I have a used XL1 mic I would like to use on another camera, have searched the other posts, but I want to give it it's own power source (5v) how could I build a plugon unit? any help?

Thanks
Mike

I am looking at shooting a music video and I will be using 2 cameras. Is there a way to link the cameras to 1 timecode.

Be simple with your answers I am new, Please

Unfortunately no, there is no easy way to sync two XL1 / XL1S cameras to one time code.

If you had two XL H1 cameras, you could do it. They have TC input and output.

There is a way to do it with the XL2 as well: http://www.dvinfo.net/canonxl2/articles/article11.php

i have an xl1s and when i record and playback everything is perfect except one thing. when i playback, mostly only noticable on the computer when capturing, there is a black line along the bottom of the footage that never goes away or moves. here is an example of what it looks like.

http://www.everythingtonothing.com/temp/pictures/bar1.jpg

it isn't extremely noticable but i am curious if it is normal and if not what the cause is.

thanks,
mike

Does anyone know of a good video light which will attach to the XL1S accessory shoe, which can be powered from AC mains as well as battery ?

Up until recently I have used a Wotan AL20 (20 watts), which has just died after 15 years of service!

Any suggestions guys?

It's normal, Michael. :) Do a search here (in the XL1 forum) and you'll find some old threads on it.

Tha Canon Vl-10i light works well.
B&H sells it.

Mark

A bit tricky but it can be done with a bit of a construction project. For most people it is probably more convenient just to buy a stereo mic such as the AT-822.

You need to whip up a 5 volt DC source, and that is not a standard battery voltage. (I do not know how precise it has to be; i.e., whether or not it is safe to use 6 volts.)

You need to provide the +5-VDC source to the tip of the 2.5mm sub-mini phone plug of the mic, and the DC ground to the sleeve (ground connector) of the 3.5 mm stereo mini phone plug.

The mic-level audio signal comes out the tip and ring of the 3.5 mm mini phone jack.

Thanks Don, I have an AT 822, but I sure like the sound of the XL1 mic and have one so, I'll give it a try.

Thanks
Mike

Hi Everyone

Does anyone now where I can get a spare lens cap for my XL1s camera in UK. Have lost it and need another, or is there a universal one can get.

Thanks

Andy

I have the stock Canon Stereo Microphone....I bent the smaller of the two plugs that connect into the camera's front mic jacks...I bent the plug back, and it seems to work well - but I was wondering if I could just buy a replacement plug and soder the new one on to avoid future problems...is this an option or am I being picky...where could I buy this original plug anyhow??
Thanks
Dean

The small plug is a 2.5mm sub-mini phone and the tip carries 5 VDC to power the mic, last time I looked Radio Shack had them. The other plug on the cord is a 3.5mm stereo mini phone, and the tip carries the left channel audio, the ring the right channel audio, and the sleeve carries the audio and DC power grounds.

Not very easy to solder because they are tiny and the wires are small with not much slack from the mic.

You mght be able to buy a replacement cable with the molded plug from Canon parts, but in the XL1 manual it appears to sold as a complete mic assembly.

My motto is if it ain't broken, don't try to fix it, things just might end up worse.

FWIW: the ZM-100 mic that came with the Canon L2 had a similar (but not identical) cord that was listed as a separate part.
Part # DY4-2963-000 000 for the curled cord and DY4-2968-000 000 for a straight cord. Do not know if they would work.

I need a UV filter for my camera, and a polarizing one couldn't hurt either. Should I just buy a cheap one, I mean how complicated can a filter be? I was looking at ebay (http://cgi.ebay.com/72mm-Polarized-PL-Filter-Kit-For-Canon-XL2-XL1s-XL1-Pro_W0QQitemZ7630739340QQihZ017QQcategoryZ15217QQrdZ1QQcmdZViewItem)


Any suggestions? I need to buy one rather quickly as I have a project coming up in 2 weeks. Thanks.

You might want to check eBay for xl1 or 72mm lens cap.

Hi Andrew

Just had the same problem, as the company I recently sent my camera to for service helpfully lost the lens cap. I got hold of a bog-standard Hama 72mm lens cap from the Bristol Camera Exchange @ £4. I guess it's a standard catalogue item. It's a good replacement as the cap is tensioned from the centre, much like the Canon one, so it's easy to get on and off within the lens hood.

