The Pelican and Cases Plus come highly recommended. They are rugged, tough, and are built to take the abuse.

If you want to go cheap the Sears Truck Tote is one of those non-professional solutions.

I have two questions:

1. I need to get a lavalier microphone for my Canon XL1s with MA 200. A friend recommends Sennheiser EW500ENG. Anyone has experience with it? Any other suggestion?

2. I also need to record voice-over on PC. I use adobe premiere to edit video now. What audio setup do you recommend, e.g. which microphone, do I need a preamp/mixer and which one and which audio program to edit it?

Thanks.

If the 500 performs as well as the EW112P you will be quite happy.

Well I think i'm THE or at least one of the newest owners in here, so thought I would give my first opinion of the XL1s, for any that, like me may be interested or in deep thought in buying one. I actually bought the XL1s without actually seeing one, it was just in my price range and read a lot and asked a lot of questions in here and a UK forum.

First opinion was that it looks nice, all my friends commented, firstly....wow the camera from Jackass, then the others said how it looked very professional, unusual, but looked the business. or as one calls it the Dirk Diggler (pornstar) camera. hahaha

The images from it are nice and looked great. I gave it a full test, as much as I could, shooting complex matrix shots to test edgeness in pixels, high contrast, varying lined patterns, into light, etc. And all showed great results. I have used Sony PD150s but never seen images from this one, but they look great to me.

I also shot some scenes using frame mode with shutter at 25fps rather than standard 50, and I really liked the images and feel.

The microphone seems OK, but not ideal. I recorded some friends cleaning up a garden leaves while haveing a fun chat, and the mic picked up leaves and voices, so a blend of everything. I went to the beach where i knew it would be windy and recorded with sound using the mic. att. This seemed to cut out a lot of the sound of waves and wind, to the extent that some more quiet scenes seemed to be really quiet, with almost silence. I must admit that I had the levels on auto, but seemed to jam out too much ambience. But perhaps with more time rather than rush, I could have tried manual levels. But looks like I need a new mic. I wish the camera had a bit "logic" to see a mono mic in mic plug and put it onto both L+R rather then just +L. Or better a button to change this, save having to use a mono to stereo adapter plug, such as on the MKE300 I tried.

The lens seems great, but the autofocus seems pretty slow and hunts too much. My little Sony PC100 has much better autofocus than this camera, perhaps cos the sony's lens is smaller or perhaps Sony have a better autofocus "logic" system. I cannot remember the PD150 being as bad. It was a bright day with slight haze (I had no UV or equivelent filter on) so could have been this. Plus I had a clear focus one one shot, but once the ND filter was switched on...the focus just couldnt seem to sharpen, even in manual it was not 100% sharp as without. Perhaps I have put it through a tough test and so perhaps expecting too much. But I guess more testing and using will see how this ND filter fairs up. But most only ever use manual, so probably a problem most come across with ND and autofocus "hunting".

I like the function to switch off motor and tape section. Great to compose shots with lots of time and no dreaded powering up and down.

Mmmm whatelse can I say. Any questions...just ask. Its a great camera to buy....seems very good stuff. I'm just having too much fun using it. And its definitely a camera that inspires you and gives u great creative options.....plus u stand out from the crowd of all those dull black machines....great for atracting the chics!!!

Whenever one of my friends sees my XL1 for the first time, they ask me if and when I'm going to shoot porno with it. Dirk Diggler camera, indeed. :)

Maybe we should make forum t-shirt with a pic of an XL1s and slogan - The Dirk Diggler of Camcorders! hahaha :)

Or one of the Pornstar skater T-shirts with an XL1s pic on the back. Hahaha.

The XL1s is definately the camera to make u stand out from the crowd!

Page 64 of manual states -

"You can adjust the focus temporarily without turning autofocus off! Turn the len's focusing ring to set the focus. Autofocus will resume when you take your hand away from the focusing ring!"

