Compras Nikon Bluetooth |
Great movies start with great CCD sensors, and Canon cuts no corners here. For the best possible picture quality, they use three separate 270,000-pixel CCDs (one for each primary color). To further improve image detail, Canon has intentionally shifted the green CCD half a pixel horizontally and vertically. This shift allows more accurate interpolation, resulting in an image that Canon claims rivals those from cameras with 410,000-pixel CCDs. Each pixel is 72 square microns, which is about 1.5 times the size as those in competing camcorders. This increased size increases light sensitivity, allowing you to shoot in lower-light situations. Ultimately, the larger pixel size results in an improvement of 4 dB loss budget in sensitivity.
For great optical quality, the GL1 uses a fixed (nonremovable) 20x optical (100x digital) zoom L-series fluorite lens. The fluorite element in the lens increases sharpness and contrast, as well as helping to preserve color fidelity.
Audio is recorded through the built-in microphone, which features two pairs of pickup elements. Audio can be recorded in 16-bit mode on two channels on one track. Alternatively, audio can be record in 12-bit mode, where the audio track is divided into two, and two channels of audio are recorded onto one track, with the other left over for audio dubbing.
The electronics of the GL1 have many advanced features, including a number of programmed AE modes, as well as both shutter and aperture priority modes. There are two different auto modes, one of which allows you to adjust any setting manually, if you want, and the other, which adjusts every setting automatically and lets you adjust nothing. A spotlight mode automatically compensates for lighting difficulties when shooting a subject bathed in a spotlight. Finally, a sand-and-snow mode is designed to prevent dark, underexposed subjects in situations with bright backgrounds--commonly found in sandy and snowy areas. There are also three different shooting modes: normal movie mode, digital photo mode, and frame movie mode. Normal movie mode is for any time you want to shoot video footage. Digital photo mode records a still image for six seconds on the miniDV tape, and also captures any audio, such as a commentary. The frame movie mode records 30 still images per second, but it isn't intended to be used for shooting video. Rather, frame movie mode should be used as burst or continuous shooting mode, as you'd find on a still camera.
The GL1 uses an IEEE 1394 port for digital editing and for transferring footage to and from other IEEE 1394-compliant devices. The camcorder also has RCA (composite) audio and video ports, and an S-Video out. The analog inputs allow you to transfer old footage to DV for archiving. Built-in effects include a fader for transitions, black and white, slim, stretch, and strobe. Picture adjustment is also possible; you can adjust camera sharpness, softening or sharpening your subject, as well as the color tone and how dark or light the camera sets the auto-exposure level.
It could be said that the GL-1 is among the worst of the best, but that is not a fair way of comparing its features to other camcorders. The GL-1 is top end material, producing similar or equal quality as equipment costing twice as much or more. The lower price mostly reflects the fact that the GL-1 does not have as many features as the more expensive models. It already has more buttons and settings than most of us even want to know exist anyway, so except for professionals and hard-core video fans, we amatures are plenty happy to leave the settings on 'automatic' and simply push the record button.
What really matters is the end result, and viewing a video on your television recorded with the GL-1 looks no different than a video recorded with more expensive models (well, unless you are one of those hard-core types who are very critical, but then too, every camcorder model produces slightly different results, so any differences noticed would be noticed in all). The major end-result difference will be noticed in audio quality. Recording video in a normal room setting is no problem, it comes out great, but in areas with high noise, winds, or too low of sound, the recording is sometimes less than desired. Too loud of noise causes distortion (avoid sitting directly in front of or even behind a rock group's speaker array, even if 75 feet away!), and when the desired sound to be recorded is too quiet, you may hear a slight humming of the camcorder's motor. Many users have solved the problem by purchasing additional audio recording equipment, which is of course an acceptable solution, but one that new owners should be aware of.
Every camera of course has it's good points and bad points, and except for the bad points of not-perfect audio, everything else about the GL-1 is good. Good balance, medium weight, easy loading, good battery life (1 hour with the factory battery, other batteries can be bought that will record for over 3 hours), and the appearance does say you are using high-end equipment.
All things considered, the GL-1 is right about in the middle, giving better results than all known lower-end models, but not quite as good of results as the more expensive models. The Gl-1 is Goldilock's "just right" choice (sorry, I just had to say that).
The Sony camcorder is said to be a little better, close to that of the Canon XL-1, and I did consider it, but at the time I had just overcome a less than favorable experience with a Sony product and I did not want to make another mistake. If you have the money to spare, get the XL-1 just because it's cooler looking, but for fast, easy, quality video, the GL-1 is a great choice.
My favorite feature of this camera is the frame mode ability that allows you to shoot non-interlaced video, with results that are very similar in appearance to film rather than video. After shooting in frame mode and seeing the results, I've yet to shoot interlaced video again.
