Cannot speak to Final Cut Express. It should be covered in the program documentation.

See responses to your other post (moved to this forum).

They can run together, works best in 4-channel mode. But some NLE systems have difficulty with capture of 4-channel sound. You may not need to use the MA200 for audio input with the wireless mic.

Most event shooters find an onboard mic inadequate for recording voice of speakers if the camcorder is more than a few feet from the person speaking. A good shotgun mic can help some, but is not a full solution. Voice picked up from ambient sound is better if a good PA system is used, but tends to echo in large rooms such as churches.

A wireless mic on the groom will usually pickup the priest when he is speaking near (within a few feet) the groom. Wiring the priest often works better for several reasons. He speaks more often than the groom often at a distance from them, is usually near the groom and bride when they speak, and is usually used to wearing awireless mic. A perhaps minor point, grooms and groomsmen are more likely to make wisecracks while the mic is live that you may not want on the original tape.

I know there's limitations with some video capture programs and Win FAT-32 in capturing 4-channel audio. When using "multiple" microphones, would it be feasible to use a Portable Microphone Mixer and have all audio recorded on 2-channel stero? I know to get stero, the mixer would need stero output or a two-line out-put that are duplicates to get simulated stero or even a splitter into L-R input from single output. Another question: When using the MA-100, can a Portable Mic Mixers line-out be connected to one or both XLR-in of the MA-100 or should it go directly into the camera by-passing the MA-100?

You can use a field mixer to mix three or more sources to two channels and feed that to the XL1. Many people do that. It helps to have an experience sound person to manage the mix to be sure you get it right.

Beyond the cost of a good field mixer, the main down sides are that the mixer is one more piece of gear to manage in the field, and you cannot change the mix in post. With 4-channel recording you can adjust the mix of up to 4 devices when editing to get the sound balance you want.

Some people record audio to a separete device, e.g., DAT or MiniDisc, and synch the sound in post.

If the mixer has mic-level output, you can connect it to the MA-100, if not you need to pad the level to mic level, or feed it direct to the Audio 1 input with the XL1 input set to line level.

It's nice to get a knowledgeable answerd to my questions and in a timely manner too. Thanks again.

Obviously, you need to have a tape in your camera in order to allow it to record. You can't tape DTE if you can't push the record button!Sorry for the late response, but this isn't correct... you don't need a tape in the camera to run a DTE recorder. I assume we're talking about a FireStore... just put it in free run mode, and stop and start your recordings directly through the FireStore interface.

i am sorry guys/ gals

have a black out...<G>

is the firewire on the xl-1s a 4 pin or a 6 pin.?


i am blank...

thanks

Should be 4-pin at the camcorder

Greetings all,

I'm new to the forum and have found a lot of helpful information by browsing here.

I am in need of a new charger and extra batteries for my XL1. I saw the thread about inexpensive batteries on ebay but didn't see anyone mention third party chargers.

I'm looking at this unit on ebay and was just wondering if anyone has had experience with it or other aftermarket charges?

http://cgi.ebay.com/CANON-BP-945-XL1-XL1S-GL1-GL2-GL3-8HR-BATTERY-CHARGER_W0QQitemZ7561732121QQcategoryZ43434QQrdZ1QQcmdZViewItem

Thanks,
Steve

I've used a Sima SMP-13 with success. My only complaint is its wall wart is big.

If you have differnt batteris for different gear, you may want to look for one that supports as many different battery types as you can.

The link information does not say much about the charger to help evaluate it.

Any suggestions for an enexpensive on camera light? Would be used for indoor interviews. What about the Canon VL 10? Any advice would be appreciated.

For really impromptu interviews, the Canon is fast. The best way is to light using 2 or 3 point technique, but if you must be quick and in the face of your talent you can use this rather obtrusive method. Be sure to get some diffusion material to tape over the lamp to soften it otherwise every interview you do will start with "My that light is bright!"

Could anybody out there help me connecting my XL1s with a Mac G5? The computer doesn't recognize the connection of the device. Tried all possible options recommended by imovie, even Final Cut didn't help. In the Mac shop they couldn't help me. The Firewire cable seems ok. We tried even another brand new one. Tried the connection with another G5...nothing worked. Now what I don't understand is the following: being at the other end of the world in Manila, my XL1s worked instantly very well with a 3 year old G4, which was running already under sytem X.
For any hint to solve my problem I would be very thankful. Regards from France...

In the world of the WINTEL PC, the usual issue for the problem you describe is drivers, a second issue is boot sequence (some systems want to see the camera connected and powered before the PC is booted). Also, some capture software includes a "Canon" setting that might help. And some IEEE1394 chips just do not work with the Canons, but these appear to be few. Sorry I cannot speak mor specifically to the Mac workd.

