XL1 / XL1S various posts

[Jerome Terry]

Thanks for the info. :-)

[Nathan Gifford]

It certainly compares for the price of a Evolution 100.

[Nathan Gifford]

One of the things Canon is referencing is the difference between the GLs and XLs. On the GLs 4-track allows yo to add these as dub tracks after you complete the recording.

[David Walding]

Hi, all

I just shot a wedding this weekend and I used an XL1s and a GL2 but by accident I forgot to turn off the Frame mode on the GL2. I was going to set them both to standard mode since I have heard of lot's of people saying they did not use Frame mode for weddings.

Anyways when I was going to edit it in Vegas I was looking for flashes to sync the shot's I was pretty amazed at these two shot's at the exact same time during a flash.

Check these out. Here is the XL1s shot in standard mode.

ftp://totalsolutions.bz/pub/XL1s.jpg

and here is the GL2 in frame mode

ftp://totalsolutions.bz/pub/GL2.jpg

Do you see the scan lines?
pretty cool huh?

Believe it or not the XL1s looked great the rest of the shoot it's just here that it looks crappy!

[Graham Bernard]

.. oh just saw your posts on the Vegas Forum . . . good results too!

Grazie

[Tom Tarrant]

Hi All,

I'm considering buying a Canon XL1S camera for wildlife video but there is an enormous difference in the price if purchased in the US opposed to Australia ($2-3000). I am aware that the US version is NTSC and the OZ one is PAL but I'm not sure how this would affect output. I would be hoping to use the results on DVD, CD and Web rather than TV so if anyone could give me advice or point me in the direction of discussion I would be very grateful.

Tom

[Ken Tanaka]

Welcome Tom,
As you'd imagine, the issue of shooting in a non-native format is a frequent topic here although it's usually NTSC folks that want to shoot in PAL. (Search on PAL and you'll find pages of such threads.) As you already probably know, PAL offers a slightly higher resolution and a capture rate (25 fps / 50 fields per sec) closer to that of film's 24 fps.

The primary considerations, however, should be practical logistics. For example, you will certainly have some level of customs duties to pay for a camera purchased here. Also, unless you have a dual-format production monitor you won't be able to view your taped footage directly on a television. These two factors alone may more than negate any economies from purchasing a U.S. NTSC camera.

[Ken Tanaka]

I just happened to notice that you've a fellow Australian with the same inquiry concerning a GL2. Must be something going 'round the continent!

[Josh Mellicker]

We are proud to announce the DVD Enlightenment DVD, years in the making, was shot almost completely with an XL1S (a few shots are GL2), and is now shipping!

Click here for more info and to check out some still images.

This DVD has some amazing-looking shots on it and shows what the XL1S can do with great lighting (and good-looking talent!).

You can get the NAB show special until 5/15/04.

Thanks, Chris et al, for allowing me to let your folks know about this!

[BJ Thomas]

Frame mode is the only mode I use to shoot wedding unless I have the Xl1s on the glidecam for preshots. The brides notice the difference between normal and frame and they love the frame mode.

[Adrian Os]

Salutations for any person of this foro! the name of the post is for a situation when i lost the cover of my lens(16x zoom XL) in a paramo of Venezuela, travel in truck.
For this my lens no have protection!
Where i search other(?), here in my country no have a place for buy canon, and its dificult to see only the cover.
Can show me the way(?¿(

thanks, and welcome.

A
(speak spanish) too.

[Ken Tanaka]

Welcome Adrian. Shame on you! <g>

I'm sure there's a way to purchase a genuine Canon replacement lens cap. But, in fact, any good 72mm lens cap will work. Check with a photo store.

[Donie Kelly]

Hi all

I'm trying to shoot some video from a boat and I'm not too happy with the results. I'm using a XL1s with the standard lens. I am an amatuer so go easy on me.

What I'm doing at the moment is:

Sticking the camera on auto including autofocus.
Problem with this is that the light levels on water vary a LOT depending on which direction I'm travelling ie: against the sun or it behind me. Things change quickly as the speed we travel at. Autofocus has some difficulties with the fast target as well.

If I put the camera on manual:

In this case I find the workload too high and I'm constantly tweaking the camera. Hard to keep the skiier in focus manually.

BIG QUESTION:

How can I put the camera in manual so that I can keep the skiier lit consistently and also have enough depth of field to keep the guy in focus most of the time. I am trying to get closeups as well and some ideas on how to keep the camera steady would be good. I usually travel in another boat so I'm usually on the left or righ side of the skiier and about 10 meters out from the ski boat. That means the skiier comes to about 2 meters of me and away to about 15. Can I get this large a depth of field while keeping a high shutter?

I'd also like to shoot in widescreen but am I better doing this in post?

Many thanks for any help
Donie

[Rob DuBree]

Hi Mark,

Jeff is correct, that isn't normal.

I don't know if you have already sent the unit back or not, but if you haven't send it to...

Rob DuBree
NEBTEK
3007 S. West Temple, Suite K
Salt Lake City, UT 84115

I'll take care of everything and get it back to you poste haste.

Best Regards,
-Rob

[David Phillips]

Can anyone suggest a good on-board light for an XL1s.
It will be used close range for interviews and at about 3 metres for club work.
I've been told that 15 watts is plenty, but it doesn't sound like a lot of light.
Regards, Dave