I have tried this on two XL1s's - I can change the focus ok but autofocus returns it within 2 seconds and my hand is still on the focusing ring!!!

I am not in the Easy Recording Mode - a friend has an XL1 and apparently they are suppose to do this as well but he has never been able to get it to work!

What is the secret??? Can everyone please try it and let me know what happens. Then maybe I can get onto Canon!

Thanking you

Andrew Wylie
New Zealand

Yes, this is supposed to work and does for a few seconds. But I, too, have never managed to figure out how to make it a useful feature.

Bottom line: when you need to manually focus the lens just press the Manual Focus button.

Hi all looking for a miixer and self amplified speakers for meetings and wedding receptions. For 6 wireless mics. Is it possible to get AC&DC power. Also when I connect the XLR cable to the mixer will i just have mono sound or does it make a differance. Thank you David LeBlanc

Ken & Rick,

Your mic requires a power module (In-line power adapter) which supplys a bias voltage to operate a small pre-amp in the mic capsule. If you try to connect the mic directly to the camera, it will not work.

I use Audio-Technica AT899 Submini Lav mics with my XL1s.

If you end up using a wireless system, often the mic can be connected directly to the transmitter without the need for the power module (the trasnmitter supplys the 5v bias voltage to operate the mic.) Sony's website should have connection diagrams to help you make this connection.

Hope this helps.
Cheers

Does anyone know of any rentable features shot on an XL-1/XL-1S? [Besides Full Frontal]

I am interested to see what has been shot and distributed. Hopfully something that I can find in a video store etc.

Thanks.

Here's a list (http://www.dvinfo.net/conf/showthread.php?s=&threadid=7227), although not strictly on the XL1.

"Search" is your friend.

Directed by Campell Scott. Shot on an XL-1 with the Fujinon manual lense in Frame Mode, and run through Magic Bullet software. Then blew up to 35mm. Saw it on HBO, so not sure if I was watching the Blow up version or the Digital version, but it looked really, really good [I thought].

My opinion - best looking digital product I've seen [picture-wise].

AC/DC power is an option but you’ll pay a premium. Shure and Sound Devices both make AC/DC portable mixers. XLR outputs are single channel, so you would get mono sound. Self powered speakers are available, but you may experience some limitations in larger rooms or halls. Many mixers have RCA outputs as well to accommodate speakers, amp, tape decks etc.

For the mixer it sounds like you want the Behringer MXB1002:

http://www.behringer.com/02_products/prodindex.cfm?id=MXB1002&lang=eng

For speakers, I guess it depends on what exactly you had in mind size wise. I'd probably head towards some Mackie or JBL self-powered units.

I once voiced over using a recording made with the on-board XL1 mike, captured that into Premiere, dumped the video and just used the .WAV file. Worked fine for me.

I am using the ma-100 with an Azden 500 wireless system. I can get the wireless system working fine along with the supplied mic. Here is my question.. Can I also add a wired handheld mic through the other xlr connection on the ma-100.

Any help would be appreciated.

Thanks,
Dane

Dane,

Sure can, here is a link that may help
http://www.dvinfo.net/canon/articles/article71.php

Wow, Kingsland! Thats a hoppng place!

The main trick will be balance between the source. Best if you can set the wireless and handheld mic to hve about the same output level.

I was curious to see if that can be done? If not, I guess you would have to make the adjustments on a NLE program?

You can shoot 25fps on a PAL XL1. Otherwise the answer is no.

Dylan is correct!

- don

Please forgive my ignorance but I'm a complete beginner to digital filmmaking with the Canon XL1. I'm trying to pick up as much as I can from all the insightful and knowledgeable posts here.

With that warning aside, what's the purpose of a microphone mixer? From what I've been able to gather from the posts, a mixer can 1) give the mic the phantom power it needs, 2) give a boost to diminished sound caused by long cables.


By the way, any pointers to FAQs on any subjects related to digital filmmaking (particularly with the XL1) would be much appreciated. Thanks!