I have a G5 and it connects fine to the XL1S.
Try looking through the apple site. I found this link which may help you (although it is an iphoto program) it may be helpful.
Go to this site... http://developer.apple.com/sdk/index.html#ImageCapture and go about half way down the page till you find the title "Image Capture SDK for Mac OS X v10.3". That program itself might not work, but you may find something similar that will work. The program entitled, "FireWire SDK 20 for Mac OS X" may be helpful too. Good luck.

I have an XL2 and need another camera that will be used nearly 100% for outdoor shooting. The local camera shop has a XL1s used that they took on trade. It looks to be in great condition, has everything right down to the original box. It was traded for a an XL H1. I have the option of purchasing an extended warranty on the unit, which is the exact warranty they provided for all of my other video and still equipment I purchased from them.

Is there anything that I need to keep in mind when buying a camera like this used?

Is $2799 a fair price for this type of camera with 2 years of warranty added on?

I have an XL2 and need another camera that will be used nearly 100% for outdoor shooting. The local camera shop has a XL1s used that they took on trade. It looks to be in great condition, has everything right down to the original box. It was traded for a an XL H1. I have the option of purchasing an extended warranty on the unit, which is the exact warranty they provided for all of my other video and still equipment I purchased from them.

Is there anything that I need to keep in mind when buying a camera like this used?

Is $2799 a fair price for this type of camera with 2 years of warranty added on?

John,

All in all, that is not a bad price if the warranty is good. As long as you don't do something stupid, like pour sand into it, you're covered. Right now they are going from about 2,200 to 2,800. The trade issue adds to the package and the fact that the original box is there says the previous owner was carefull, and showed concern for its care.

I just got am XL2, and sold an XL1s to a brother for 2,600, but threw in a nice tripod. Hey, he is my brother! No warranty, but like I said, he is my brother, and I have not even cashed his check yet!

If you are like me and have invested or plan to invest in many accessories, the XL1s should make a good back-up or second camera, as it can share big-brother's stuff.

Let us know how it works out and best of luck to you. Just remember one thing, for 1,200 more you could have another XL2 from B&H, and that may be something you want to explore.

Mike

Let us know how it works out and best of luck to you. Just remember one thing, for 1,200 more you could have another XL2 from B&H, and that may be something you want to explore.

Mike

That's definately something I've considered Mike. The other thing I keep coming back to is this second camera will serve in a back up capacity so it will never come out of the case unless something happens to the XL2. I don't want to find myself literally a thousand miles or more from civilization and have the camera go down.

Hey, My camera mic on my XL1 broke and I want to get a new one that is better anyway. Is there a better one that is less than $200 that will fit it?

Thanks guys

Hi,
having recently got an XL1s, i was playing around with it today to find that when i viewed back footage on my widescreen TV, the footage shot in 4:3 mode looked better than that shot in 16:9 in terms of the shape of the picture. 16:9 looked stretched vertically and i would have expected it to be horizontally if anything..
I adjusted all of the aspects on my tv and found that when set to wide or auto wide, the 4:9 stuff always looked a nicer shape.
What would you clever folks suggest I do now to get a widescreen effect on my footage. Film in 4:3 with the 16:9 guides on and just overlay the black lines in premiere... or.. (and this is the one thing I'm yet to try) film in 16:9, capture using the widescreen setting of premiere and then if required add to the widescreen effect by overlaying black lines onto that?
What I'm trying to achieve is a widescreen video that still has the black lines top and bottom to appear 'very' widescreen!
Yes. Any help would be appreciated

I always shoot in 4/3 with the 16/9 guides, and crop in post.
Other people prefer differently, but I can't frame easily if my image appears vertically stretched.
It'a choice you make, but I think shooting in 4/3 and cropping is the easiest, you can get your image up and down in post too.
It's best you do a search on this topic, because there have already been some very interesting topics about cropping in post vs cropping in camera.

I am having a problem with my Canon XL-1s. This XL-1s was purchased new. I have owned it for 18 months and have less than 10 total filming hours on it. I use in exclusively indoors in a studio setting. When not in use it is carefully packed away in an Underwater Kinetics case.

Recently the camera started resetting my pre-set time code with black bands through the picture. This only occurs after a pause in filming and only after the first twenty minutes of tape length. I stop the shot and restart, sometimes with success and sometimes I have to advance the tape in VCR mode, and then restart to avoid resetting the time code. Occasionally I get a message, “Heads Dirty, use Cleaning Cassette” but I believe this is an error as the recorded picture is excellent. I have used a cleaning tape twice in two hours of filming, but hate to overuse the cleaning tape. Also I consistently use the same tape, Sony Excellence.

