Thank you for the reply, will go and do some testing.

Do you mean export the audio from the timeline to an audio file; e.g., a WAV file, that you can open in another program?

Does anybody use these expodisc for their video productions? There is the regular expodisc that give a neutral white balance and there is the warm expodisc that gives a kodak 81A slight warmth white balance...do they work like they brag??

i mean export the whole timeline so as to edit it in a program such as pro tools, or nuendo.

When i try and bring a premiere Edl in to Nuendo it comes up "parse error"


I know there is a program called Pro Export PPro which allow premiere omf export.


I just wanted to see if anyone know any other way because Pro Export PPro retails at £400+

Cheers

Steve

I need to know what the difference between the HC-3000 and HC-3100 hard case is? I ordered the HC-3000 used for my XL1S but the instructions say the XL1S should be in the 3100. does it make any difference?? I was just going to cut foam to put inside.

Can the XL1S be programmed with no mini dv cassette in the camera?? I'm awaiting the Canon head cleaner to use for cleaning the heads before I run a new tape in it - I just want to make sure it's safe to program and set up all of the settings before I put a tape in it. It doesn't say anything in the manual about it.

there is no problem at all. all settings are saved regardless of whether or not a tape is in the camera.

thanks Henry !

Okay, I've decided to shoot in 16 bit audio mode....
and then use the two channel - a friend of mine said I can drop other
channels in with post production - so the manual is saying that I either use the mini jacks for an external mic or the RCA line-in for the external mic...what about the levels?? It states something that anything over 12 should have the headphone plugged in (is this a MINIMUM audio level that will record on tape??) When I'm doing my sound check with the button, how to I determine where to set my level controls at?? I'm confused with this....would I test my loudest dialogue or ambient sound to make sure it's not going over a certain level?? Any suggestions?

What ever audio signal reaches the active audio input will record to tape, but too low a signal can be lost in the nosie floor. For best results I believe that when doing manual audio levels they suggest that the audio level average around the -12 setting. (This is a compromise between signal to noise ratio and avoiding clipping on audio peaks. It works OK with "average" sound sources in consumer/prosumer environments, but may be too high for program material with a wide dynamic range.) Specific types of program material may call for a different setting, and using headphones can help making the judgement inthe field.

In general, the loudest sound you want to capture without distortion should cause the meter to peak just below zero. Anything above this may be distorted due to clipping. Practice until you get a feel for the equipment capability and how best to meet your audio needs.

If you are recording a single mono source, split the signal L/R and record both, but balance the stereo image to one side...that way if your dominant recording side clips, you can use the secondary as back up as it will not have clipped...I have mine dialled about half way between left and center. This should cover just about any difficulties I have. I also make sure to always record room tone if not for noise removal, then for covering cuts. Gain gets dialled to whatever comes near but not peaking the dominant meter. I don't ever use the auto setting at all.

I've also just switched to using the inputs at the back of the unit. I was using the mic input on the side of the unit, but the signals didn't match and I had to turn the gain up too high giving lots of noise. a $5 1/8" Mono to RCA Y-splitter and couple of RCA extenders have me happy. Turn the switch to audio 1 and you're in business. Mic in questions was an Audio-Technica ATR55.

A few questions. I actually read the manual, but sometimes I just don't get it...I just want to clear up a few things with the pros out there.

1. I'm using the 16:9 guides - WITHOUT putting it in the 16:9 mode - Is this the way to go...I want a "film look" but I don't want the compromise in quality...can I just give it 16:9 look in post production?

2. What percentage level does the videographer of the XL1S put for the zebra stripes??

3. If I have it in the Frame Mode and I'm shooting in TV or AV, will the shutter speed increase above 30 frames automatically even though I have it in the "cinematic frame mode?"

4. If i'm shooting in MANUAL, and i'm setting my f-stop - where is the guide at that shows i'm at proper exposure?? Do you adjust it just so it looks "properly" exposed in the viewfinder?? It's not like a digital or film camera where there is a normal exposure and a + and - guide??

