Hi From Cape Town,
Thanks for that Chris, will look for sturdier Legs and the 503 head... Dont know what I would do without this DV community and your input. Much appreciated.
Regards
Brin

Hola de Tejas,

Hablo un poco español. Usted desea el raincover de KATA RC-10 (grande) o RC-11 (pequeño) para XL1. Entre en contacto con esta distribuidor de KATA en España: Video Cine Import -- vci@terra.es -- telé 349 166 364 66 -- espero que esto le ayude,

muchas gracias por la respuesta y la rapidez. Me pondré en contacto con KATA saludos




:-)

Does anyone have information as to when the portable hard drive recorders announced at NAB might be available?

Any links or other information appreciated!

Does anyone actually use the SP-100 that comes bundled with the XL1s? I find the thing miserable to use. After spending a bundle on the camera I hate to invest in the MA-200, especially since I don't currently need the XLR jacks. Is there an alternative. A true "on the sholder" as opposed to an "against the sholder" pad like the SP-100?

Yes, see the Articles section of the XL1 Watchdog at www.dvinfo.net/xl1.htm -- look under Support Options.

The ma-100 and I'll assume the 200 pretty much suck too. The trouble is the body assy. and lens still stick too far out front for really good balance. I think I like snuggling up to the body with out any shoulder pads better. It gets the weight as far back as possible.

More reasons the xl1 footage looks good? It forces us on to tripods! Just can't be beat if we're serious about our video.

I've still got a monopod from photo, and think it'd help if it needs to be "handheld."

Just curious, I was wondering what the advantage of it other than using it for screw on filters

Blocking stray light rays

Check out this thread:
http://www.dvinfo.net/conf/showthread.php?s=&threadid=1982

Does anyone know if there is program avalible that allows you to log footage onto a laptop conected to an XL1 while shooting? I know Avid made something called Avid Media Log, but I don't know if it's avaible any more. Thanks

See this thread: http://www.dvinfo.net/conf/showthread.php?s=&threadid=2077

I was watching national geographic channel and this guy was toting around an XL1s filming turtles and other junk in the outback. It was neat to see the camera in action and on tv, yet I've seen this camera in just about every porn set. Anyway, the main point of this post is to determine which monopod the guy was using on the show? Or if anyone has a suggestion of which is a good light pod. I dont want to use a tripod as I need mobility.

The camera is certainly versatile enough to be used for a broad variety of applications. That's why you'll find it everywhere from National Geographic on down. As far as monopods go, *any* monopod from the medium-sized Bogen on up is a good monopod.

" Professional Grump, Nay-Sayer, Pessimist and Humbug "

That is what happens when you quit drinking coffee.... Have a cup or two, you will feeeeel muuuuuuch beteeeeeer :)

I'm moving to Paris for a couple of years and, NTSC/PAL notwithstanding, I want to bring my XL-1 with me. Because I've also got a baby son, a wife, and a ton of other luggage, I'm not sure if I'll be able to take it as onboard luggage. Do I:
A)Take it in its portabrace soft case as regular luggage on the plane?
B) Repack the camera into its original box and trust the movers won't mess it up?
C)Other?

Any advice from anyone who has done something similar with their equipment would be greatly appreciated!
Thanks,

Themackdaddy

Bonsoir,

I have flown with the XL-1 as hand luggage before.

I made it a pre-requisite of my travel agent that with my air ticket that they had to give me written permission from the airline that I would be flying with, which they did. I just flashed that piece of paper when people got cheeky. The flight case I use is the std one issued for the XL-1 and consequently is too large for overhead. The flight attendents will find a spot for your XL-1.

Also investigate at the airport before you leave. There is normally at customs, a place where you can declare your XL-1 with serial numbers of all components so that you don't get penalised with duties on re-entry. At the very least take all your original invoices.

Viva le France, enjoy the experience. France is a beautifull and exciting place.

Cheers
Andrew

After keeping my eye on these boards and the watchdog site over the past year I finally bought a Xl1s. Both have been great resources.

Question though - Which tape is generally recommended to use with the camera?

