It's Canon's famous Optical Image Stabilization, which is used on professional Canon 35mm EOS still photography lenses, Canon broadcast video lenses, and other higher-end camcorders such as the Canon GL1 and Optura 100MC. Some other companies have a license to use it; Sony calls it Super Steady Shot but it's still Canon technology.

The O.I.S. is no replacement for a tripod, but if you're careful to hold the camera as steady as possible, it will help a great deal.

That's why I'm asking. I've done a fair amount of close up work and never seen a need for macro lenses...either on the standard lens, or the new 16x manual.

Just wonder if I'm missing something.

Mike Avery

Macro lens (close up adapter) is nice for shooting full frame views of small stuff (e.g., an inch on a side) when you still want some stand off room so you can light the suject. While you can get real cose with the XL1, it is at the wide positions and you end up right on top of the subject. With a +2 close up adapter you can get 35mm negative size objects in a full frame from around 16 inches or so.

I always had a jumping Video/Audio problem at the first and Last 3 minute with Mini DV Tape.

I think it might be my Xl1 has a tension problem.
I'm using Sony Mini DV Tape.

I want to hear if any recommandation before bringing it to Canon AS.

Try fast forwarding a new tape all the way to the end and rewinding it completely before the first recording. This will properly pack the tape and ease the head tension. Might help your problem. Good luck,

I had my camera serviced recently and I had to replace the EVF cable because my SI-XL1 Isolator attatchment caused alot of strain on this cable. I asked Canon to give me a longer one but I guess they can't as they're probably pre-made. I hope it won't happen again as I hated shaking the cable until the image worked properly! Anyone have this problem or a solution?
Thanks....

I am a semi pro stills wildlife photographer who is thinking of getting into DV with a 2nd hand XL1 (no point dragging it round if its not broadcast quality) so that I can use my professional Canon lenses, apparently the 500mm becomes an incredible 3,600mm lens. Has anyone any experience of using these lenses on an XL1? in particular, I have a 35-350mm lens and wondered if it had the same problems that the standard zoom has with holding focus when zooming? I am planning to use it mainly from hides and I already use a Manfrotto 501 video head (without a 75mm ball) for my big lenses, which is handy.

The XL1S has been out for six months now.

Anybody know if Canon have made any plans to release a XL1S + manual lens kit - just like they ended up doing with the XL1?

Nielzen

Right now I'm attempting to figure out a way to calculate the depth of field for the XL1s camera. Rather than trying to understand how this CCD stuff works and find a circle of least confusion for it, I've decided to find the 35mm equivilent of the focal length of the lenses.

I've tried several seemingly logical ways to find the ratio, but none seem to work. In the manual, more specificly the section on the EF adapter, it states the difference between the CCD and 35mm film is 7.2x.

I never trust manuals, so I'm here to ask people who have been doing this a while how accurate this is. Would this mean that the standard CANON 16x lense with 5.5mm-88mm focal lengths is the equivilent of a 35mm camera with focal lengths 39.6mm-633.6mm?

I would much appreciate it if someone could clarify this for me.

The 7.2x factor is for field of view, not depth of field. And Canon spec for the standard 16x lens gives its 35mm equivalent as approximately 39mm-624mm.) Of course, field of view must be tempered by the 4:3 ratio of video as opposed to the 3:2 ratio of 35mm stills.

Believe that the depth of field is what you would expect with the corresponding focal length lens and aperture, no matter the format.

Nielzen,

I don't know if Canon will or has come out with an XL-1s with manual lens, but there are retailers who will sell you the body with any lens. I just bought an XL-1s with the 3x lens from ZGC - one of the sponsors of the Watchdog. Check them out. They are in the US and you are in Denmark but their prices are reasonable and their service is excellent. www.zgc.com

I'm shooting a film (probably using the XL1S) and want to get as close to a film "look" as possible. Do you have any thoughts about shooting PAL? In his book "Digital Moviemaking," Scott Billups makes some good points about the benefits of 25 FPS, higher resolution and color space of PAL -- but his book is mainly about shooting in DV and then printing to film. We won't be printing to film -- we'll distribute on DVD and Beta SP (NTSC.) We're editing on a Media 100 XS. Given that, do you still see a benefit to shooting in PAL?

In his book "Digital Moviemaking," Scott Billups talks about a Canon XM-1, which he says is the PAL version of the XL-1 that "lets you shoot in 25fps, progressive, and has an anamorphic setting that actually compresses the image horizontally" so that you can get true 16:9 images. He references Canon's www.canon.co.uk site, but the XM-1 they show there appears to be the GL-1. Does anyone know about any version of the XL-1S that offers an anamorphic setting, rather than the 16:9 cropping that the standard model does?

Scott Billups makes very, very few errors but unfortunately he is mistaken about the Canon XM1. As you have discovered, the XM1 is the European designation for the Canon GL1.

The PAL version of the XL1S will be available soon in the USA (since it's about to be popularized in Canon marketing ads about Steven Soderbergh using one to shoot his movie). How it will be designated, re: model number, I'm not sure.