5. What's the lowest I can go with shutter speed to not get a blur effect?? On people walking, running, and vehicles??

I guess that is enough for now...
Thanks for any help out there.
Dean

1. I'm using the 16:9 guides - WITHOUT putting it in the 16:9 mode - Is this the way to go...I want a "film look" but I don't want the compromise in quality...can I just give it 16:9 look in post production?

This is what the guides are for. You SHOULD be in 4:3 with the guides on. In anamorphic mode, you just frame normally, as if you were shooting 4:3, and when it's squished back in post to 16:9, it'll look right. I use a mask to letterbox the 4:3 in post. HOWEVER, this is not "real" anamorphic, meaning that if you play this on a 16:9 TV or whatever, it won't conform.

2. What percentage level does the videographer of the XL1S put for the zebra stripes??

Not sure what this means, exactly. I always have mine at 100, though if you go by that, most things'll still be overexposed. My strategy is to get the 100% zebras to go away, and then eyeball it from there (for some reason, having the zebras at 100 helps guide me). On broadcast cameras, there's usually (maybe always) a 70% option (the XL1s only goes down to 80%) that's supposed to be ideal for caucasian skin tones. So the lowest you can set your zebras on the XL1s is 80, but if you do that, then everything over 80'll be zebra-ing, dig?

3. If I have it in the Frame Mode and I'm shooting in TV or AV, will the shutter speed increase above 30 frames automatically even though I have it in the "cinematic frame mode?"

TV = shutter priority, meaning you choose your shutter speed (standard video shutter speed for 30fps (the ONLY framerate the XL1s shoots) is 1/60)), and that stays locked (til you manually change it, that is), while the iris changes to compensate for different light levels.

AV= aperature priority, the exact opposite, you set the iris (example: f4.0), and that stays locked (til you change it), and the shutter speed will change according to the light level.

So if you want your shutter to stay constant, use TV.

4. If i'm shooting in MANUAL, and i'm setting my f-stop - where is the guide at that shows i'm at proper exposure?? Do you adjust it just so it looks "properly" exposed in the viewfinder?? It's not like a digital or film camera where there is a normal exposure and a + and - guide??

Isn't there an icon in the upper left of the viewfinder, a little line with a triangle that will move left and right? This also functions as a zoom indicator, but it's also an exposure guide. I never knew what it was for a long time, trusting experience and zebras to guide me. "correct" exposure can be subjective--it all depends what you're exposing for (example--you're shooting a movie, and the scene is supposed to be at night. You might intentionally underexpose some to help convey that. Another example: you're shooting ENG/documentary footage, outdoors in blasting daylight. You're shooting people with the sky behind them. You would probably expose for the people, unless your shot was super wide. So the correct exposure for the people will be different from that of the sky. Your camera will probably try to expose for the sky, 'cause it's a bastard like that, and the sky will probably take up more of the frame, which is how the camera judges)

5. What's the lowest I can go with shutter speed to not get a blur effect?? On people walking, running, and vehicles??

You'll get a frame mode-like effect at 1/30 (progressive scan type motion), and it just doesn't look right for anything normal at 1/15 and 1/8.

Hope all this makes sense.

I appreciate your time and patience in answering my questions - the information is very helpful. Tonight, I just calibrated my hand held light meter to the camera - we'll run some tests when I get my head cleaner and start shooting some tape and play it back on screen....I found the scale for the manual metering...I didn't see it before - I must have had it turned off.
Thanks again and have a great week.
Dean

I understand what "proper" exposure is with the XL1S in the MANUAL mode because there is an index mark that you center to get proper or 18% reflectance...but when you are in an AV, TV mode, how do you know what is the "correct" exposure?? Say, in AV mode, I am opening and closing the iris (aperture) and the picture is getting lighter or darker depending on how much open or close I go with the aperture - but what is considered the "correct" exposure - whatever looks good in the viewfinder density-wise (if it looks the correct brightness, it's the right exposure??)....this is confusing to me....I have a light meter I have recently calibrated and I'll try using it...I guess if the picture looks good on playback, I guess that is the correct exposure....but you see, I'm a digital stills photographer and we expose digital like slide film - go a little on the darker side (about a stop) and then lighten it in PhotoShop.....but video isn't like this is it?? I could lighten in post, but wouldn't it be better to light when you're shooting tape??...and then balance the light so there is detail in the shadows and highlights??

