Any Good Tips for the XL2?

Jordan Scott Price

Jordan Scott Price

Veteran
Hello, there.

I'm working a casting call for a friend tomorrow and will be DP on his shoot in two weeks. He has an XL2 and wants to shoot with it instead of my 7D, so I need to read up on its functions. Anyone know of a good website that is dedicated to this camera?

Thank in advance.

And ignore any errors in this post...I am extremely tired, having worked 20 hours a day and slept 2 hours a night for the last week.
 
No offense, but anyone that would shoot the xl2 over a 7d should have their head examined. lol, At least for doing a film. I could see a docu, or maybe needing xlr's. But thats about it. And I would still use the 7d.
But hey, to each is their own I guess. Your best bet is to take it for a day or two before the shoot and play with it. It's a good cam but you will be severly disapointed by it's image after using a 7d. The xl2 has native 16x9, and it does shoot 24p, 30p as well as 60i. It has a good telephoto range, but not as wide as other sd cams like the dvx. The lens is kind of hokey, like most Canon camcorder lenses, that dont have actual stops, it's like that endless servo that feels like your always just missing focus. At least thats how it feels on my A1, and my old xl1. Also, you may want to use an external monitor. The eye piece or VF is relatively small 2". there is a little hinge on it, where you can open it and use it as a regular lcd. It's just hard to see anything in it. it's lousy compared to the 7d in low light, but most camcorders are. it's decent hand held due to it's size. thats about it.
 
Yea, well, here's the thing.

It's his camera, it's his script, he's directing. I'm just DP because I know cameras better than he does, and he wants to be working with the actors 100% on set, for which I can't blame him.

He just bought his XL2 about 2 weeks before I bought my 7D. He paid $1,600 for his camera; I paid $1,900 for mine. He has Standard Def; I have full HD. I know what I'm doing...he, well, kinda doesn't. I asked him where the iris control was, and he looked at me like O.^ When I found it, he went, "Oh! I had no idea that was there! I was wondering why everything was white all the time..."

But it's his camera, so he wants to shoot with it. Oh well, not my movie. I'm just going to do the best I can to make a good image :)

And yes, I agree in taking a few days to learn it. I've already spent about 90 minutes with it, and I am going to be spending the 9-5 block tomorrow playing with it. And we are using an external LCD, too.

He just doesn't want to use my 7D...not even as B-cam...even though it's so so much better. Oh well!
 
If you've used any other cam that came out around that time, you'll find everything's similar. Different places and menu's, but same functions. I had one for 3-4 years and shot on it exclusively. Look up some settings for a custom user setting that looks good, careful of wide shots, cause if you only have the 20x lens, you will NOT be getting any wide shots. Shoot in manual, watch for blowouts. Use the zebras if you think you may have trouble with exposure, as it's REALLY important for this cam, or SD shooting in general. Are you shooting 24p or 24pa? Watch for focus on the external, as the viewfinder, while better than the xl1, is still not suitable for accurate focus. Believe me, even if you think it is, it could be off. The autofocus is actually really good with the 20x lens. Change white balance at every scene change, basically just do everything else you'd normally do, taking in the considerations of this particular camera.
 
jscottprice said:
It's his camera, it's his script, he's directing. I'm just DP because I know cameras better than he does, and he wants to be working with the actors 100% on set, for which I can't blame him.

He just bought his XL2 about 2 weeks before I bought my 7D. He paid $1,600 for his camera; I paid $1,900 for mine. He has Standard Def; I have full HD. I know what I'm doing...he, well, kinda doesn't. I asked him where the iris control was, and he looked at me like O.^ When I found it, he went, "Oh! I had no idea that was there! I was wondering why everything was white all the time..."

But it's his camera, so he wants to shoot with it. Oh well, not my movie. I'm just going to do the best I can to make a good image :)
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You say you're 'JUST' the DP. IMO the DP should hold a lot of cards on the table. Yes you're not funding it, you're not a producer, and this probably isn't a big set, but you're one of the main creative heads on the production. As a director I would listen to my DP as to what he/she wants to shoot on and use for lights over my opinion any day... unless I knew he/she is far less experienced.

If I were you I would sit him down and say. "I don't mean to be condescending in an way, but I'm experienced at this, I know what I'm doing. I know that the image is 100 times better on my 7d than your XL2. I understand you just bought it and want to use it, but we all make compromises for a better end product from pre-production to post-production, and this should be one of the big ones."

Show him some comparisons if he's not convinced.

But that's just me. I guess it depends on what he intends on doing with the film and the over-all quality, and what kind of guy he is. I'm obviously not there in your situation so maybe I'm quick to judge. Plus it's not what you shoot on, right?

Even though it helps. :) ;)
 
Thanks for the responses.

Today was his casting call, and I worked the XL2, recording each audition.

I mastered the camera's stuff in about an hour. (Gotta say, wish I had Zebras on the 7D. They're amazing.)

But I made some subtle and not so subtle hints today about the superiority of the 7D. I took some test footage and showed him the capabilities of my range of lenses throughout the day.

