real videographer outlet.

I've had a GL1 for a couple of years - just added an XL1 to my arsenal, and I'm still learning my way around the 'X'.

On my GL1, when in camera mode, there is a function in the menu called 'C.Sharpness' that allows you to turn the sharpness all the way up or all the way down (that, coupled with Frame Mode makes for a nice cinematic look)

Does any such menu option exist somewhere on the XL1 as well?

Scott,
No, the XL1 does not feature a Sharpness adustment. That was a feature added with the XL1s.

I have two sony micorphones for recording ambient location sound. However they are both mono and I wish to combine to signal to make a stereo signal. This will enable me to place the two mics wide apart so I can obtain a cool ambiant sound. My question is where can I get an adaptor that combines two mono signals and creates a stereo signal, placing one mono signal in each of the stereo channels. Also what would such a device be called. Hope someone can help!

You might want to try www.equipmentemporium.com. They manufacture and sell a variety of connectors, and can probably make what you want, if they don't have it already...they also have a wealth of info on their site regarding sound for video. Nice guys, quality and service are exceptional, and their prices are reasonable.

Barry

Hey All,

No matter what NLE system I use, I've noticed that when capturing footage via Firewire from my Xl-1, there are always black bars on the left and right frame. They are only seen on RGB monitors, NTSC output is fine.

They are 2 pixels wide and I've always removed them in Cleaner by cropping, but has anyone else noticed this?

Philip

....the logical step to reproduce this look would simply be
to let the focus ring be just slightly out of focus ?
(In your opinion?)

This issue of black bars (http://www.dvinfo.net/conf/showthread.php?s=&threadid=1743) has been seen before and noted by many. Depending on what your needs and output medium is, it may or may not, be an issue for you.