Donald Berube
Forum Replies Created
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Instead of powering down completely, simply place the camera into “Standby Mode”.
Best of luck,
– don
https://noisybrain.com
https://www.bosfcpug.org
https://fcpugnetwork.org -
Bob,
It is no different than in the ENG/EFP broadcast world where one (1) external Camera Control Unit (CCU) is required PER camera…
Let’s be thankful that Canon gave us the ability to completely externally control the XL H1/ XL2/ XH G1 and XH A1 via FireWire and Console software. This is a feature never before offered at this price point.
Don’t think that for a second Canon is not listening – they are… and perhaps we’ll see added functionality offered in the future. But you will need to understand these things take time.
Best wishes,
– don
DONALD BERUBE – noisybrain. Productions, LLC
Director Of Photography/ Producer/ Consultant
https://noisybrain.com/donbio.html
CREATE and NETWORK with https://www.bosfcpug.org
and also https://fcpugnetwork.org -
Here’s a big “Welcome to the team!” to Mike Morris!
Wlecome aboard.
Looking forward,
– don
DONALD BERUBE – noisybrain. Productions, LLC
Director Of Photography/ Producer/ Consultant
https://noisybrain.com/donbio.html
CREATE and NETWORK with https://www.bosfcpug.org
and also https://fcpugnetwork.org -
As far as I know, there is no plan to upgrade the SDI output of the XL H1 to include embedded Audio and embedded Timecode.
– don
DONALD BERUBE – noisybrain. Productions, LLC
Director Of Photography/ Producer/ Consultant
https://noisybrain.com/donbio.html
CREATE and NETWORK with https://www.bosfcpug.org
and also https://fcpugnetwork.org -
Hello guys,
I have a Canon XL H1. Awesome camera.
Canon’s “Console” software is designed to control one XL H1, XL2 (or forthcoming XH G1 or XH A1). That means one camera per computer. To clarify, you cannot control more than one XL H1 from one computer via the Console application as it is currently designed.
Regarding maximum length of firewire cable between XL H1 and Console/ computer — I have successfully used a 30′ firewire cable. There ARE longer firewire cables available designed to provide “lossless” IEEE1394 data transmission available from various manufacturers – these cables are specially made, they are much thicker than standard firewire cables. Here’s one example: https://www.tecnec.com/SearchProduct.asp?item=DV%2DDV%2D75&off=43&sort=prod
Let us know if you have any other questions, ok?
Looking forward,
– don
DONALD BERUBE – noisybrain. Productions, LLC
Director Of Photography/ Producer/ Consultant
https://noisybrain.com/donbio.html
CREATE and NETWORK with https://www.bosfcpug.org
and also https://fcpugnetwork.org -
Aden,
You did not indicate if you are trying to output HD -or- SD from the XL H1. Please clarify.
You also did not specify which AJA card you are using. I might assume that you have an AJA Kona 2 – but again, you did not specify.
Also, what NLE software are you using? This is just as important – are your capture prefs set up properly?
Do you have an HD monitor with SDI input? That is one way you can verify that the XL H1 is outputting the correct signal.Assuming that you want to output HD over SDI from the XL H1, you have to properly set up the XL H1 to do this. Go into the XL H1 Menu, go to the Signals Setup menu and turn on the SDI output.
Are you trying to output HD over SDI -or- SD over SDI??? Please clarify so we can help you out.
Regarding the AJA Control Panel, you have to be more specific when setting it up – you’ll have to make sure that your NLE capture prefs coincide with the settings you sepcified within the AJA Control Panel.
Please calrify exactly what you are attempting to do so that we can effectively help you to find a solution.
Looking forward,
– don
https://noisybrain.com
https://www.bosfcpug.org -
The XL2 is one of the only (if not THE only) Standcard Definition DV camcorders in this price range that shoots a true pixel-for-pixel 960×480 16:9 wide screen image. Because no pixels are being stretched at all on the XL2, the end user benefits from a very high Signal-to-Noise Ratio. That means very little (if any) noise in your images and also means that using +3, +6db Gain settings are highly useable and produces remarkably less noise than the competition. In 24P Mode and 0db Gain, the ISO rating of the XL2 is a nice 400 ISO. At -3db, the ISO is a very useable 380 ISO.
Resolution is significantly higher. Over 410,000 pixels Per CCD in 16:9 Mode, effectively yielding noticeably more resolution and resolving power in the frame. Because you can shoot real, native 960×480 16:9 with the XL2, your images will not suffer the same jaggy lines and aliasing you would see with electronically interpolated (simulated) 16:9. Even the DVX100a does not offer true, native 16:9 wide screen.
Cine Gamma, Cine Color Matrix, Black Stretch/ Compress, Coring, Skin Detail and multiple Custom Presets and White Balance settings. Advanced Accessory Shoe. Not to mention more zoom: 20X Optical Lens with Canon Flourite and Multicoating technology for minimum if any chromatic aberrations. Combine that with Canon’s Super Range Optical Image Stabilazation and you have a camera that produces a very tight, clean and resolute image with a lot of rersolving power and a lot of zoom. This equates to helping you acquire more coverage in the field.
Plus one big advantage: the new Canon “Console” software application is also compatible with the XL2!
Let us know if you have any other questions,
– don
https://noisybrain.com
https://www.bosfcpug.org -
With the HDV Upgrade for the FireStore FS-4, capturing HDV from the XL H1 via FireWire should not be a problem.
It is inevitable that we will see other capture solutions introduced that will allow for HD-SDI capture in the field.
Iv’e been able to post my first impressions of the XL H1 at
https://www.bosfcpug.org/beta/index.php?option=com_content&task=view&id=102&Itemid=58Best regards,
– don
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In the field I use a Sony PVM-9L3 9″ High Resolution monitor, 4:3/16:9 switchable, powered by IDX V-mount batts. In the editing room, we have a JVC DT-V1910CGU 19″ DTV monitor with which we have installed the composite/ S-video, component and both SD and HD-SDI cards. If it’s a basic FireWire edit we monitor via S-video. If we are editing with our Kona 2 card, then we typically monitor via SD-SDI through the Kona 2 card. If there is a lot of titles and graphics, we’ll recompress the clips in the timeline to 8-bit uncompressed and monitor through the Kona 2 card.
Best regards,
– don
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Based upon your comments, I’d recommend you consider acquiring a second DV camcorder such as an Optura 30. Not only will it address your immediate need to save wear and tear on your GL2 heads (assuming here that you are shooting daily/ weekly), you’ll also have a second angle camera for those gigs where the need for added coverage is prominent. Added value is created when you can re-purpose your investment and you can offer more coverage. Advanced accessory shoe, DIGIC processor, native 16:9 WideScreen, Manual Focus Ring (and Auto Focus). This is a lot of camera and exceptional color detail for the money.
– don
https://noisybrain.com
CREATE and NETWORK with https://www.bosfcpug.org