rick_davis

Mr C:

 

No such thing as a firewire to RCA(analog) cable. Analog is analog and firewire is digital. There are a couple of mid priced converters on the market. Firewire to Analog and visa versa as well as Svideo in and out. The Dazzle is one. I think about 200 US. In any case, you will need an analog/firewire converter.

 

Good luck

Iraj:

 

What is your camera? Sounds like an F70/F250 etc. (500 pounds) Sand is nasty, but should be cleanable. If not, new heads. They are not that pricy these days.

 

You should contact me

Rick Davis

Dear Mr. Simpson (ha)

 

By the looks of your Canon, I assume you can convert analog or S-Video with that camera to DV for capture VIA Firewire, (or visa-versa)similar to the XL1s. Therefore most of your trouble will be elliminated. What you will have to decide is which format you will be using for your finals. If you are sticking to VCD's you should probably consider a DV card. If you are going to make the odd tape, you may want to go with an anolog system or one that will do both. (analalog and DV AVI's are not very compatable in an editing enviroment)

 

In anycase, DPS makes an excellent !!!!! system(s) Reality and Velocity. One of those will do what you want, and I can tell you, you will not be dissapointed with your purchase. I have been running DPS for five years.I had some trouble a couple years ago, which we couldn't figure out, and they replaced the card at no cost, even though the warranty had expired, and they even sent me the new one first so I wouldn't be totally without. It turned out that the trouble was with my drives by the way, and I got to keep the new card anyway. The support, and the editing software is superior. I have turned all my Premier discs into ashtrays or given them to folks I don't like. As far as that Pinacle stuff you have (Miro), I have some of that here too which I wouldn't even give to my enemies for fear they might come back and shoot me. It is garbage. Low end consumer grade, over priced, practically no support and should come with a lifetime supply of Tylenol.If you use the software that comes with it, you will feel like you are attending kindergarten. The other software option is Premier, which is also in my opinion over rated garbage, and a rather large learning curve if you've never used it.

 

I'm not sure what the pricing is on these at the moment, but it is fair and coming down. They are also available now and then on ebay etc. In fact, I beleive DPS has integrated the production of VCD's into their architecture, which will eliminate the need to use "a host of different programs" to acheive your end result.

 

Check out DPS.com

 

Good luck

Rick

Glenn:

 

My appologies. I was not attempting to get into any "contest". Just a matter of terminoligy. What I was trying to say, again, is that this phenomena is present with all CCD camera chips. As we recal, the old tube cameras did not produce this, but instead presented trails and image lag when exposed to light sources. CCD's on the other hand, produce this very annoying line which eminates from the source and goes (usually) the entire way up and down the screen.

 

My understanding of the word "lens flare" deals with the effect of light coming in the lens, creating sometimes very nice effects - colorful images which are the outline of the actual arpeture inside the lens. These can be singular or multiple depending upon the number of lens elements and the angle of light. In fact, my editing software has an effect called "lens flare" which nicely reproduces this effect.

 

In any case, you are correct in that there is no way to eliminate this with bright point light sources, however the use of a cross star filter, will make it look as though it was at least intentional.Also, the XL1 (and probably all Canon's) utilize what they call "pixel shift" technology, whatever that is, which lessens the effect greatly and produces a very nice star effect all on it's own. I hope I've been more clear. I have visible samples of both here somewhere which I will send along in the next little while if it's possible, to clarify even more.

By Best to all.

Sorry ... This is NOT lens flare. It is an anomolly caused by a bright light in all digital camcorders. You should never point your camera at a bright light anyway, and if you must, do it very breifly and keep the camera moving. Exposure to intense light may destroy pixels in your CCD or burn it. These damages are permanent, and are not repairable without replacing the CCD chip. Your instruction manual should adress this issue.

The XL1 will shut down and go into standby mode (heads not turning, powered down) after about 10 minutes. The only way to avoid this from happening is to remove the tape. Only then will it stay in record pause mode indefinately. This was built into the camera on purpose for the reason you are speaking. The guy at "Sammies" obviously doesn't know what he's talking about, has probably never used one, nor has he read the manual.