I never encountered any problems with my old XL-1. It was performing beautifully after 100 hours of filming and up to the day it was stolen.

Any Suggestions?

David,

If the camera is telling you that the heads are dirty, I would assume that they are dirty and clean them very thoroughly. The camera may detect a problem in an area of the recording heads that does not show up in the video image, such as the time-code area!

I would clean them well and try it again. I did not fully understand all you were saying, but you may also try changing out the small memory battery, just in case.

Really sorry to hear about the stolen camera, it is everyone's worst nightmare!

Hope it works out for you---Mike

Anyone out there have any experience or knowlege of using a mini camera to record to the XL1 (or any other camera for that matter)
I am looking to find a mini remote camera to film vultures nesting and want to know how best to do this. Can I record the signal to my XL1 (all these tiny cameras seem to have just normal video conectors, can I get a cable to go into the dvin slot (minidv 4 pin) on most small video cameras?
This system has to be easliy powered for long periods (up a dam big tree in this instance) days from nearest electrical supply so 12v only
I have no knowlege in this area so any tips hints etc would be very useful
Thanks

I made up a "hat cam" .It is a lipstck cam that I made a velcro band for.The hat ,I glued velco to the brim of a baseball cap.The lipstick cam has 2 leads .One is composite rca cable, the other a power cable.
I bought a small bag attached to a belt and used a small Canon zr cam.
I made a foam shell for the cam that fir the bag. I cut a 1" by 2" hole in the bottom of the bag and sewed a clear plastic piece in the hole.This allowed the remote to control the recording cam.I picked up an eight AA cell housing and wired it to a connector for 12v(the lipstick cam spec is 9v to 15v)
I bought a container to fit the battery pack in and slid it into the cam bag aswell.For audio I used an iRiver with the mic plugged in and the line port connected to the audio in of the Canon.The cable lengths are about 5 feet but make to suit.You could make them quite long and attach the lipstick cam to a pole or mount it very close to the nest while your able to stay back a bit further(depending on how long your cables are)
The image quality is reasonable but you need to do some testing and practice to learn how to move your head.

Better in what way? Ther are a number of alternatives depending on your needs.

What type mic do you need? Mono, stereo?
What pickup pattern do you need? cardoid, or mor4e focused?
Do you want capability for off-camera use as well?
Do you have an XLR adapter such as the MA100 already?

You may be able to find a Canon exact replacement on the used market. It is not a bad mic as general-purpose, stereo, on-camera mics go.

The new XLH1 mic is like its predecessors except that it now includes a switch to go mono. A welcome addition in my opinion. You might be able to obtain one directly from Canon if that interests you.

-gb-

I bought an XL1s (PAL) last year on ebay in UK, up to recently I was having no probelms.
Recently the camera is chewing up tapes but only on playback connected by firewire to my editing computer and under computer control.

The first message us usually on the camera "eject the " when I eject I see nothing wrong with tape and try again and get the message again If I continue the tape then is seen to be out the cassette and chewed up.

This mostly happended first with tapes I had shot last year, I was advised to do a head clean more often and to use only Sony Mini-DV tapes. Now more recently bought tapes are getting chewed.

I am based in Kaduna Nigeria, and don't have any reliable technicians around that I know of, to help solve the problem.

Can anyone out there advise me.

Arthur Brooks (Commercial Video Producer)

Good Day, Arthur!

I can't say that what I am about to suggest will work. But, it seems to me that your tape is hanging up on a piece of dirt/tape, on your tape rollers.

Now, Canon, says only to use a "dry" cleaner tape in your machine.

Think carefully about my suggestion, before proceeding: With a cotton medical swab dipped in tape head cleaner, clean the areas that come in contact with the tape, other than the heads. Allow to dry over night.

I had a similar problem with my XL-1s, and this seemed to correct it.

I had a similar problem a couple of months ago.

My XL1s was purchased brand new and was only 14 months old (not heavily used either) when it developed the fault. When rewinding the tape, the message 'REMOVE THE CASSETTE' would flash up in the viewfinder. Sometimes the tape was OK, but more often than not, it was de-spooled out of the cassette and chewed up.

I sent the camera away for repair and it was found that the idle gears were faulty and had to be replaced. Cost about £90 GBP. Since repair everything has been OK.

Sounds like your XL1s may need a service/new parts.