A mixer allows mixing the audio from several soruces, independently adjusting the level, equalization (with better mixers), and pan (left/right) of each input. It also provides a preamplifier and phantom power which may be needed for some mics.

Often is overkill for use with a camcorder, but very useful in more complex audio siturations.

I've had the XL-1 hooked up via firewire to the AVID trying to record a piece to tape. The camera recognizes the 'dv input', but in VCR mode the screen stays blue. Is there a way (menu?) to change the video input on XL-1 ?

-Don

FireWire is bidirectional and there is no need for a switch (hence, no switch). Your problem is else where, bad cable, bad FireWire port, software is set wrong, user error, etc. My best guess is the software needs to be set-up differently (change a setting, preference etc.).

I know you're anxious for an answer, but no need to double post. I deleted your other post. Thanks

Canon XL 1 Camcorder Problems. Please help!
When I use my Canon XL1 camcorder at concerts set with normal stage/light set up (multiple lights with diff. colour) and sound coming from all directions the picture get shattered with pixel dropout and some kind of a smear effect. And it gets worth if I move the camera around.

Is that normal? and if not, what could be the problem?

Please help me out here.

Is the camera image normal for other venues?
Is so, what kind of concert?
And where is tha camera relative to the sound sources?

Sorry for not being around. Me and my family had to go to the mountains for the Easter holidays.

Well, the camera seems to work all right in normal situations - daylight and lowlight, indoor or outside.
So the problem is quite strange and the two times the problem has arise was:

1. time I should shoot at a revue theatre and had placed the camera close to the theatres sound system/mixer. All actors was using wireless microphones. The camera did not have any connection to the sound mixer (sound was recorded to DAT and dub. later). The stage was lit well and the camera was operating in manual mode with a -3db.
When I saw the footage with pixel dropout on every frame I was sure it had to be some kind of electronic disturbances from the sound mixer system effecting the camera.

2. time only a few days ago I had to do a music concert (indoor) and the same problem arise. This time I had to moved the camera around - and when I did, the picture got even worth. Like when a camera needs a good clean. As last time the default microphone was used and the camera was not even close to the sound mixer this time, but to the stage.

So to be quit honest I have absolute no idee if it has something to do with the sound or the stage light or simply just too much electronics flying around in the room.

Only a year ago I had to change the CCD chip because of a burnout pixel ($ 1.000,-) If the camera had this problem before the repair, I don’t know. All I know is this - it is quit embarrassing telling the people that hired you, sorry for the inconvenient and please call me again. This I now the third time I have experienced this.

And when watching the Canon Watchdog web site a question comes to mind - is this camera reliable enough to be used professionally?

So before shipping the camera of to Canon Norway for a second repair within a year, it would be nice to know what to tell them and what to expect.

Thank you for responding .

I'm trying to solve a wedding video problem...

The on-board mic just doesn't work well for a wedding reception. Unless I am very close to the subject, I get way too much background noise, making the audio close to unusuable.

Any suggestions for mic that will be better for this situation, but won't break the bank? I'm guessing I need a hypercardiod or unidirectional, but I don't know too much about brands.

Thanks a ton.

Annie C

On camera mic is not a very good solution if you are lookign for something beyond ambient sound in the reception environment

A handheld cardoid wireless may be a solution for interviews. And it solves the problem of wire management around people.

I'll soon be filming a wedding, (my first wed) and I was asking myself how or where to locate the mic so it can't be seen and does not affect the audio signal.

BTW I bought the EW112p Sennheiser fron a web Co. but recieved the 122p by error, I decided to give it a try before sending it back, and I didn't noticed nothing wrong with this model, Should I send it back just because everyone recomends the 112p? Are there any difference in sound quality between them?

Thanks
Alexis

The difference appears to be that the 122 has a cardoid mic and the 112 mic is omni-directional.