Proper exposure is that which looks best, considering your artistic intent with the shot, on a good monitor. Unlike film (that has to be souped), video gives immediate feedback on a monitor, so there is no need for a light meter to set exposure. (Although it can help when lighting a set before the video camera and monitor arrives.)

Zebra in the EVF helps because you can use it to identify the point at which important highlights in the image are about to lose detail and adjust exposure accordingly

In general, video does not have the latitude of film, so it is best to get the proper exposure when shooting rather than rely on correction in post.

Just as with film cameras, auto expsoure modes can work OK for "average" image content, but may not yield the image effect you are trying to achieve.

Everybody has been MOST helpful - including yourself. Thanks for taking the time to answer my questions. Hopefully I can do the same someday.
Have a great one.

I was hoping somebody would be able inform me as to what are the best settings to have on the XL1s for obtaining good slow motion video.

I will mainly be shooting moving water (e.g - a running shower, rain drops, waterfalls etc) and am enquiring about what would be the best way to obtain the smoothest, cleanest slow motion images.

I edit in Vegas 6, so need to setup the camera which will give me the best results. Am I better off using I higher shutter speed or should I keep it at 1/50 (I am using the PAL version). I know slow motion is usually associated with frame rates as opposed to shutter speed.

Also, if anybody has any Vegas post production tips in relation, that would be most appreciated

Thanks

Sunny

I talked to a very knowledgeable Canon XL representative today and I thought I would pass on this information. Many of the top guns managing this fantastic site already know this info, but many of the rookies may not..

Here is what she told me:

1.Canon does not recommend ANY particular brand of mini dv tape
but recommends a brand that uses DRY lubricant. NO WET LUBRICANT TAPES!

2. Before recording onto a NEW mini dv tape. First fast forward the tape all the way in the VCR mode....and then rewind - then begin your recording. If you are planning on editing from the playback or downloading onto the computer, do the same procedure again. This stretches the tape out to the maximum, and then also distributes any lubricant (dry) or oxide deposits off of the head.

3. When using the DV cord to download into the computer via firewire connection, first make sure power if off of camera. Connect the DV cable to the computer FIRSTLY and then to the camera SECONDLY - and then power up your camera. WARNING: If you have your camera turned on when you are inserting the DV cable, a possiblity of blowing the expensive circuit board of the camera is possible. She also noted that make sure you are connecting the cable to the computer in the correct way...not upside down..It is is resisting, there is a reason it is doing so.

4. She said to use the head cleaner BEFORE any important taping and only for 10 seconds. Also, when you are finished recording the important event, run the tape one more time for 10 seconds. USE A DRY HEAD CLEANER ONLY!

IMPORTANT NOTE: The people out there who are having head problems are people who are not controlling the temperature of their tapes. They are shooting, and exposing their tapes to horribly hot conditions - she said, "no wonder shooters are having problems." Treat your tapes like a baby and you will reduce many problems. She also stated that use PRO tapes ONLY....because they are controlled better. She stated: Don't fudge out on good tapes. They are higher in pricing for a reason.

Okay, that is what she told me...thought this info may be useful to everybody out there in XL Land.

Thanks
Dean Orewiler

I'm trying to give back to you, a fraction the great folks have given to me information wise in getting me started in the video world. I appreciate Chris Hurd and his gang for doing a FABULOUS job.