Forgive me if this is a revisitation of the blindingly obvious, but what o most of you guys do to remove deposits from the surface of the lens - I'm talking here about the more stubborn deposits, dried liquid splashes, soot ! (I kid you not from a roadside shoot), rather than dust which can be blown off with an air-spray / light brush. I'm wary of wiping the marks too vigorously for fear of scratching or marking. Any tips on popular cleaners, cloths or other techniques.

Sorry if this is pretty basic, but I've had mixed responses from the suppliers / dealers I've talked to about this. Cheers

Try lens cleaning material from a good photo store, same stuff used on high quality photographic gear.

Note; a UV filters can keep stuff of the front glass of the lens, but does add additional glass, reflections, etc, unless it is a very high quality coated filter. Thus use one onlty when necessry. Use a deep lens hood to reduce the chance of stuff reaching the lens.

most of my shootings are in a theater/ studio setting, and i am most of the time zoomed in all the way.
have not used the digizoom feature of the xls-1.

been thinking of getting the 1.6 lens extender.

i wonder if somebody could share their expirience please?

did i say that right?

thanks

Karl;
Your not getting much response (unfortunately). So I will give my limited experience. I do not own the 1.6; But have friends that do. There is a degradation in the quality of the image. Sometimes not noticable, probably dependent on the lens used and the lighting. It isn't the most highly recommended piece of equipment.

plan to buy some extra batteries, and saw at b&h the canon: bp-970g,
7.2 v, 7200 mah. retails for about $ 175 a piece.

what i could not find is the run time.

just wonder if anybody has some info, and could help out please

thanks and a happy new year

greetings

The manual for the XL1s rates the 3000 maH BP930 for 1:55 (115 minutes) and the 4500 maH BP945 for 2:55 (175 minutes) of record time. On that basis we might expect a 7200 maHr battery in new condition to be rated for something around 4:40 (280 minutes). However, if you look at the run-time tables in the XLH1 manual, it implies the BP970 might give more, perhaps around 5:30 (330 minutes).

The run-time ratings generally reflect optimal (lowest power consumption) set-up. Actual run-time will depend on battery condition, and camcorder shooting conditions; e.g., connected powered accessories, which lens is used, shooting mode, etc. Time spent in pause counts against available run-time.

I was wondering if anyone knows how to transfer video from VHS to the analog ports on the back of the XL1?

PLease CC response to funkaholickz@hotmail.com

1. It's best if you do a search, the topic has been covered many times.

2. People don't mail eachother solutions here, because others other people with the same problem couldn't find any thread anymore with an answer, because all the answers would have been in mails...
We want questions and answers to be available for everyone.

Best regards,

A contractor shoots a job with his Xl1s, gives me the tape...I put it in my DSR11 and experience severe drop outs. Check out an example at the following url

http://www.altairproductions.com/DirectorsView/AVP/index.htm

Now here are the particulars.
-Xl1s w/only sony PR tapes used. Tape was new out of case w/wrapper.
-all decks cleaned before tape insertion
-We have not had this problem with tapes from his camera before this
-captured over FW from DSR-11 VTR unit
-When played from OUR XL1s and captured from composite RCA connectors it works just fine
-We have tried the tape in 2 DSR-11 vtr's 2 PD170's and an XL1 and GL2 ALL have the SAME problem using F/W but the XL and the GL captured fine using the composite jacks. Also got the problem when trying to capture from our Xl1 thru the svideo jack.

I have NOT tried it in the contractor's XL1. He claims that he never has a problem and that he captures all his footage from the XL1 using a GL2. The other day he brought over a tape of an interview he did using HIS XL1 and Viola...we had the same trouble.

I am wits end here...has anyone seen/heard of this before? Got any ideas?

Thanks
Scott

The original XL1 does not accept analog video input, only audio.

Analog output have a error correction/masking effect that may not be present during a DV transfer. Also, playback is typically more sensitive to dirty heads than recording.

If the playback issue persists with a lot of different machines and with other tapes, the XL1 may have an tracking error, needing alginment. Try capture from the XL1 used to shoot the tape - if it is OK, voila.

Does any one know how to set up a glidecam 4000 for use with canon XL1s. I am using all stock camera (no assessories).

Need to know a ballpark figure of
1. camera placement on mounting plate
2. Number of weights on each side.

I am not having good luck with this at all.

Charles

Hi,

I have been using the mic that came with XL1S for sometime now. But it started
not recording to one channel intermittently. I am not sure if its a mic cable problem or something more serious.
Could someone please give me some advice how to test this and what other stereo mic(s) is available to replace this one (omnidirectional)?

I am thinking of using a mono directional mic to connect to xlr (MA-100), but i like the stereo mic.