If placing a mic on the groom or preacher only only, the omni version may be a bit better at picking up the others in the wedding party with speaking parts.

When we use either the manual zoom on the lens or the auto zoom on the handle for the 16x lens, there is a rapid clicking noise heard coming from the 16x lens near where the camera connects to the lens. The zoom still works fine, but the clicking noise can be heard through the onboard mic during playback. This clicking noise is almost like the lens is having trouble on a track or something.

Has anyone ever heard of this problem on the XL1?

Any thoughts on this situation?

The lens contacts have been cleaned with isopropyl alchohol to no effect....same clicking is heard.

The lens is the standard 16x auto focus white barrel....

Thanks for any help!

Giff,

Give the lens contacts a clean with isopropal alcohol, you may have some grease of dirt that is causing a short.

Hello Giff,
Are you using the standard 16x auto lens (white barrel) or the 16x manual/servo lens?

Last night, MSNBC's Explorer had a piece on National Geographics coverage of the Iraq war. If I'm not mistaken, much of the coverage of Baghdad and the night bombings were shot with an Xl-1s. There were several cutaways to the camera on a tripod during the "shock and awe" event.

Obviously when recording at an outdoor location you would want to use the windscreen...however, (I'm a newbie to this and just placed one on order) I've read in the documentation that the EQ-XL1 will protect the microphone...so my question is---is there anything wrong with keeping the windscreen on all the time? I assume with it in place there would be some attenuation of the source audio.....

I'm a new kid on the block and have purchased a new XL1s camera and haven't been able to use my existing wireless equipment with it. I also have a Sony VX1000 and the equipment works perfectly with this camera.
Here's my problem:
I have two Azden wireless receivers and two wireless transmitters with mini plugs.
1. A Azden WR2-Pro 2 channels F-1 & F-2.
two transmitters and two laveliers mikes are used with this unit.
2. The second Azden is Model WR-Pro with 2 frquencies.

I'm not sure what I'm doing wrong, but I could only place the mini plug from the receiver in the location where I removed the on board camera mike. The molded piece has both a mini plug and a mini/mini plug into the camera. My receiver with its mini plug will go into the connection where I pulled out the camera mike connection. When I do this, then I receive audio in only the left channel....
My question...what am I doing wrong?? Is there something in the menu I missed??? or do I have the wrong connections?
Your advise would be indeed appreciated.
My Thanks,
Tom Turney<><

Do not worry about the submini plug, it is only used to power the Canon mic.

The standard mic is stereo and provides the audio signal to the camcorder via the stereo mini-plug, left channel at the tiip and right channel at the ring. The sleeve is gound.

Sounds like your wire from the wireless receiver may be mono, in which case the signal is recorded only on the left channel. Not a major problem, just add the left sound to the right when editing.

If you connect a stereo smini-plug cable from the wireless to the camcorder, you may have sound of left and right channels, but it may be out of phase, which can cause a phase cancellation problem if you copy it to a VHS tape and then play it on a mono machine.

To make life a bit easier overall, if using two wireless reeivers, suggest you use the Audio 1 RCA inputs and connect to them rather thatn using the mic jack.

I need a boom pole because of after artistic differences I wrapped it around the sound engineer.

Just kidding.

I am looking to purchase a boom pole, external or internal XLR connections.

Could someone point me in a direction other than BH Photo. I am comparison shopping.

Thanks.

Cheers!

Derrick

http://www.equipmentemporium.com/

The Equipment emporium has a great deal of user information in their PDF library

http://www.markertek.com/MTStore/Store.cfm?Search=boom+poles

You will probably be better off using Audio connections on your camcorder. Refer to the manual, but be sure you have the camera lined up to use 'Audio 1' inputs. The RCA and mini-jack adapters are available at most Radio Shacks.

You will see a fair mix of cams including Sonys. What is becoming obvious is that miniDV is gaining acceptance.

