I've seen the V8 used as an abbreviation for Video 8, the standard 8mm video tape format (not Hi8, which uses the same size tape and cassette but a higher bandwidth recording format and tape specification).

8mm video tape (and Hi8) are NOT compatible with MiniDV, but should be with Sony's Digital 8 equipment that is designed to play both Digital 8, Hi8, and 8mm format tapes.

The XL1 does not play Digital 8, Hi8, or 8mm tape.

The Sony Digital 8 gear I've seen does have firewire output (Sony calls it iLink); e.g., the GV-D200, a walkman-sized Digital 8 VCR, and it plays both 8 mm, Hi8, and Digital 8 tapes.

Sony is the only current maker of Digital 8 products.

Don,

Thanks for your clear explanation about Video 8 compatibility with the MiniDV format.

Collis

How much to you guys use these custom settings, setup level,
sharpness etc., are they manipulated frequently or stay pretty
set to the 'center'?

A simple search within this forum revealed several threads on
this subject already. Including my opinion on the matter, please
take the time to review these:

http://www.dvinfo.net/conf/showthread.php?s=&threadid=20198
http://www.dvinfo.net/conf/showthread.php?s=&threadid=13419
http://www.dvinfo.net/conf/showthread.php?s=&threadid=5056

Thanks!

Hi,

I feel in need of a general education in "all matters audio", from simple basics onwards. Any suggestions on reading material - either downloads or books or correspondance courses? Much of what you guys discuss here is way over my head!

I have acted on some of your suggestions regarding my last query on tape faults (pixilation, mosiac noise etc) on my XL1S and together with a quick 5 second head clean before each use have not had this problem since. Thanks guys.

I would appreciate any help to increase my audio knowledge.

Thanks,

George.

Read the archives here for info specific to your camcorder.

Find a library with back isues of Vdieomaker and read the pieces on audio there. They tend to be fairly basic.

But keep in mind that not everything you read in print, on the web or in amagazine is 100% accurate.

George, check in the "Read About It" part of the site for some good reviews.

"Producing Great Sound for Digital Video" by Jay Rose is a great book. Covers technical info, gear, How to use it (micing, booming), post production and more.

Aaron

I have surfed the net, found a lot of suppliers for the Power2000 Battery for XL1. I have tried most of them but none of them ship to South Africa or charged extreme shipment costs. In the end, I have gone back to BugEyeDigital and gave them another go. What a difference! Not too sure what happened but the battery was delivered in South Africa in less than 2 weeks! Very good service from them this time around..perhaps the previous experience with them was just a coincidence!

Very happy with the Power2000 battery so far on my XL1!

Regards
Danie
South Africa

We are trying to use manual focus over the auto focus because of the focus hunting issue with the XL1s. Unfortunately, there are certain situations where we can't do a manual focus.

Unfortunately, backfocusing technique with the Canon XL1s is not able to handle this scenario as the subject is moving towards the camera. Or should it be?

XL1s is in manual focus. Operator zoomed in to her and obtain a focus manually. Zooming out to wide angle shows the subject is still in focus. Initially, the subject is 50 feet apart standing still. Focus is okay as long subject distance is maintained. As she walks towards the camera, the image becomes blurry. Operator has to zoom out and refocus.

Question is there a way to maintain focus if subject comes closer to the camera even when in MANUAL FOCUS (sort like a backfocus feature)? Or in this scenario, I can only do this with AUTO FOCUS. The problem with AUTO FOCUS is the focus hunting that XL1s stock lens exhibit.

Auto focus needs good vertical contrqact and reasonable light levels to work well. Over 50 lux per some documentation I've reqad.

With a lot of practice, skill. and cunning you may be able to adjust focus manually to track a moving subject, but it is not easy to do.

Backfocus is an internal setting with the standard automatic lenses, not something most users can do. YOu need to Canon manual lenses to be able to adjust back focus.

Hello all. Does anyone know where I can purchase a lightwave mini mount in the UK? I have tried looking but without any luck!