There are two ways to shoot in 16x9 with the XL1S. One is to shoot in normal 4x3 mode with the 16x9 cropping guides visible in the EVF. The other way is to switch to the electronically derived 16x9 widescreen mode which will cost you some vertical resolution.

A third way will come when there's a viable optical solution in the form of a 72mm anamorphic adapter. Optex has one that works marginally well; I understand Century Optics has one in development.

Answered your copy of this question in the General DV Discussion forum -- please don't double-post like that -- we can resume this conversation under that other thread. Thanks,

Automatic focus does not work on EOS lens with the XL1. So you'll be manually focus and zooming. To answer your question, zoom all the way in with your EOS lens and set focus. Everything in the zoom range will now be in focus.

From what I hear, the new EVF cable that comes with the XL1S is a bit longer. You could always make a short EVF extension cable out of Canon replacement parts. I agree it can be a problem.

Has anyone heard any news about Promax releasing a real-time card? I read they had one in the works and it would offer uncompressed capability as well. I was thinking about getting the RTMac card but will hold off if the Promax card is real.

hey, i have been shooting with the xl-1 for the past few years and have decided it is time to move on from the standard 16x lens it comes with to something manual. i would like to treat this xl-1 more professionally, see what i can get out of it.
does anyone have any suggestions?

Check the XL1 Lens options article on the Watchdog, it basically says it all.

Hello,

I want to do a several camera shoot for a school choir. Is there a possibility to connect several XL1 cameras to syncronize their timecode or will I have to use external recorders and a timecode generator?

Thanks,

Björn

We always just shoot each camera individually and capture the complete tapes individually. Once in the computer, it is a simple matter to get the tapes in sync. Just find some point where something specific happens and sync to that point. Some examples could include:

Camera Flash
Someone coughs
Start of the shows music

(Sound usually works better for syncing than visual events but a camera flash can get you very close.)

Once the sync is close, we will then play the sound of one tape with the video from the second tape and verify the lips are in sync. This frequently requires some fine tuning of 2 to 6 frames. Once these two are in sync, repeat the process for the third camera. We always sync to the sound we plan to use - frequently from an external microphone or direct feed from the sound board.

There is really no need to go to the expense of external device and the inflexibility required by laying down cables.

Has anyone used this adapter?
Optex also sells this one and it is a lot cheaper than the Canon EF adapter (which I would also like to know more about).
Any info is appreciated.

I just got the Bogen 3502 75mm ball adapter and paid about $72 delivered. Sorry Chris, I tried using ZGC but they said they did not stock them.

Anyway, if you are on the low end of tripods and heads, I really recommend this bad dog. It works fine Bogen 3221 sticks and at $65 makes leveling a snap. It is very rugged and easily supports an XL-1. My only regret is I did not have it when I was shooting from the Lion's Gate bridge in St. Augustine!

You may have to look around for it though. I know when I was in Pheonix last year looking for such a device, the camera store (which was very well equipped) they never mentioned anything about it.

Happy Mardi Gras,
Nathan Gifford

I am curious to know what you XL1s owners think about the XL1s' photo mode and frame movie mode. How does the camera perform in capturing a single frame at a time?

Any and all input is appreciated.

Scott

Photo mode is a freeze-frame for 6 seconds with sound. About 704x480 pixels. Good for web sites and informal newsletters.

Frame movie mode if you want video that approximates the temporal feel of film.

Each mode has its place, but is not a substitute for a digital camera if you are looking for high quality, enlargable stills.

XL-1 Community

I edit with the XL-1 in Final Cut Pro 3, I noticed during Log and Capture mode I see video artifacts in the capture screen on the video being displayed (On the Mac). Occasionaly small multi colored video lines appear in the top of the screen. The recording modes all work fine, It is in the freeze frame mode where the computer is actually sending the Jog commands to the camera, where I see this anomaly. I thought my recording head might be dirty. Has anyone experienced this?

Thanks
Dennis

I don't think that is anything to worry about. DV is not known for its ability to change directions smoothly and play backwards and forwards in multiple speeds without a hitch. If it just happens when your are "searching" the tape at higher or slower than normal speeds and when you change the direction of the search on your tape, then I wouldn't be worried.

Now please send me a free copy of Final Cut Pro 3. I have FCP2. :)

I just came from the caribbean on a shoot and want to know how to clean the XL1s - body, lens, etc. It's not visibly dirty, but there was a lot of dust in certain areas. What is the best way to clean the lens under normal circumstances? Also, is there some type of camera cover that can minimize dust and dirt accumulation?

Any thoughts would be appreciated?

Gilbert Labossiere

Hi Gilbert,

I often shoot in extremely dusty conditions and use a PortaBrace rain slicker to protect the camera. So far it seems to be doing a very good job. There are other solutions discussed elsewhere on this forum that you might want to consider.

I'll let someone else address the best cleaning methods since I could use advice there as well.

Unfortunatly I placed this question in the wrong area and got no resplies. So please excuse me.