Robert:

 

I'm not sure which dv camera you are using, but the problem you are experiencing can be prevalent in all cameras. It has nothing to do with the format, but the actual chip itself, and the way the light is brought to it. The XL1 for example, when pointed at a bright light, will give a rather nice looking star effect most times, but this may just be the XL1. I would try using a cross - star filter.At least the effect will be attractive. Barring that, another trick to soften down the problem might be to use an old UV filter, and smear a little coat of vasaline just around the outside edge of the filter. This makes a very nice soft focus filter as well, but be sure to use a low depth of field (below f:4) When you're done, just clean the filter with warm soap and water.

I have owned an XL1 since it first was released. In fact my serial

number is 497. I just found this forum, and feel obligated to convey

some misgivings, for those who do not already know. Prior to the XL1,

working at Community Cable and doing the odd Corporate video, it was

stricktly SVHS. Big horses heads of cameras. Power pigs. Also little

Panasonic Reporters. I own a Pan. F70 as well.(horses head) It's mint

and for sale with all the fixin's. I'm running DPS w/ VideoAction.

(you'd have to beat me to get that. I've turned my Premier discs into

ashtrays)

 

I ran into a little money just about the time I first saw the XL1 in

a magazine ad. Bad combo. I just had to have one. "Just think of the

work I could do with that"! Instantaneous boner.

 

 

To the chase:

 

 

The lens on the XL1 is a touchy animal. I have played with cameras

all my life, and after the years of playing with the XL1, I still

can't get it down. It is unpredictable, & takes off on you or leaves

you behind in auto focus without warning and for no reason. In manual

mode, I would describe it as trying to stand on a beach ball with one

foot in a hurricane. If you must have the camera, go for the manual

lens, but there are sacrifice's to be made with that choice as well.

(no servo Zoom being one of them, so I hear)

 

 

The Stabilization is nice. Best I,ve seen especially on telephoto

shots. Gives you a real nice sense of false security.

 

 

The controls are generally clumsily placed. They look really cool,

which is one of the reasons I bought the camera, but they are a pain

in the ass. Unless you plan on sleeping with this thing for a few

years, you'll never be able to push the right buttons the first time

without looking at it. Kind of hard to do when it's on your shoulder,

and your in the middle of a shot.

 

 

That's another thing ... it will not be sitting on your sholder. At

least not comfortably. I would hold a horses head on my shoulder for

two hours before I tried to do that with an XL1 for ten minutes. It

truly is a very uncomfortable shoulder camera.

 

 

The XL1 has exceptional audio quality, except, if you don't mind

listening to the sound of the zoom lens in the audio track of your

lovely wildlife shot(which you had to do eight times to zoom

smoothly) I have my mic off the camera, and use at least a light

stand and a clamp ... as far away as possible. This is a common

problem with the XL1 and I have lost some very good and irreplacable

footage due to this.

 

 

I could go on, and I'm sure I could fill the database with XL1 horror

stories, but not to discredit the machine too badly, the XL1 is a

good piece of equipment. It seems to be rugged enough, but it doesn't

care much for moisture. Mine has shut down numerous times in fog. It

takes a beautiful picture, but it lacks those warm tones that Betacam

SP or even VHS give you. Pixel resolution is not the best. The

features are exceptional, but for regular everyday videotaping, ENG

etc, it can be a bit overwhelming. I like to describe the XL1 as

a "film camera which records to tape." I have worked on numerous

movie sets in various capacities, and used the XL1 there as well

doing press kit work. It is not a point and shoot, carry around on

your sholder, move from one light source to another type of camera,

unless it is on AUTO mode. And I don't think that's what I paid the

big bucks for. The digital zoom retains the color and chrominance

well enough, but the focus falls apart. Mine has been in the shop

twice now to fix this trouble, and they say it's normal. Well .. not

to me.

 

 

The XL1 belongs on a tripod. It cannot deal with an onboard mic. You

need the little gizmo for the back so you can hook up XLR's which

will run you another 250.00 clams. Get the manual lens, a camera

operator, a lighting director, and a best boy. You'll do fine.

 

 

I'm selling mine now. I'm actually going back to a Hi-8 Sony on a

trade. It is 12 volt, and personally, the picture quality is better.