I'm getting a ME66, just hoping that once it's mounted onto the mini mount it won't protrude into shot!

thanks, sparky.

Congratulations to FOCUS Enhancements for once again setting the Gold Standard for portable Direct To Disk recording with Direct To Edit (DTE) technology.

"It's a thrill to know that FOCUS Enhancements actually listens to their customers and to all of the input provided by those looking for the best DTE solution with the best value. FOCUS Enhancements clearly understands that the user interface is most important. The FireStore interface is easy to read and the menus are easy to navigate. The ability to create multiple keeper clip folders makes organizing clips a breeze. The FireStore interface is simply the best." - Don Berube, noisybrain. Productions

More info and pics on the FireStore FS-4 at:
www.focusinfo.com/products/firestore/fs-4.html

For more information about Direct To Edit (DTE) Technology from FOCUS Enhancements, check out the video modules from the FireStore FS-3 demo DVD:
http://www.focusinfo.com/products/firestore/fs3video.html

According to the Press Release from FOCUS Enhancements:
FOCUS Enhancements Announces the Affordable FireStore FS-4, Direct To Edit Technology for Hand - Held Camcorders

Portable FS-4 digital disk recorder model joins industry leading FireStore family

CAMPBELL, CA, – August 10, 2004 – FOCUS Enhancements Inc. (NASDAQ SC: FCSE), a worldwide leader in video production and conversion technology, today announced the latest addition to the FireStore family of Direct To Edit™ (DTE) Technology digital video disk recorders, FireStore FS-4. FS-4 is the first DTE product designed to bring tapeless technology to hand-held DV camcorders from JVC, Panasonic, Canon, Sony and others.

Designed to mount directly to hand-held camcorders, be worn on a belt or used in other situations where portability is a requirement, the FS-4 is ideal for wedding and event production, field production, independent film, corporate, education and many other uses. Powered by a removable battery system, the small and lightweight FS-4 interfaces with camcorders via a single FireWire (IEEE-1394, iLink) cable. DTE Technology allows hand-held camcorder owners to record clips in native NLE file formats so editing can begin immediately after shooting is finished. This eliminates the need to first capture then convert files prior to editing.

“Our industry leading FireStore DTE disk recorders have brought the benefits of tapeless acquisition and production to full size camcorders, desktops and studios all over the world,” said Matt McEwen, product manager for FOCUS Enhancements. “Now we are expanding our customer base by offering DTE Technology to hand-held camcorder owners at an affordable price.”

Two models of FireStore FS-4 will be available: FS-4 and FS-4 Pro. Both models will feature a 40GB (Three hour) internal disk drive, a 6-pin FireWire connector for interface with camcorders, a 6-pin FireWire connector for interfacing with a computer for editing or file transfer, a backlit status LCD display and a comprehensive set of control buttons including a navigation pad. Both models will also feature support for DTE Technology file formats including RawDV, AVI Type 1, AVI Type 2, Matrox AVI, Canopus AVI and QuickTime including 24p. FS-4 Pro adds support for the Avid OMF and Pinnacle AVI file formats, retro record modes so you will never miss a shot, user definable time lapse, loop playback, scene marking and multiple file folder capabilities. The FS-4 PRO also is available with an 80GB (Six hour) internal drive.

Where to Buy
FireStore FS-4 is expected to be available in December 2004 through the worldwide FOCUS Enhancements dealer and distributor network for a US MSRP of $799. FireStore FS-4 Pro 40GB and 80GB are also expected to be available in December 2004 for a US MSRP of $1,195 and $1,695 respectively. For more information on FOCUS Enhancements and its products, please visit www.focusinfo.com.