I haven't been able to figure out how to retrieve still pictures taken with the "still" mode of the xl1. Do I just capture using firewire in the normal fashion except capturing only 1 frame? If that's the case, why have still picture mode?
I have no preference to capture program, so please chime in. In the past I have just used the capture program that comes with Xp in dv (avi) mode.
JJ

Do I just capture using firewire in the normal fashion? Yep.

If that's the case, why have still picture mode? Beats me; I have yet to use the still picture mode, except by mistake. :)

XL1 still picture mode - good for out takes of still objects (or slow moving things that should be still), gives a nice 6 second clip with ambient sound if you need it. I use it frequently to set a framework for an event.

thanks Don!!

I'm wanting to do a slo-mo montage of some clips, but not sure how to go about this...Can I take existing captured footage and add just this effect to those clips in the timeline WITHOUT altering the whole project as slo-mo??

I would like to do a "mountain pattern mapping" of background music over dialogue - lower and raise it in relationship to the dialogue without just lower the db of the whole audio wav - can I map the sound on the timeline so it can go down during dialogue moments and raise it up for non-dialogue moments??

hi gang,

i wonder if somebody has expirience with using the digital zoom option?

have theater shot and would like to use the option.

thanks

On ALL camcorders digital zoom results in resolution loss. On the XL series it is a bit better than on many others, but still degrades the image quickly as you add more digital zoom. Better to move in closer and stay optical than use digital zoom if you can. Also, the more zoom you use, the more likely you will get camera shake issues, even with a good tripod.

That said, give it a test before you use it for an important shoot to see if the results meet your needs.

On ALL camcorders digital zoom results in resolution loss. On the XL series it is a bit better than on many others, but still degrades the image quickly as you add more digital zoom. Better to move in closer and stay optical than use digital zoom if you can. Also, the more zoom you use, the more likely you will get camera shake issues, even with a good tripod.

That said, give it a test before you use it for an important shoot to see if the results meet your needs.

hello don,

have the camera for about 1 1/2 year but never used the function....<G>
thanks for the info.

greetings

Hi does anyone reccomend a good U.V. filter lense and/or other filter as sometimes during late afternoon when the sun is going down over certain parts of the track i have noticed upon editing the sunlight and its rays have distorted the filming the somewhat when the bikes hit that certain point of the track regardless of where i move to, too try and advoid it. Thanks again

UV filter is mainly for front glass protection, but can introduce issues if it get dirty. Especially in bright sun and dusty locations.

A polarizer often helps with sun refelction control.

Lots of threads here on both - try the search for more discussion.

Again thanks Don

UV filter is mainly for front glass protection, but can introduce issues if it get dirty. Especially in bright sun and dusty locations.

A polarizer often helps with sun refelction control.

Lots of threads here on both - try the search for more discussion.

just a quick question. is it bad to take the lens off with the camera still in record mode? i accidently did 2 times without realizing it. i hope it didn't damage anything.

thanks,
mike

I've read that it's not good to take the lens off with the power on--period. If you got lucky and your lens is okay, burn it into your mind right now: POWER OFF BEFORE REMOVING THE LENS. :)

I have an XL1s and a GL1, both of which I use to capture to my G4. Recently my XL1s' firewire stopped working (tested it on several computers). The same day, my GL1 firewire stopped working, too... and "DV in" blinks on the screen.

I'm going to have it repaired but I'm wondering... is my G4 frying the cameras' firewire ports? Other things plugged into my G4's firewire seem to work fine. It's just a little convenient that they both went on the same day - one right after another - you know?

Also, there's a place I found on Google called Video One Repair. They claim to fix the XL1s. Anybody ever used them? (www.videoonerepair.com)

Maybe the firewire cable broke the firewire on your camera. I had this problem recently, 1 of the 4 pins in the cable was bended en broke one of the four pins in my camera and was therefore unusable

Do you mean Vegas Movie Studio?

I use the full version of Vegas, but I assume that VMS has audio envelopes too. This is what you want to do. Select the track in question and go to "insert / audio envelopes / volume." A purple line will pop up on your audio track. Double click on it to add points, and then just adjust as needed.