Hey just had a question to whether or not to keep my XL1 or not. Everything works great with the camera and i use it frequently. I'm involved with film festivals so my camera gets use. The thing I'm wondering is should i keep it and fix it up, or upgrade to another camera? I'm looking at matteboxes and things like that to purchase for it, but I also dont want to spend all this money then end up selling it soon after. I dont really care to go HD yet unless I see something extremly impressive, and so far i havent. I really like the XL2 quality and would like to stay within canon, because the xl1 has been a great camera. However, I'm just wondering if i should pack her up or fix her up? any info would be great. thanks!
-Alfonso

It all depends on your finances - and the goal of your project. If you feel like the XL1 is accomplishing your goals and creating the look you want - even after post production, keep it. There are still many people who are using this camera for production work. The great thing is that the XL cameras can accept the firestore HD so when your head goes to hell after tremendous use, you can always go to the newer technology. It also depends on your finances - if you want to get a camera with more features, by all means sell the XL1 and get the XL1s or XL2. My philosophy on this: The end result (your project) is your main concern. It's not so much the camera, but the story, actors, direction and technical creativity. This is how I would determine it's worth. I'm a film guy - I almost purchased an Arri S 16mm camera - but after I found out what expenses are involved with the whole process, I went with the XL1s instead. I could have shot the movie just as easy (if not easier) with a film camera, but then you have your expenses above and beyond - the film, the processing, the conversion to digital format, etc. etc....I bought the XL1S because I could save money in the long run and in post production software, make the tape look close to film. I'm learning this whole thing when it comes to video...I know quite abit about film cameras, but learning the digital arena.

Yah, I like the whole look of my overall projects. I was recently on a shoot with a dvx and found to like it a lot. I didnt use that camera enough to make a jump to it but so far it really worked nice! I'm going to check out the HVX200 the 28th at an apple siminar so i'll find out out how that peice of machine works too. 24p, HD, I'm really eager to check it out. Anyways thanks for the help and for now I guess I'll keep the XL1. Thanks much!
-Alfonso

I have not used my 16x manual lens yet and want to make sure I'm using it correctly. I have a question about the Flange rear ring fixing screw...I want to loosen it, but not sure if I just grab the who screw that has the knurled marks on it, or in the middle, there is a place you put a screw driver....are they one in the same or two separate moving parts. I don't want to screw it up, and the directions are vague....

Also, the lens was in SERVO when I first got it, and I attempted to zoom for a second manually, until I moved about an inch and remembered that is was in SERVO instead of manual...could this have damaged the lens??

When I go from manual zoom to Servo, I hear a quick click sound..is this normal?? I believe it's just engaging the clutch or servo and it clicks until it catches the SERVO...

Just a few questions.

Is the Century .6 wide-angle adapter suspose to bayonet on and not fit tight?? I'm using the 16x manual lens and when I bayonet it on, it seems loose (not tight at all) with play (push and pull) of adapter....Wasn't sure if this was normal or not. It says it goes to an XL1, but I'm not sure if it is recommended for the manual lens or not....it should, they are the same thread size.

where can i buy a cap for my lens mount/ccd.. like for when i have the lens off. i want to start taking the lens off for travel but i dont have any protection for the lens mount.. and i would never think of leaving it bare

hi dean...

CO makes a specific mount for the 16x manual lens. Send it to CO and they'll switch the mounts for you for a fee. if i remember correctly, it was about a hundred bucks for parts and labor, and a two-week turnaround time.

hi dean...

regarding the backfocus adjustment knob (this is what you're referring to?), you can grab the entire piece. it's all the same moving part. and no need for a screwdriver, unless i guess you really want to lock the backfocus down.

don't worry about the click when switching from manual to servo zoom. you're right... it's the servo motor latching onto the zoom ring.

Hi –

I own an XL1 (not XL1s):

Is there a way to mix the boom mic (on the camera) with an external mic (RCA line in)?

I want to use the on camera mic to pick up audience sound while I run a feed from a hand held mic to the audio inputs on the camera (to capture a person speaking).