I looked on the net for any problems with the XL-1s and noticed some people said they had encountered an audio hiss on playback. I realize input is important to put it mildly, but who knows if output is a problem. I have an XL-1 and wouldlike to get the XL-1s and would like to know of any problems and of course the best price. NTSC only

I can't get the $3700 together to purchase a new XL1s with lens. If I can buy only either the XL1s body or the IS II lens, which will give me the most noticable image quality improvement: A new XL1s body with my old lens? Or a new IS II lens with my old XL1 body?

Thanks for your input,

Sam Eneman

The new XL1S body, since it has the newer, cleaner CCD block and the greatly expanded internal menu system with a variety of image controls.

I have both an XL-1 and XL-1s and can absolutely say that the new CCD block (300,000 pixel chips -vs- 270,000 on the XL-1) make a notable difference in image quality all by themselves. The new image controls and power management options are also really nice to have.

In comparing the -1 with the -1s using the 14x manual lens on both I was surprised by the difference in scenes.

Hi
I'm looking at using a flexible solar panel to trickle charge my XL1 batteries. I've been told it's easy enough but I need to find out the spec on the Canon car battery chargers cb 900 or cb 910, such as the input voltage range and current requirement. Can anyone help, this is rather urgent as i only have 2 weeks before leaving for Cambodia so I'm hoping I can work this out rather than take a mountain of batteries.
Cheers all
Allan

I use one. I have a Nikon FE2 and I have invested alot lenses.

So I bought the adapter for my XL1 and it works great.
The only thing you deal with is the manual operation of the focus and the " no lens " flashes on the view finder, but it works fine.

I get some good images from 300 mm ED f4 telephoto.

Is it easy to use the RCA analog OUTs to run to a VCR and make a "window" dub while shooting?

(This is for video depositions for legal cases.)

Does the video out carry the timecode or counter numbers to the external deck without burning them to the DV tape inside the camera?

Many thanks!!!

<<<-- Originally posted by William Thomas : Is it easy to use the RCA analog OUTs to run to a VCR and make a &quot;window&quot; dub while shooting? -->>>

Yes it is, at least with respect to the XL1/XL1s. It's a bit easier with the XL1s since you don't have to confound the power saver timer by leaving a tape unloaded.

<<<-- Does the video out carry the timecode or counter numbers to the external deck without burning them to the DV tape inside the camera? -->>>

No, your VHS deck will burn it's own time onto the tape as it records.

I've been given a Sony C76 mic to use as a second mic. It sounds OK but not what I would expext for a mic that costs 1110.00 new. And it's big and bulky....

However, the guy who owns it asked if I'd give him 75.00 for it, not bad for a back up. It has a funky looking windscreen that clip mounts on a shotgun type pistol grip and a case.

Any thoughts?

My mic clamp has a broken hinge... the top portion or Canon's description: "microphone clamp" which is not part of the viewfinder but houses the tightening screw is what I need for the repair. Super duper glue was not the answer. Can anyone put me on track to obtain this part?

Thanks from a new member!

Robert

You need to send the camera to Canon Service. Contact info on the XL1 Watchdog at www.dvinfo.net -- "The XL1 Skinny"

You can always charge a car battery during the peak hours of sunlight. Then connect the car battery to your charger this way even if there is a flactuation of the sun intensity the car battery will still be steady in giving energy to your charger.
Opps sorry if its Cambodia it might be harder to carry a car battery to the jungle.

someone who uses solar panels for energy

Most consumer VHS decks to not do a timecode.

You can create a window dub from the XL1 analog output. In VCR mode you would use the remode to turn on the time code display.

Ok this is what is in my head I have an expensive Fuji lens16x-6.7on my JVC -X2B which is a great camera . Im trying to sell the camera. But am seriously wanting the new XL1s. I used the XL before and I hate the focus . So why cant I buy a cheap canon lens and switch mounts with the Fuji. Shouldnt that work? As long as the screw mounts line up that would work ...right? I still have to buy the adapter right? Even if I could do this?

Tony B

You can do it but it will be expensive, besides that lens is for a 1/2 inch camera and the XL1 is 1/3 inch (focal lengths wil be longer, not wide enough). You'll have to take off the motor and grip handle too.

It looks as if they did use a new, longer EVF cable as I requested during my servicing! It's all working well now and I'm happy! :)

Does anyone have any experience with the "mono to stereo" DSP function in Peak VST? If so, any and all info (how well does it work, why did you use it, quality of output, limitations, etc...) would be appreciated. Could (should) I use it to convert mono from Sennheiser ME66 into stereo? Not interested in doing any hardwiring with splitters and the like.

I use Peak VST almost daily and have found it to be one of the best 2-track audio editors on the market. You should have no problem making the conversion from mono to stereo.

Will the alteration of the shutter speed affect in anyway any future transfer of the DV to film.

The only folks that can answer this are the folks at your transfer house. I suggest selecting one before you shoot frame one and consulting with them on what their requirements are.