Once again I come along to show the vast ignorance that I have when it comes to digital video.

I play it safe always so I would like to know in simplest terms, several things.

1. What is IRE and what so the numbers (80, 85, 90 ect.) mean to me?

2. What are my options to fix the stripes without messing up the rest of the picture?

3, What is the best setting for the Zebra stripes?

I am shooting it Black and White, if this makes any differance at all.

I have about a year to plan but I want to get on it now and learn all I can so any help you could give me would be awsome.

IRE = Institute of Radio Engineers, now part of the IEEE. They were responsible for the standard.

It is an arbitrary unit describe the amplitude characteristic of a video signal, where pure white is defined as 100 IRE with a corresponding voltage of 0.714 Volts and the blanking level is 0 IRE with a corresponding voltage of 0.286 Volts.

For broadcast NTSC, black is 7.5 IRE, but most MiniDV camcorders set black at 0 IRE per the Japanees standard. Obviously electrical signals may go above 0.714 volts (100 IRE), and you get whites that are "whiter than white," meaningless in a normal video system, and prone to cause interference, especially with audio, in an analog broadcast TV system.

The zebra IRE setting is the point in image brightness (as read from the video signal) at which you see zebra in the viewfinder. The stripes are in the camcorder, not on tape, so ther is nothing to "FIX" otehr thatn perhaps adjust esposure to avoid blown out highlights where you see extensive zebra. Thus they can serve as a warning to the shooter of possible over exposure and corresponding blown out highlights. Use this as a guide to acchieving the image effects you want. (After all, maybe you want to blow out the highlight)

Experiment with IRE settings and shooting to find what works best or you.

Does anyone know what wind sock I could use to go over the stock xl1s on camera mic?

I was looking for something inexpensive such as the products by windTech.

Eric, I use Rycote Mini windjammer, see link:
http://www.bhphotovideo.com/bnh/controller/home?O=details_accessories&A=details&Q=&sku=258922&is=REG&addedTroughType=accessory_detail&addedTroughValue=366276_REG

I use it for my XL2 but it should fit perfectly for your XL1S too. I'm very pleased with it.

As the title says, I'm figuring out the pitch of the gear on the zoom ring of the manual servo 16x lens. The larger Canon lenses seem to use 0.5M metric gears, and this looks close to that, but I haven't found a hard spec even on the included instruction sheet.

Thanks,

Eliot

Hi everyone I am new to the forum so please be gentle! ;-)

I own an XL1S and I have read through pretty much every post on this forum and on the net concerning the 16:9 issues (shooting with an anamorphic lens, true widescreen on XL2, etc...). However I don't think I've answered my question yet. Although I own it, I am not the operator for my films but I do the editing (as well as act, write and produce them).

THE HISTORY:
We filmed a feature 2 years ago with this camera in 4:3 but we framed for widescreen with the white bars that are activated through the camera's menu (I believe from what I read this is called "shoot and protect"?) and I added the black bars in post during editing. We also used the "frame mode" for a film look and then I tried to add a film look in post but that did not work (I'm guessing because it was already down to 30fps?).

THE GOAL:
I want to shoot a new feature and of course like everyone (and because I now own a 60" Widescreen HDTV) I really want to shoot widescreen. I have no intentions of transferring to film but I do want the film look and to make a widescreen DVD to distribute while keeping the best quality. My budget does not allow me to purchase an anamorphic adapter for now but not ruling it out either.

THE QUESTIONS:

I read about the widescreen feature preserving more vertical resolution, even if they aren't as good as using an anamorphic or a true 16:9 CCD. But no one mentioned anything about the format itself.

1) Putting aside resolution and that debate, does the widescreen function of the camera actually frame 16:9 correctly? Will I see a 16:9 image on a widescreen TV and be able to putput a widescreen DVD?

2) Do I absolutely need the Optex or Century Optics anamorphic adapter for the framing to be correct?

3) If I shoot and protect again, is there a way to still end up with a 16:9 image or create a widescreen DVD so that it won't output black bars on the sides as well as the top and bottom?