The one thing that this camera lacks is any ability to manually control the audio levels for the internal or external mics, which can sometimes give you less than optimal results in situations where the noise volume fluctuates noticably, or where you are trying to achieve a specific audio effect.
Summary - Excellent camera worth the price tag. Across the board, far more features and better quality than all competitors in its class. Probabaly the only camera that can top the GL1 in this class is the GL2.
The Good
The controls on this thing are great, it's almost like having an SLR in a camcorder. The lens on this thing is great! Images come through very bright allowing for high shutter speeds. The zoom is 20X optical and something like 100x digital, and the digital zoom is usable, trust me on this one. You can switch between interlace and progressive scan with the use of one button interlace=60 1/2 frames per second, progressive= 30 full frames per second. The image stabilization is great, and it is very easy to shoot with. Shutter speed is good up to 1/15000 of a second. Oh and did I mention lots of manual controls if you want them.
The Bad
The CCD's on this thing have no resolution. I would almsot have to lie to tell you I get 500 lines of horizontal resolution. When displayed on a big screen pixilization is obvious. Still images stink too. You can't even get VGA out of this thing. Also the auto focus is amazingly slow. Terrible for action sequences but not a problem for a normal situation or say filming a golfer tennis player.
The Silly/trivial
You need to push a seperate button to eject a tape. Canon could have made this thing smaller to. The camera has an uncomfortable inbetween size. It is by no means small, not even medium sized, but not really one of those huge shoulder mounted things. The LCD screen on this thing could have been bigger too. In all honesty I think cannon wasted a ton of space on this thing. I know some will say the lens head is big, and that is fine, but the tape deck is way too big and the LCD is almost an inch thick, not excusable.
Overall I am satisfied with it. A very nice piece of machinery. The best camcorder for recording golf hands down.
Menus, manual parameters, automode, optical stabilization, 3 CCD's, and the design and ergonomics are great.
My only gripe is the poor response in low light situations. My previous sonycam did MUCH better. I better invest in a light.
The 30-lux capacity means you can walk into a subdued lighting environment such as a dining room lit by a single candle and get very good, balanced exposure. It is not like an infrared camera or anything, however... there must be SOME non infrared light, or you get nothing.
The 30x zoom can't be beat. You can be 50 yards away from a person and zoom in and get a shot of their nose... in many ways, it must be seen to be appreciated.
Considering the features, the unit is light-weight, but newer digital camcorders of similar strengths are now on the market for far less and weigh half as much. Still, the GL1 is easy to hold with one hand while using the eye piece or the LCD panel.
I only have a few criticisms. For one, the unit does not ship with a firewire cable. If you are ordering this item for its firewire compatibility, you will need to order a 6-to-4 pin firewire cable separately. (6-pin for your Mac, 4-pin for the GL1).
Also, the GL1 has a tendency to eat tapes. For a while, I thought I was just getting deffective tapes, but a co-worker got a DV deck and the deck was able to view and use the tapes without difficulty. Just viewing the tapes on the DV deck seemed to "fix" whatever the GL1 perceive was wrong with the tapes. On occasion I will get an all red "WARNING: EJECT TAPE" display on the LCD panel... I then eject the tape, rewind it a bit on the DV deck and then I can use it fine for several weeks w/ the GL1. This has been a problem from day one and I have head-cleaning tapes.
The unit has a tripod screw mount on the bottom and a hot shoe on top, so it's a good piece of hardware for professionals.
The battery that ships with the unit will only run for about 30 minutes on a full charge... but that's 30 minutes of actual recording, rewinding, etc. I highly recommend getting an additional 2 hour battery as back-up, especially if you're stuck somewhere and don't have the luxury of having an AC wall socket nearby. You can run the camera straight off AC power, but it is awkward... you must run the cord from the GL1 to the charger and the charger is then plugged into the wall. This extra cord does not come with the unit and you must buy it separately. It would have been nice if they had included this cord as well as a DC charger for the car.
Back when I was ordering this item, I spoke with Canon directly to ask them information about the firewire capabilities, etc. Afer speaking to a customer service rep. for over 1 hour, it was obvious that the folks answering the phones for Canon absolutely know NOTHING about their own products or terminology used in photography or videography... if the answers are not in the little book in front of them, they are worse than uninformed... they tell you the wrong information. If you want more information about the features of this camera, seriously examine the specs featured here on Amazon and read all of the reviews.
Now the practical. I spent a fair bit of time looking through the market at the 'low pro' end. Canon's GL1 and XL1 were clearly in the running, as were several Sony products. What finally sold me on the GL1 was the flourite lens, which to my eye has a noticeably brighter image, as well as the optical image stabilization, which provides a more natural looking view also. I have to say that I find the manual zoom feature useless as it's a servo controlled focus rate, and very difficult to 'stop' in a slow focus. I've found that using the 'automatic/manual' focus switch to allow the camera to bring the subject into focus, then switching immediately to 'manual' to lock the focus is very effective as a workaround. The only time this doesn't work well is at the limit of either the optical focus or the digital focus when the subject is poorly defined versus its background. In these situations, the rangefinding system seems to 'hunt', giving a nauseating soft in/out blur. Truthfully, using the camera under these cirucumstances is rare, and this is the only criticism I've got for the system. An often overlooked feature of DV is that the audio quality is about the same as CD, and is digital. This means that even your home movies now have DAT audio quality! Despite many comments to the contrary, I've been very favourably impressed with the quality of the audio, including the stereo separation.