It didn't sink in.


I'm actually OKAY shooting with the XL2 for a couple of reasons:

1) Even though the department just bought some new 7D's to go with the 5DMII's and GH1's, a lot of film students at my school own XL1's, XL2's, or XLH1's, so I took this as an opportunity to get used to that line of camcorder. With this experience, they might come to me to work on their set, which can only mean...

2)...More experience. Any little bit of shooting I can do on someone's project, I will, because we all know how infinitely valuable it is.


But, of course I offered up my 7D to shoot with since I know a LOT more about it and it produces a much better image. He hasn't turned it down, per se, but he shows no interest.

What I'm worried about more than anything is his overly ambitious shot list. He wants the shots to go his way, as he had already come up with the storyboard and shot list by the time he hired me, so he was telling me what he wanted...Crane shots, elaborate dollies and pans, long takes, a lot of handheld...

It's going to be rough, but on set I will be a little more assertive because I know the limitations of the gear he has, and, as Jon mentioned, it's kinda my job. E.g., he wants these ultra-smooth pan shots but he's using a $100 tripod with a cheap head; he wants to do a lot of elaborate handheld, but the XL2's lens's image stabilization isn't all that great.


Thanks for the tips, everyone. I'll let you know how it goes when we shoot in a few weeks. Here's for optimism! ^.^
 
jscottprice said:
he wants these ultra-smooth pan shots but he's using a $100 tripod with a cheap head
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:zombie_smiley::zombie_smiley: I'll tell you already, this guy is going to be a HUGE pain to work with. And he probably won't be happy with anything you do. And he'll blame all the mistakes on the crew and not himself.

His expectations are not realistic. You really need to tell him upfront exactly what you're telling us here. You're a big part of this production process, and you're opinion should matter. Schedule a time for a sit-down and let him know about your reservations. You'll both be better for it in the end...
 
ryan brown said:
:zombie_smiley::zombie_smiley: I'll tell you already, this guy is going to be a HUGE pain to work with. And he probably won't be happy with anything you do. And he'll blame all the mistakes on the crew and not himself.

His expectations are not realistic. You really need to tell him upfront exactly what you're telling us here. You're a big part of this production process, and you're opinion should matter. Schedule a time for a sit-down and let him know about your reservations. You'll both be better for it in the end...
Click to expand...

I might do that.

I'm not an in-your-face person, and I typically just do my job. I know I can produce a good image, but if he expects diamonds and I give him gold...well, I guess it wouldn't matter how hard I worked to get a good shot, would it?

He just had to push the principle shoot dates because his casting call wasn't very successful, so we'll see if the project even takes off.



Edit: Oh, hey, you're in DFW? I'm ten minutes away; the director of this project and I both go to UT Arlington.
 
jscottprice said:
I'm actually OKAY shooting with the XL2 for a couple of reasons:

1) Even though the department just bought some new 7D's to go with the 5DMII's and GH1's, a lot of film students at my school own XL1's, XL2's, or XLH1's, so I took this as an opportunity to get used to that line of camcorder. With this experience, they might come to me to work on their set, which can only mean...

2)...More experience. Any little bit of shooting I can do on someone's project, I will, because we all know how infinitely valuable it is.
Click to expand...

Both good things. Learn to use the XL2. It's worlds closer to any real professional TV/video camera than any SLR. Things like the zebras you mention (and a bunch of other things the XL2 has over an SLR) are standard on video cameras.

I shoot almost daily with an XL1 - It's old, it's beat up, unreliable, audio section is pretty weak, etc... But I wouldn't dream of using any current SLR in it's place to shoot.
I shoot mostly news, and other TV like sports, etc; things where an SLR just wouldn't work the way I need a video camera to work.

Different tools for different jobs. Take every opportunity you have to learn as many of them as you can. That way you can evaluate before every shoot which is going to be the best tool for that particular job based on experience - which is worth a million times more than what you can learn in any other way than doing.

- Mikko
 
Words of wisdom. Thank you :)

I do like being able to pick up the XL2, put it on my shoulder, and just go.

That's something I still can't do with my 7D, at least until I finish my rig here in a few weeks, and even then it still won't be all in one housing like the XL2.


I'm glad I'm not editing this short, though. I don't miss tape media and hours of log and capture.
 
jscottprice said:
I do like being able to pick up the XL2, put it on my shoulder, and just go.
Click to expand...

Which is exactly why a SLR wouldn't work for my day job.


jscottprice said:
I'm glad I'm not editing this short, though. I don't miss tape media and hours of log and capture.
Click to expand...

Again a question of suitability for the job.

We had some viewer contributed news video come in on a Flip Ulta HD camera a couple of weeks ago. Neither us nor another station (which is the largest in the state) could get the video from the flip (internal solid state memory) into a format we could work with at any decent quality. Whereas you can walk into either station with an analog BETACam tape from 20 years ago and we can play it right to air or grab the footage with no hassle.

It's *all* a question of workflow; and the planning of it using the tools chosen as best for the job.

- Mikko
 
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