Much appreciated.

Gordon

If you can find (borrow) another stereo mic with a mini-phone jack, connect it to the camcorder and see if that mic works. ALternatively get a splitter adapter (e.g., from radioshack) aud feed a mono mic to both channels of the input. If that is OK, the problem may be wiht the mic, possibly a defect in the cord, connector, or just dirt on the jack/plug.

The Audio Technica AT822 is a nice little stereo mic that can work on a camcorder or with minidisc recorders, etc. The cheaper stereo mic you see are, well, cheaper and sound quality would be substantially lower.

check out "the stability of balance" video at glidecam's site.

http://www.glidecam.com/videos.php

here are some tips:

1) get your hands on a quick release plate and adapter. this will make your life much easier going forward. manfrotto/bogen have an extra long plate with mm measurement markings which has proven very valuable to me in the past.

2) the xl cams are front-heavy. mount the quick release plate on the center hole, towards the back of the glidecam's mounting plate. i don't have my glidecam in front of me and i can't give you the exact hole, but the adapter was towards the back of the mounting plate, but not jutting off of it.

3) set up your camera exactly the way it will be set up on the sled. that means, put a tape in, take the lens cap off, level out the viewfinder, etc.

4) start out bottom heavy and remove weight plates as necessary.

5) use the telescoping pole at the very end of setup to fine tune your drop time. a longer pole will increase bottom heaviness, and a shorter one will decrease. glidecam recommends a 2.5 second drop time. this seems to vary with operator preference, but it's usually between 1.5 and 3 seconds.

good luck.

After returning from an extremely wet and muddy Honduras jungle trip, I noticed there are several segments where i either get a blue screen or a split screen consisting of five bars of what was shot and five bars of someother scene.
I cleaned the heads via cleaner tape with no success. The split image appears in the camera view finder and on my monitors.
Incidentally the KATA rain cover worked very well (I think) I did get a moisture warning one hot/humid/rainy afternoon.

Any thoughts if or how to salvage the bad segments?

Thanks
Jon

Try several different playback machines playback machine. Hopefully you can get enough good playback to piece it together.

WANTED: advice about XL1S battery and charger

--------------------------------------------------------------------------------

I just purchased an XL1S used for $1800 - it has only the BP-930 battery and the remote...I need a AC charger with the DC coupler so I can charge the battery when it's in the camera...does anybody have one for sale or know where I can buy an aftermarket AC power charger so I don't have to pay the Canon retail prices.....I'm also looking for rechargeable batteries...I found a sunpak unit that quick charges batteries....is this a decent brand to use on the XL1S or should I go with Lenmar batteries...these two were highly recommended by another person and he said I should post my needs on here to see if anybody had anything to sell to me....I don't care if the batteries are aftermarkets as long as they are good and he stated that the Lenmar batteries will show the battery level on the XL1S.....Can I get a battery charger, AC power adapter and DC coupler as aftermarket products that are just as good as Canon??
Any help would be appreciated.
Thanks
Dean

WANTED: advice about XL1S battery and charger

--------------------------------------------------------------------------------

I just purchased an XL1S used for $1800 - it has only the BP-930 battery and the remote...I need a AC charger with the DC coupler so I can charge the battery when it's in the camera...does anybody have one for sale or know where I can buy an aftermarket AC power charger so I don't have to pay the Canon retail prices.....I'm also looking for rechargeable batteries...I found a sunpak unit that quick charges batteries....is this a decent brand to use on the XL1S or should I go with Lenmar batteries...these two were highly recommended by another person and he said I should post my needs on here to see if anybody had anything to sell to me....I don't care if the batteries are aftermarkets as long as they are good and he stated that the Lenmar batteries will show the battery level on the XL1S.....Can I get a battery charger, AC power adapter and DC coupler as aftermarket products that are just as good as Canon??
Any help would be appreciated.
Thanks
Dean

Dean,

The AC charger will not charge the battery while it's on the camera. Nor will it charge the battery while the charger is running the camera on AC power. You have to physically unplug the charger output to the camera for the battery to charge. I've heard good things about the Lenmar batteries from others who use them.

HTH,

-gb-

That's a well-documented problem which sometimes can be attributed to contaminated heads but is typically due to head alignment issues. More often than not a drum replacement is the ultimate fix. I wish you luck with your footage, but my experience has been, once it's on the tape, even the pricey decks won't cut it.

apart from paying £400+ is there any way to get the whole adobe audio timeline/projetc out of premiere into pro tools or nuendo.


Ive tried EDLs and they dont seem to work


Cheers Steve