About FOCUS Enhancements, Inc.
FOCUS Enhancements, Inc. (NASDAQ SC: FCSE) is a leading designer of world-class solutions in advanced, proprietary video technology. Headquartered in Campbell, CA, FOCUS Enhancements designs, develops, and markets video solutions in two distinct markets: advanced proprietary video conversion integrated circuits (ICs) and affordable, high quality, digital-video conversion and video production equipment. Semiconductor IC products include designs for PCs, game cards, internet, set-top boxes, Internet appliances, and interactive TV applications, and they are sold directly to original equipment manufacturers (OEMs). FOCUS Enhancements’ complete line of video presentation and video production devices are sold globally through resellers and distributors to the broadcast, education, cable, business, industrial, presentation, Internet, gaming, home video production and home theater markets. More information on FOCUS Enhancements may be obtained from the company's SEC filings, or by visiting the FOCUS Enhancements home page at http://www.FOCUSinfo.com.

Safe Harbor Statement
Statements about future results and other expectations constitute forward-looking statements within the meaning of the Private Securities Litigation Reform Act of 1995. These statements are based on current expectations and the current economic environment. The Company cautions that these statements are not guarantees of future performance. Actual results may differ materially from those expressed or implied in the forward-looking statements. A number of factors in addition to those discussed herein could cause actual results to differ materially from expectations. Demand for FOCUS Enhancements’ products, which impacts revenue and the gross margin percentage, is affected by business and economic conditions and changes in customer order patterns. Any projections are inherently subject to significant economic and competitive uncertainties and contingencies, many of which are beyond the control of FOCUS Enhancements. Important assumptions and other important factors, including risk factors, which could cause actual results to differ materially from those in the forward-looking statements are specified in the Company's Form 10-K for the year ended December 31, 2003 and other filings with the SEC. The Company undertakes no obligation to update forward-looking statements, whether as a result of new information, future events, or otherwise.


Thanks FOCUS Enhancements!

- don

hi everybody!

i just joined today and have to say i was so happy to find this forum...
i am working on a commercial for europe and they insist to get the material
on PAL. where can i rent the XL-1pal in New York City???

Hi guys,

I will be shooting a short film soon.

But I may have a slight problem of having to use different cameras for different days.

I'm shooting on XL1s this week, and perhaps the panasonic DVX100 next week.

I plan to shoot in frame mode and 25p. Will I have an issue intercutting both footages?
I will try to spread the scenes out so that both cameras will be used for different scenes or after a time lapse, so that the differences will not be that obvious.

But do you guys think that I will have the issue of earlier scenes differing from later scenes etc?

<<< But do you guys think that I will have the issue of earlier scenes differing from later scenes etc? >>>

Yes, depending on how you use the DVX100 they will appear quite different. I strongly recommend testing in advance, particularly if you are not experienced with the DVX100.

OpTex has it: http://www.xl1s.com/products.php?cat=8&pg=2

many thanks..

I just got my XL1 serviced by Canon after having recording problems, black square (archiving?) appearing which effected both the audio & video. After about $ 900.00 in repairs (Replaced Zoom Assembly-Zoom motor & focus motor, replacing 3P prism, cleaned tape path, adjusted FB-camera section and recorder section, Cleaned and checked all functions to factory specs, etc.). I used the camera one or two times since then with no problems but just completed and "important" shoot (aren't they all important...) but am reviewing the tape and having the same problems again. I'm shooting on Sony DVC 60 tapes and have used the same tapes since the service.

There are sections that the tape is fine, then others where I'm having the problems...

Any ideas or suggestions on what's going on and what I can do to fix this....

Thanks for any help with this....

It's "artifacts"....not "archiving" problems.. Sorry I'm a bit peeved at this continual problem. Read in an early post that someone else had this same problem and sent it back to Canon a second time to replace the drum....

Was hoping if anyone had an information on areas where I would be able to sell my EW 100 ENG (Sennheiser) kit as I'm really interested in upgrading the kit to the G2 line.

Has anyone done this and are they happy with the G2?

Thanks for any help with this....

Now that's what I'm talkin' bout!!!!!!!

Awesome.......can we safely assume the camcorders listed as being compatible are the ones they've tested and are indeed compatible- and there maybe others that WILL work- or are the listed cameras the ONLY ones that work?

I'd love to strap one underneath the Optura 300 for the ultimate in portable quality DV footage.