4) If I do purchase the anamorphic adapter, can I still use my 16X manual zoom lens or wide angle lens? Does this anamorphic adapter just go over these?

5) Can I mix frame mode with 16:9 or am I better of filming at 60fps and adding a film look in post instead?

Sorry for the long post and sorry if some questions sound stupid from a newbie. I just cannot find the answers to my quite simple questions!

We in europe shoot on PAL in the states you shoot on NTSC. But for an american website it should not be a problem now would it? They can use pal material also or not? I think its not but just checking for sure....

greetings

pal and ntsc are telvision systems. computers don't work that way. (I believe)

I think you are right....but was just checking for sure...

greetings

I am shooting a scene for a short film this weekend and I was wondering what settings people might suggest for the following:

Door opens into large room. Lighting is low and image is out of focus. Camera focuses to show large table with 8 people sitting around it. It is lit from a large over head light just a few feet above the table. Like a light over a pool table in a bar.
Camera cuts in to close up of table panning along top of table. Papers with lists of names and addresses are shown. Maps, ashtrays and half empty glasses of wine. Hands of people around the table are seen writing notes, smoking.
Camera draws back to show wide shot of table with backs of heads. Names and addresses are being read out and ticked off on sheet of paper from one of the people sitting at the table.

What I am trying to reflect is almost a film noir style. What I am interested in is peoples suggestions as fstop, shutter speed, gain, AE settings etc

Thanks

Unless you are trying to acvhieve a grainy feel, consider lighting well tp give a good, clean exposure but with give the shadows you want, then adjust in post for the brightness (darkness) dark effects you are seeking.

Hi guys

Does anyone have any experience they would like to share about the use of this lense with the EF adapter? It seems like a good balance between quality and price.... I'm looking for a good macro setup for filming insects.

Many thanks

Mat

If you can afford a quality windsock, do it, because so may problems are eliminated.

If you can't and need one badly, make your own. What follows is not new information, and it will work unless you want to face 20+ MPH winds. Even then, the results are noteworthy. Here is how:

1. Find yourself a plastic water or soft drink bottle WAY bigger than your microphone, but one that has pouring spout that should be close, but not exact, to the diameter of your mic (as this area does need some dampening).
2. Using an electric soldering iron, burn hundreds of small holes in to the plastic bottle. Make each hole about 5 mm diameter. Burning the holes preserves the structural integrity of the plastic, which is very, very thin.
3. Next, purchase a small square of fake fur fabric, sometimes sold as faux fur. This fabric has an open weave backing which has acceptable accoustically transparent characteristics.
4. The whole point of the exercise is to create an air space around the microphone which has little to no movement of air, because THAT is what causes wind noise.
5 Allow time for testing you finished prototype so you do not have to do, as I did, advise that the "thing" in the wedding arch was indeed a microphone, and not a dead cat.

Hey guys.

Well I have this lens strapped to a EF converter.....and WOW! It is great, macro indeed !! and the quality is fantastic. The depth of field is very shallow but I've not had a lot of light available yet the close down a bit.


If anyone is interested I will post a few snipits soon!


Cheers
Mat

Thats the beauty of the Canon XL series...anytime a new lens come out one of us guys (or gals) can go pick it up and everything will be all good. The lens itself, isnt as great you'd maybe expect...at least in my opinion.

Hello,

I'm working with a 16x manual servo lens. I built a geared mechanism that interfaces with the geared zoom ring on the lens, but there is a prominent 'peg' on the ring that interferes with the gearing.

The peg looks like it was designed to be removed, but applying small to medium levels of hand torque have not budged it. Has anyone removed this peg successfully, and are there suggestions to avoid damaging the lens body?

Thanks,

Eliot

Hi all,

I'm shooting near a MRI machine at a medical office in the next day or so. Has anyone had any experience with this. I am concerned about the powerful magnets that are part of this machine. I know there is a safety line I need to stay behind, but I don't really trust the techs at the medical office. Any thoughts?

Cheers! Jon

Jon. I have done many shoots in this situation, yes stay behind the line, shoot from the hall with the door open, or shoot for the technician's room if they have glass to see in the MRI room. Also you can do a "Mock" MRI where the patient lays on the table but they don't turn the machine on.