I also mentioned the XL1, but the only difference I could see was perhaps better audio, and for the considerable extra expense and size, it wasn't a good tradeoff for me.
-3CCDs
-L Series Fluorite Lens
-All Manual Controls
-Progressive Scan
-Optical Stabilization
-Large Manual Focus Ring
Of course, we all know that 3CCDs are far better than one... I need not go into more depth there. As far as the lens goes, some have argued that they see no difference of quality over that of Sony's. This may be due in part to the fact that they are looking for a difference in resolution. When compared in numbers to some of the 3CCD models of Sony, you may think that this is a lower resolution camera (which can be a very deceiving thing). It is recognized that a camera with a high resolution in numbers does not equal a pleasing, or sharper image. When you compare the color of a Sony and this GL1 (or any other Canon against a Sony, for that matter), there will be no comparison. The Sony will inevitably lean towards the blues, giving a very cold, unnatural feeling, which can often result in having to waste time in post, by adding color corrections. The Canon will have a much warmer, more natural coloring. With deeper, richer blacks.
The Progressive Scan (or frame mode) is beautiful. It gives the footage a much more film like jitteriness, instead of the liquid smooth interlaced footage that is usually the only option you have on most Sony camera models. It is called "frame mode" because it captures 30 FULL frames per second, instead of 60 FIELDS per second (top field and bottom field) being joined together to make the 30 frames, which when slowed down will show interlaced lines. Some say ...that Progressive Scan is only meant for a "digital motor drive" where you capture 30 frames per second with the intent of getting still pictures from it. Yes, this is a possibility... but no, video is not really high resolution enough to use this for any real purpose other than having a somewhat grainy image for a home web site. I have not heard of ANY professional using it for anything other than to shoot a real project, as true video footage. Video to film transfer locations prefer people to use progressive scan to shoot on their GL1 or XL1 for film transfer. It loses much less quality in the process. There are many commercials and documentaries (as well as independent films) which have started shooting in progressive scan on the GL1 and XL1, in order to get the higher budget film look.
The manual controls on this camera give you such control, that you can achieve truly professional results. You have control over - Shutter Speed, Aperture, Gain, White Balance, Focus, exposure, etc. If you want the choppy effect of Saving Private Ryan, or Gladiator's battle scenes, just up the shutter speed to 250 or higher. Or if you want a lot of background blur, open the lens way up.
Ah, yes... the image stabilization. You won't get anything close to it on other brands. They all have a slight shake, and jitter, never truly stabilizing it, especially when zoomed. This one has none. It only floats. And of course, if you want that jittery handheld look of some of the new films and such, just turn it off. But when you want smooth, non jittery handheld shots it's always there.
If you are trying to decide what camera to get, always go down the Canon road. Almost all of them have features that Sony only tries to make up for with home userish built effects and such cheesy non-professional effects that one can achieve if they have a computer to edit on (and still want the effects by then. Why record it permanently, when you might change your mind later). Some Sony users complain about how Canon does not have good still picture resolution. I say, "who needs still pictures on a camcorder??" That should be left to 35mm, or a digital camera devoted to that form of media alone. I have yet to see a printable, good looking still even from a Sony. Both the video format, and the small included memory cards cannot handle the resolution required of this. With all the manual controls, the far superior color, and the incredible look of progressive scan, one must have only the choice to go Canon. If you are an aspiring documentary or commercial maker trying to decide between a GL1 and an XL1 (not likely), the advantage of the GL1 (besides the price) is that it is small. This allows you to be in crowds shooting, without stares from everybody. Or shoot where you would otherwise be unable. This can also be a downfall. It may look wimpy to the client (of course, once they see the footage, they will probably buy one themselves). ....
Lastly, I just want to say that I would highly recommend this camera, but if you can afford it, go with the XL1 (...), it is even better!
Men love to wonder, and that is the seed of science.
**** GROWTH CENTER REPAIR SERVICE
For those who have had too much of Esalen, Topanga, and Kairos. Tired of
being genuine all the time? Would you like to learn how to be a little
phony again? Have you disclosed so much that you're beginning to avoid
people? Have you touched so many people that they're all beginning to
feel the same? Like to be a little dependent? Are perfect orgasms
beginning to bore you? Would you like, for once, not to express a
feeling? Or better yet, not be in touch with it at all? Come to us. We
promise to relieve you of the burden of your great potential.