Thanks guys.

Try Tamborelli Video or BVR.

Also check Analog Digital Inc. (http://www.analogdigitalinc.com/products/index.php?link=rentals) in Mid Town and tell Ayres that I sent you. Call (212) 688-5110.

Reposting this hoping for some help with this....



I just got my XL1 serviced by Canon after having recording problems, black square (archiving?) appearing which effected both the audio & video. After about $ 900.00 in repairs (Replaced Zoom Assembly-Zoom motor & focus motor, replacing 3P prism, cleaned tape path, adjusted FB-camera section and recorder section, Cleaned and checked all functions to factory specs, etc.). I used the camera one or two times since then with no problems but just completed and "important" shoot (aren't they all important...) but am reviewing the tape and having the same problems again. I'm shooting on Sony DVC 60 tapes and have used the same tapes since the service.

There are sections that the tape is fine, then others where I'm having the problems...

Any ideas or suggestions on what's going on and what I can do to fix this....

Thanks for any help with this....

Im sure I already know the answer to this question and it is a silly thing to ask, but are you using the same tape twice? I've had similar problems with mosaic squares appearing every so often on my footage shot with my XL1s. This occured (with a second hand tape AND a first hand tape) during the first few hours shot with my camera, then disappeared. How many hours have you shot (give or take) since the problem arose. Im no professional but Im still trying to add something to the plate of ideas.

I just got back in town from a (fortunately) 2 shot corporate gig (two XL1S'). I say fortunately because I had a second cam to capture sound when I discovered that the first cam had a constant pitched tone it was producing. Whether in pause or record it was generating what sounded like a test tone except a little lower in pitch. It was much stronger on one channel than the other whether I used the attched MA 200 or the on-cam mike. Is it time for the shop or can anyone think of ...........wait a minute.......I just turned it on to see if it would also do it in other modes besides manual and I can't MAKE it do it now.........any suggestions (other than "don't take it on a one-cam shoot").
Thanks guys,
Randy

What are you using the MA-200 for and how did you have the audio set-up?

I'm using the MA 200 for 2 channel audio capture with two AKG 1000s (corded mikes) plugged into channels one and two. I should have mentioned that the noise was still there after unplugging the MA 200 from the cam.
Thanks Jeff,
Randy

Christopher-

I "stripe" any new videotape in the XL1 (to put timecode on it and prevent any timecode breaks if I were take the tape out before the end, use another tape. say for another project, then put the other one back and continue where I left off.) In future, I am going to stripe the tapes on my DSR-11 deck instead (after I figured out how to change the record setting from DVCAM to DV SP)

Other than that, I don't reuse any old tapes, I put them on the shelf and archive them (as well as use them as backups).

I had the problem, got it serviced to remove the problem (as well as a yearly maintenance service - I put it down to dirty tape heads), shot one or two projects (about 2 or so hours) with no problems, then had a problem on the last shoot.

I have another project beginning on Wednesday, and hope to not revisit this problem again. I did shoot a few minutes of a test on the same tape I had the problems on, and had no problems...

I hoping for any other comments from the users on this forum as well...

Thanks!

Hi Steve,

The list of camcorders are indeed those we have tested. All FireStore models will work with virtually any camcorder that features a FireWire I/O. I have not come across a camcorder that has not worked.

Hope that helps.

Matt McEwen
Focus Enhancements

My son has taken the battery out.
Which way round does the memory battery go in XL1?
+ and - in relation to the plastic holder.
Many thanks Philip Banyer

Do I have to remove my UV filter everytime I want to attach my circular polariser?
This is what I do at present. Or can I simply screw my circular polariser on to the UV fliter? This would save some time, but do I sacrifice something?
regards
Mark

It's got a good idea to stack filters. You increase the odds of having issues with flare, vignetting, and reducing overall optical performance (contrast, resolution etc.).

There is normally a sticker next to the battery holder showing you, if this has been removed then the +ve, (widest side) should be nearest the lens.