I had a Sony evw-300 (hi-8) and was told sony metal evaporated was the best to use in that - in fact I found it to be extremely reliable and outstanding. But I heard that you should not use the metal evaporated with the xl1s..

So what type of tapes are people using?

I would like to get a top brand/quality tape as I'm using the xl1s for independing moviemaking.

Thanks for any advice
Jeff

Hello Jeff and welcome aboard,

We've had several discussions about DV tape around here, so trying doing a search to bring up those threads. Basically, *all* DV tape is Metal Evaporated tape, so no worries there.

The one single hard and fast rule is, you need to make a choice between Sony or Panasonic brand tape, and stick with that brand and do not interchange between the two. The lubrications are different. One is not neccessarily better than the other, you are completely safe with either Sony or Panasonic, but choose one only and do not switch.

DV cassettes are the least expensive part of the production equation, so don't skimp on cheap tape. Buy the best you can possibly afford. Personally, I use the Panasonic AY-DVM63EB tapes, but you can't go wrong with Sony either. Just don't switch! For an excellent source of DV tape, contact our sponsor Pro-Tape in Austin, Texas (contact info at www.dvinfo.net > Sponsors).

Any other questions, we probably have the answers. Just search the forums and if you don't see what you're looking for, feel free to ask. Hope this helps,

I just rented a film, "You Are Here" and as I was watching it, I noticed that it was shot on video. Then when listening to the directors commentary he mentions that the whole film was shot with an XL1.

I think his budget was around $43,000.

It a fun, quirky movie. Watching it gives you some idea how one can shoot a movie with an XL1.

The film website:
http://www.johnnypictures.com/

Dear users
Could some one kindly give me an overview of the mixing function. I wish to add music and a commentary to a 30 min showpiece of an ancient village in India. I have about 9 days in which to present the footage to friends in India before departing the country. So far I've made a basic edit to VHS. I think I'll have to import this edit into the XL1s in 12 bit stereo mode. At what point do I add sound and how to mix the channels?
At my disposal I have two VHS recorders, colour tv/input/output,1canonXL1s, audio cassette deck, and a microphone. On returning home I will be editing and sound mixing on my home computer, but my friends here in Delhi would really appreciate a copy of the work to date complete with mixed sound, possibly for broadcasting on the local tv network. Over the next few months at home I'll add proper titles, add transitions, and one or two fx, to give the project the final polish, but in the meantime I'd like to leave a neatly edited version
with music and commentary.
Any hints and tips much appreciated.
I actually have the user manual with me but would also like to hear from pracical experience, and just a brief outline on how the different sound channels work and what they are?

Any advice for SachtlerDV6 system for XL1 camera?
Thanks,Maurizio.

You might want to check it out. You can't go wrong with the Sachtler in my book. I love my DV8. I believe the DV6 is better rated for the XL1 sized cameras. Everything about the 6 is the same as the 8 except the counterbalance. With my fully loaded XL1 the 8 works better for me.

Is it advisble to use a Tape rewinder? I use a GD-V900 at the monet, but dont want to wear it out... they are for sale on EBAy for $35..any comments...the make is a Sima....

I want to buy a Mini Disc recorder to record sound and then download to PC into Edit.. Any recomendation on Models.(i have a limited budget..) Is the Sony MZN 505 usable? If bought in AMerica can I use it in the UK and SOuth Africa?
thanks again guys!
Brin

Hello all,
I was just looking at the cavision website and was wondering if anyone has had experience with their .06x wide angle adapter. Its about $100.00 less than the century optics adapter, and I was wondering if the price difference may have something to due with the quality, and if so, should I spend the extra 100 on the century. thanks in advance.

How do i set my Xl1 to show Zebra lines for 90IRE.

Not possible for XL1. The XL1 zebra pattern is set for 95 IRE and cannot change.

For XL1S, no problem. You can set the XL1S zebra pattern to 90 IRE. Hope this helps,

I use a Sharp 722 (may be discontinued by now) Works well. The http://www.minidisc.org/ website has lots of information about various makes and models, features, etc. Getting a model that allows manual gain adjustment while recording is valuable.