For one, the gadgets don't make the shot, the operator does. If you

aren't in control, the fun dissapears in a hurry.

 

 

If anyone has any specific questions about the XL1 feel free to

contact me at alore@ns.sympatico.ca. I won't be too mean. For all you

XL1 lovers, I'll take your heat as well.

 

 

Does anyone know the value of a Sony Hi-8 - 16X7BRM-18B?

 

 

My Best R

 

 

I have owned an XL1 since it first was released. In fact my serial number is 497. I just found this forum, and feel obligated to convey some misgivings, for those who do not already know. Prior to the XL1, working at Community Cable and doing the odd Corporate video, it was stricktly SVHS. Big horses heads of cameras. Power pigs. Also little Panasonic Reporters. I own a Pan. F70 as well.(horses head) It's mint and for sale with all the fixin's. I'm running DPS w/ VideoAction.(you'd have to beat me to get that. I've turned my Premier discs into ashtrays)

 

I ran into a little money just about the time I first saw the XL1 in a magazine ad. Bad combo. I just had to have one. "Just think of the work I could do with that"! Instantaneous boner.

 

To the chase:

 

The lens on the XL1 is a touchy animal. I have played with cameras all my life, and after the years of playing with the XL1, I still can't get it down. It is unpredictable, & takes off on you or leaves you behind in auto focus without warning and for no reason. In manual mode, I would describe it as trying to stand on a beach ball with one foot in a hurricane. If you must have the camera, go for the manual lens, but there are sacrifice's to be made with that choice as well.(no servo Zoom being one of them, so I hear)

 

The Stabilization is nice. Best I,ve seen especially on telephoto shots. Gives you a real nice sense of false security.

 

The controls are generally clumsily placed. They look really cool, which is one of the reasons I bought the camera, but they are a pain in the ass. Unless you plan on sleeping with this thing for a few years, you'll never be able to push the right buttons the first time without looking at it. Kind of hard to do when it's on your shoulder, and your in the middle of a shot.

 

That's another thing ... it will not be sitting on your sholder. At least not comfortably. I would hold a horses head on my shoulder for two hours before I tried to do that with an XL1 for ten minutes. It truly is a very uncomfortable shoulder camera.

 

The XL1 has exceptional audio quality, except, if you don't mind listening to the sound of the zoom lens in the audio track of your lovely wildlife shot(which you had to do eight times to zoom smoothly)

I have my mic off the camera, and use at least a light stand and a clamp ... as far away as possible. This is a common problem with the XL1 and I have lost some very good and irreplacable footage due to this.

 

I could go on, and I'm sure I could fill the database with XL1 horror stories, but not to discredit the machine too badly, the XL1 is a good piece of equipment. It seems to be rugged enough, but it doesn't care much for moisture. Mine has shut down numerous times in fog. It takes a beautiful picture, but it lacks those warm tones that Betacam SP or even VHS give you. Pixel resolution is not the best. The features are exceptional, but for regular everyday videotaping, ENG etc, it can be a bit overwhelming. I like to describe the XL1 as a "film camera which records to tape." I have worked on numerous movie sets in various capacities, and used the XL1 there as well doing press kit work. It is not a point and shoot, carry around on your sholder, move from one light source to another type of camera, unless it is on AUTO mode. And I don't think that's what I paid the big bucks for. The digital zoom retains the color and chrominance well enough, but the focus falls apart. Mine has been in the shop twice now to fix this trouble, and they say it's normal. Well .. not to me.

 

The XL1 belongs on a tripod. It cannot deal with an onboard mic. You need the little gizmo for the back so you can hook up XLR's which will run you another 250.00 clams. Get the manual lens, a camera operator, a lighting director, and a best boy. You'll do fine.

 

I'm selling mine now. I'm actually going back to a Hi-8 Sony on a trade. It is 12 volt, and personally, the picture quality is better. For one, the gadgets don't make the shot, the operator does. If you aren't in control, the fun dissapears in a hurry.

 

If anyone has any specific questions about the XL1 feel free to contact me at alore@ns.sympatico.ca. I won't be too mean. For all you XL1 lovers, I'll take your heat as well.

 

Does anyone know the value of a Sony Hi-8 - 16X7BRM-18B?

 

My Best

R