Derrick,

Lightwave (http://www.lightwavesystems.com/products/boompoles/default.htm) has an affordable, lightweight, five-section boom pole that comes with or without internal wiring. Check it out here. (http://www.lightwavesystems.com/products/boompoles/default.htm)

Mark,
I assume you are referring to the Equalizer windscreen for the XL1's onboard mic. If so, the answer is no, there's really nothing wrong with keeping it on. You will, indeed, get some attenuation from any such device. Whether of not it's significant for your own work is really up to you.

I'd recommend doing an experiment in a quiet room with and without the windscreen so that you can determine just how pronounced its effects are on your sound. I've noticed that my Rycote Softies tend to smooth off some of the "esses" in dialog, but it's very hard for my ears to detect much of a difference otherwise.

Yes, the XL1S and PD150 are the weapons of choice over there.

No there is no reason you cannot leave it on all the time, since it does look cool. However, you will get some attenuation with the sock (Equalizer) on the mic.

Typically, I do take it off when conditions permit. Still the EQ is such an improvement over original windscreen I either use the EQ or nothing.

I have just been and got a pair of earplugs to use with my gear. They are the Sony MDR-EX71SL that are the new 2003 versions of the Fontopia earplug series. They are the Sony topguns of earplugs. I use Sennheiser closed back headphones and some AKG and even on the trains / metros I used these headphones...looking a bit like a nerd...but a lot of people comment how I must be a great music and quality fan - which I am. I hated earplugs and always gave them away when I got then. So I was a very hard one to convince...I love quality and hard to sway from good quality headphones, but using them with cam on shoulder sometimes they bang on side as they are a bit large for one cam+mic operation.

But I was in store and saw them and thought "those are the size earplugs should be" so I enquired about the price. Only to find that I was sent from one till to the next as they were the only ones on shelf and eventually after a few people and a few phonecalls no one was none the wiser. So the manager said "OK, the ones slighly larger a a bit cheaper so you can have them for £30. So got them as I was sure that it would be higher price. I looked on website and they dont exist there, so where the high street store got them I do not know.

Well I got them and they are brilliant!!! The bass and sound is very nice and crisp and outbeating some headphones i have tried at more that the price. I tried then on my 24bit system and even MP3s sound nice and crisp. I even tried them with Mexican Cumbia and Banda Music as it has lots of brass and bass, and I'm impressed with the sound and also reproduce "live feel" on unplugged music. With the XL1s they are nice and crisp and seem to protray all the ranges very well and seem great for on-cam, one man cam+mic setup.

They are great and work very well as closed back to block out sound. And fit very snug into the ear canal, not in the outer-region at some wierd angle like other crappy earplugs, and have nice soft rubber plug that grips nicely in ear canal and not itchy like other cheaper plugs. These are the business and nice break from slugging around Sennheisers when you dont need to measure pin-drop clairty on your recordings. I cannot wait to see how these handle in a loud enviroment at blocking out non-mic sounds, but what I have heard so far they are worth buying! So if you head earplugs, but feel like you could use them

For those interested the specs are:

SONY MDR-EX71SL
Driver Unit: Aperture 9mm (CCAW voice coil adoption)
Plug: Gold-plated, Stereo straight Mini Plug
Impedance: 16 ohms at 1 kHz
Sensitivity: 100 dB/mW
Power handling capacity: 100mW
Frequency Response: 6 - 23,000Hz

Hi all,

I am looking for the exact dimensions of support rods. I'm guessing they must be standard as they need to be interoperable between makes and applications (i.e. any follow-focus would fit on any rods), and I am planning to build my own as a fun project.
What I would need is the horizontal distance between them, the diameter of the rods, and of course the vertical distance between the rods' centers and the lens axis, assuming they sit an equal amount either side of the lens. I need this for an XL1 but I am assuming also that this information would be identical for any camera.
Does anyone have this info? Is there even a website somewhere with this kind of stuff on it?

Many thanks in advance,

Kai.