A good rewinder (one that gives a nice, consistent uniform wind, can be a time saver, but IMHO it takes a lot of rewinding to be significant wear item.

What is ENG?

ENG = Electronic News Gathering

The process of recording news out on location with a video camera. Then there's also:

EFP = Electronic Field Production

...which is quite similar. I've always understood the very minor difference between the two to be that ENG refers to actual, bonafide journalism intended for broadcast by a news agency, with EFP covering just about everything else, such as shooting a music video or a commercial, etc. in an outdoor environment, away from a controlled, interior set.

Hope that helps, ask anything you want, the rule here is that there is no such thing as a dumb question.

Hi

I am having problems removing the on screen display on the XL1 without the remote control as I think the IR is dead, does anyone know of a way to do this??

Many Thanks

Paul McCarthy

On the original XL1 (not the newer XL1S), there are only three ways to toggle the on-screen display on or off:

1. Using the wireless remote control that came with the camera,

2. Using the Canon ZR-1000 wired remote controller,

3. Using the VariZoom VZ-Pro-LX wired remore controller.

It can't be done on the camera itself. See my FAQ at www.dvinfo.net/xl1faq.htm under "The EVF display appears on my monitor. How do I get rid of it?" -- hope this helps,

thanks a lot...for the answer and the rule

So heres what happened.
Went to this trade show called e3. Had some sorry 8mm Camcorder with me to cover the show from a media standpoint. well um, that doesn't work to well. So I decided that for next year, we would go Big, because we have a huge audience. We will have Video and all kinds from next years show.

Back to the point though. We sprang out and we have an XL1s coming to us. Over the months we will get the feel for it covering other events and doing basic things to learn the camera before we use it in a real real professional manner.

The audio question comes in that when the next show (or any event) comes around I will need some pretty good audio. It's going to be pretty loud all around me, and I need to upgrade the audio stuff so that I can hear who I am interviewing, I think I need a directional mic. I'm new to all this, I wanna be able to record with great audio, and edit on my laptop.

What types of software and things will I need for Audio, and if you have some video tips, throw them in for me too.

Thanks guys

Ok, i can live with the 95 ire setting. How do i make them appear on the eyepiece.

Simply turn on the zebra display.

menu
cam set
zebra - on

Zebra level is the next item in that menu


I kinda like 90 IRE. It let's me know a little in advance of getting to hot.

Hi everyone,

I'm looking to run some test shoots with a PAL XL1s with my mini35 adapter. So if you live in the California Bay Area region and are willing to combine forces, we should talk. I'd like to shoot test charts and do some general shooting. It would take only a half a day plus it's nice to meet others in your area.

Thanks,

How do I work this?
So heres what happened.
Went to this trade show called e3. Had some sorry 8mm Camcorder with me to cover the show from a media standpoint. well um, that doesn't work to well. So I decided that for next year, we would go Big, because we have a huge audience. We will have Video and all kinds from next years show.

Back to the point though. We sprang out and we have an XL1s coming to us. Over the months we will get the feel for it covering other events and doing basic things to learn the camera before we use it in a real real professional manner.

The audio question comes in that when the next show (or any event) comes around I will need some pretty good audio. It's going to be pretty loud all around me, and I need to upgrade the audio stuff so that I can hear who I am interviewing, I think I need a directional mic. I'm new to all this, I wanna be able to record with great audio, and edit on my laptop.

What types of software and things will I need for Audio, and if you have some video tips, throw them in for me too.

Thanks guys


__________________
The Gaming Admiral.......

For great interview audio with the XL1, consider adding the MA-100 or MA-200 and an external mic. Wired mics work well for interviews. Some other may have a sugeston as to a good make/model.

In some cases a wireless might be a good choice, if you do not want the camcorder to be teathered to the mic by a cable. Which model depends on your budget. The Samson or Azden UHF models are a moderate price range starting point.