There is also usually a + or - sign molded into the plastic tray indicating orientation. Another sure way is to just install it and if it doesn't work, flip it over.

I'm not sure how long it would run on a BP-915 vs a BP-935. Anyone have experiences with these batteries and that monitor?

Howdy,
I'm shooting high school football under the lights and getting lens flare with a UV protector on. Anything else I can do to get rid of it. Another thing is the purple uniforms are coming out blue with manual or auto white balance. It'd be a pain to correct the whole season in post...any suggestions?
TIA,
Randy

1. Take off the UV filter and relax.
2. Go to www.flarebuster.com and get a Flarebuster. This will help you tremendously under those stadium lights. More info at http://www.digitalprods.com/flare.htm
3. Purple/violet is a problem for most video cameras. This problem goes back a looong way, historically. The chips (used to be the "tubes") just cannot discerne this hue. You could try to white balance using a blue gel or blue card, but don't expect miracles. If you could borrow a jersey, and experiment at home at your leisure, you might have a better chance than experimenting in the stadium. Sure, the stadium uses different light sources than you have at home, but the correction should be similar.

BTW, the Networks used to have the same problem with purples. What did they do? Ignore it.

Wayne Orr, SOC

I'm using a company XL1 and have noticed with everything I shoot, black lines appear on the left and right side of the frame. They're outside of safe action/title but they're still big enough to notice and they're no good for still images/compositing. Does anyone know why this is happening, is there an internal setting I can adjust?

Very interesting and helpful post Wayne, I'll try your suggestions!
Thanks a bunch,
Randy

No, this is perfectly normal and has been discussed already in
the past a lot of times.

Nothing you can do to change that. You can ofcourse crop the
image or zoom in etc. It's something you will have to live with.

OK, as long as I know that all XL1's do that and nothing can be done, I can live with it. Thanks for your input.

Hey. I know that when it comes to consumer electronics name brand is always better...but when the difference is $100 I have to stop and think. Has anyone used these generic battery packs on their cameras? If so, good/bad/ugly?

Welcome Zac.

Search (http://www.dvinfo.net/conf/search.php?s=&action=showresults&searchid=371247&sortby=lastpost&sortorder=descending) is your friend here.

Hi,

I'm going to be doing no budget, run-and-gun guerilla shoots, single camera, and I am looking for affordable headphones. I will in most cases be shooting on the field, and not in studio.

My question is, the Sony 7505 is cheaper than the 7506, is the difference significant? Which one is better for field work? What about the cheaper 7502?

Also, purely from the portability/comfort and ease-of-use side of things, is the Sennheiser 280 better or the Sonys'?

Thanks for answering,
Dennis

Does anyone have anymore info on matching these cameras
as far as basic setup? Thanks

ALOHA

Just purchased new CA-920 Compact Power Adaptor for XL-1 and GL-2 (the old CA-900 BIT THE DUST) from B&H and it is not comatible with the DC-900 Adaptor for my XL-1. What gives, what do I need. Is there a new adaptor for this to fit the XL-1 and if so what is the product number. The discription above is directly from the B&H online add.

ALOHA & MAHALO

Jerry

Are you talking about the connector from the adapter TO your
XL1 to power it WITHOUT a battery? If so I'm not sure this
charger supports that. At least I could not find any information
it can power the camera DIRECTLY.

Hello everyone. Thanks for the forum. I am using my XL1 for multi-purposes, one of which is a webcam for business-oriented webinars. The camera seems to capture the image just fine. The problem is, the auto shutoff activates after five minutes, which causes the webconferencing software to abandon the connection and not allow reconnection after I switch off the camera and switch it back on (the conferencing tool is very unforgiving). This may seem like a rudimentary question, but I cannot find it in the manual that came with the camera. How do I deactivate the auto shutoff? Thanks for your help.

Welcome Eric,
This is an often-asked question. Unlike the XL1S, the original XL1 has no suppression of it's sleep function. But there are a few ways to get around this issue. See this thread (http://www.dvinfo.net/conf/showthread.php?s=&threadid=10778) for some tips.