Thanks --

This is coverd in a number of past threads. The easiest way is to use 12-bit, 4-channel, mode (adequate for mainly voice work). Feed the on-camera mic to channels 1 and 2 (where they normally go) and your boom mic to channel 3 and/or 4 (on the Audio 2 input jacks. You will need to select 12-bit, 4-channel mode from the menu and set th Audio 2 input senmsitivity to an appropriate level, e.g., MIC or MIC ADTT, depedning on themic used and the venue. Note soem NLEs do nto support 4-channel capture, and if that is the case with you rs wyou may need a acquire a capture utility, or capture audio 3/4 separately and sync it in post.

Alternativelt you could fabricate a special adapter to combine the on-board mic with an external mic - bu thta may be beyond the capability of many shooters.

Dan --

Thanks for the input --

I'm working on top af a large building and keep getting interference from the dishes up there, (beeps in the audio and occasional lines running through the image). I'm also getting a lot of time code breaks. Could these signals be damaging my camera?
Thanks,
Chris

Not likely damaging the camcorder if they are not damaging you (but you never know for sure until it is too late), even if they mess up the video of the moment. To be sure, shoot some test footage away form the dishes.

Thanks for the reply Don, Here's some other stuff I found, Thought it would be good to have in the archives.

FROM MANUAL

"• External interference may cause the camera’s
microprocessor to malfunction temporarily. If
random letters appear in the display or if normal
operation is interrupted, remove and then replace
the power source (and if necessary, the back-up
battery)."

FROM CANON (sent an e-mail Sat. evening and got a response by Sunday morning)

"Thank you for your inquiry. We value you as a Canon customer and
appreciate the opportunity to assist you. I am sorry to hear that
satellite signals are negatively affecting the XL1S camcorder.

satellite signals should not damage the XL1S camcorder, however, it
sounds as though the magnetic fields may be distorting the information
on the DV cassette. As Canon would only produce rain and cold weather
jackets, you may want to see if any third party company produces a
shielding jacket for this camcorder. I would recommend performing a
Google search for this product."
Chris

Hello all,

I am interested in purchasing the Canon VL-10LI light for my XL1s and I hae a couple questions. First, how effective is the light? There isn't really a way to measure what it puts off, but say your shooting in the dark, does it put off enough light to successfully illuminate a person or object in relatively close distance? Also how long would a BP-915, 930, or 945 battery last?

Thanks in advance!

Yes, it will illuminate a person at close distance.

I believe that the specifications say that a BP-945 lasts 270 minutes. I am doing this from memory, as my unit (with the instructions) are currently in Ethopia at this time.

One of my friends took my light to film orphans for adoption. The light worked very well and actually saved the day. The orphans were in a darkened room, lit by an open doorway. Whenever my friend tried to film, local people crowded the doorway and shut out all of the available light. The light allowed her to complete her assignment.

I may be off on the 270 minutes, but it is a long time.

This is not a high end light, but it is helpful in certain situations.

According to the Canon manual for the VL-10Li light:

With fully charged Canon battery packs:

BP-915 = 60 minutes (approximate)
BP-930 = 120 minutes
BP-945 = 170 minutes

Note that some non-Canon brand batteries have a higher capacity than the Canon BP-945. Your mileage may vary.

Wanting to make a documentary and strapped for cash. Most of the audio will most likely be interviews. could I make a professional sounding product by putting the factory xl1s mic on a boom pole or should I definately invest in a 300-400 dollar shotgun mic such as the me66 or ar835b, also is the at835b any good? Don't have the money now, woud probably have to rent. Should I try to rent or would the factory xl1s mic do the job?

The higher you set the shutter speed the smoother your images will be when slowed down in Vegas. Although even at 50fps slow motion footage is normally acceptable.
Be careful as higher shutter speeds create more noise in your footage (the 'static' squares) if they are not well lit.
If you are shooting outside try keeping the shutter speed at 50-150fps. Just try playing around with different speeds and seeing how Vegas handles them when slowed down.