A short while back I posted a request for info on the Vari-Zoom Stealth and the main gripe from all was one of size.
I searched around and came up with the 'Be-Bob'.
At roughly the same cost as the VZ I cant fault it, its absolutely superb. It has a centre rocker that fits the thumb nicely and three buttons that fit nicely under the tip of the thumb. My first impression was one of size, as its not that big, but I've had no probs using it, although my thumb is not the most delicate.
There's a web-site at www.bebob.de and is available in the UK from www.hpreston.co.uk
Regards to all

I'm absoutely no audio specialist or something. But I know there
are directional microphones on the market that (mostly) pick up
only the audio where your point it at (ie not the surrounding).

A good video/audio shop should be able to give you some
information regarding this subject.

I went to school for all of this about three years ago. But I've been out of the loop. I shoot on DVC Pro for work but I dont really know what I should be looking for for my own Proffesional Grade camera. I have heard good things about the XL1 but I need to know why it is good. Could some one help me out?

If the VariZoom Stealth is too small, they have several other models in various sizes. My favorite is the VZ-PG-L. See www.varizoom.com

Justin, ZGC is here at ShowBiz Expo and I'll speak to them on your behalf about getting a loaner out to you. Considering this is for one of their products, it shouldn't be too difficult, just a matter of scheduling as this is a busy month.

Hopefully you can find somebody locally, but if not, let me know.

If I can get one from ZGC that would be great. I would probably end up buying the body from them after all...

Work your magic Chris!

After reading the thread started by Don Williamson May 29 in the general topics (Tweaking, etc.), I tried using a polarizing filter to decrease the exposure range in my outdoor scenes. What a surprise to see what it really did.
It is a Hoya circular polarizer, their standard vanilla variety, and is not a color polarizer. It was mounted on a Canon 75-300 mm zoom, the same one I have used forever with this polarizer, on my old XL-1 with no unusual occurrences.
When I turned the polarizer to get maximum polarization, the scene not only polarized, but also turned very warm, reddish, like putting on a warming filter. Turning the filter to get minimum polarization made the scene very cool, a bluish cast.
The physics of polarization is not very complicated. It has to involve glass. I'm not aware of how you can polarize a CCD. Is it possible that Canon has installed a piece of polarized glass in the light path of the red-receiving CCD and an oppositely polarized one in the blue? Did they make the prism out of polarized glass?
Unlike the XL-1, on this camera you can adjust tint. Is there some polarized glass in that mechanism? If anyone has seen this effect using polarizers with the XL-1s and has figured it out, I'd love to hear the answer.

Steve Siegel

I have a brand new XL-1s. It is set to go into standby (with only the VCR part turned off) after 5 minutes. This works fine.
All settings are preserved upon restarting. If, however, I push the standby button myself to turn off also the viewfinder display, when it's turned on again (by pushing the standby button) the shutter speed setting is preserved, but the aperture always reverts to f/5.6 (maximum aperture with the 75-300 zoom.
Canon says it's a malfunction. Seems strange in a new unit with everything else perfect. Anyone else see this happening?


Steve Siegel

Hi,

Just read many of the posts here and link to some of the sites from the people who have written articles for DVinfo.Net. Everyone has pros and cons to shooting with the XL1 (and every other camera on the market). If their was one perfect camera we would all be using it. Reflect on the type of projects your currently doing and the type of projects you would hope to do. Balance your needs with your budget and try to accept the limitations of your equipment.

Good luck and keep posting. This is a great place to ask and learn about video and film making.

Jeff

Steve
I have had a XL1-since February and have used it extensivley with the EF adapter. I have used the 35-350L lens and the 75-300 IS with it. I checked this situation out this morning with both lenses and mine seems to work the same as yours.
To take it a bit further I found that when using the Tv and Manual modes that the lenses reverted to maximum aperature . I often use Tv mode and then engage the exposure lock because I am often shooting wildlife against darker backgrounds. When I do this the camera will return to the previous settings after putting it into standby mode and then powering-up again. Strangely this does not work in manual mode which should really be the same thing. Instead the lens returns to maximum aperature. Figure that one out! If the camera is in Av mode it will retain the settings.
I hadn't given this much thought as I am using a Varizoom Stealth Controller which does not allow the camera to be put in standby mode and I have to turn the camera off between shooting segments . I didn't realize that this was happening when I used standby mode with the remote unattached until you mentioned it and I ran the tests today.