Hope this helps

Getting the factory XL1s mic away from the camera will make some difference, and if the interviews are in mostly quiet places you may find the mic will do the job. Obviously for the best sound consider renting some high end equipment for your shoot.
You could always try shooting some tests and see how much better a rented mic will be for you before you actually rent it out for days on end.

Are all your lights etc sorted out already or are you looking into renting those as well?

Your PAL XL1s will only film at 25 fps (50 interlaced fields per second), so there's no way you can change the frame rate as Ben suggests.

I've not used Vegas, but for all my slow motion footage I use the Canopus Speed Controller and find the smoothest, most fluid motion comes from processing video shot at 1/50th sec shutter speed. When you shoot at this default shutter speed you capture everything that happens in front of the camera, but because of this you will get subject blur when there's movement within the frame.

When you slow to 50% you effectively end up with each individual field forming a frame. Vertical resolution is reduced to half of course, but each field carries on from the next, with no info missing.

If you set your camera at 1/150th sec (say) you only capture a third of everything that happens in front of the camera. When such footage is slowed down the missing info becomes much more apparent, and interpolation has to come to the rescue. Some are good, but lots are so-so and make the slo-mo look horribly jerky.

So do as Ben suggests - experiment. If you can film the same moving object at various shutter speeds so much the better - you'll have a direct comparison on your TV and will be able to come to a useful judgenment.

tom.

I used an XL-1 for several years but never noticed this before - when cutting some of my XL-1 footage with video from other cameras (i.e. XL-2, GL-2), the horizontal frame size does not seem to match these other cameras!? Using Final Cut Pro, the video claims to be 720 X 480 in all cases - however the XL-1 footage has small black bars on the sides of the frame where the other video goes right to the edge. Does this mean the XL-1 does not have a full 720 active pixel frame size?? Not an issue for use on TV but shows up when played as a web-video file.

You see correctly. The black bands are in th overscan area and not visible on a TV screen, although you will see them on a computer screen or frame grab thanks to no overscan.

The visible image size is more like 704x480. This is one of the Digital Video standards, and dates to 1995 when the XL1 was being designed. Visit: http://www.digitaltelevision.com/dtvbook/appendixa.shtml
for an interesting discussion of this.

I'v enoticed this on footage from some other older cameras too (EZ-1, analog video digitized with a Canopus ADVC100, etc). Guess the best things to do for web-video files is crop to the video with the smallest dimensions.

Doug Knutson
Windswept Productions

Does anyone know if there is a difference in the quality of glass on the ef extenders and the xl extenders. I already have an xl 1.6 that I use with the ef adapter and a canon 100-400 ef lense. I do alot of wildlife video and I need the best zoom and video quality I can get. would getting the extra power of the 2x ef extender effect my video quality. I know the lighting should be effected but I can work around that. If anyone knows anything on this subject please let me know thanks.

Can anybody help me locate this adapter?
Thanks for your time,
Brett

Hi Brett, did you check out the Alternative forum?
Is this help?
http://www.dvinfo.net/conf/showthread.php?t=44689&highlight=FD+XL1+adapter

www.adapterplace.com you can either get the letus which will maintain focal length of the lens etc.. or the xl family fd adapter which will give you the multiplication effect turning all your fd lenses into telephoto lenses

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

Okay pros out there - what is a good way to get a film look on the XL1S..I have had other opinions, but I want a few more. Most are saying move the slider to the green a few notches - reduce the setup level about 2 notches to darken - the color gain down a bit to take out the color....
Is it better to shoot the footage with no corrections - and then do a film look in post??

I prefer to do it in post. I love a more 'warm' look while shooting, which you mostly get by default with an xl1s, and I love to do the rest in post.

But you'll loose some quality, as is known with digital video, and especially dv.

Dean,

Using the Advanced Search feature and cross-referencing "XL-1s" with the "Film Look" forum, I got 21 hit here (http://www.dvinfo.net/conf/search.php?searchid=361235).

Several of the threads had a good number of posts and literally dozens of tips, worth the effort to review to achieve the look you want.