New DV8 unit!

[MovieStuff]

I emerge from the dark recesses of the lab to reveal my latest monstrosity. I call it....

THE SNIPER!



Based on the success of the original DV8, I decided to push the resolution factor up a bit by cutting down on the number of lenses involved. Though the original DV8 is still very, very sharp, the Sniper uses a single, high resolution Takumar flat field lens to image directly to the CCD.






I've actually built two versions: One dedicated to Super 8 and one dedicated to regular 8mm film. Each has a high resolution 3 chip broadcast camera permanently aligned square with the frame. Fine focusing is achieved via worm gear stage at the rear of the camera.



Anyway, the results are stunning. Even better than the original DV8. Frankly, short of a flying spot scanner, I truly believe this is about as good as it's going to get. I'll be posting some more info on my website soon.

Roger

[Scotness]

Hey Roger looks pretty awesome - when I've got your SFX shots ranked for In My image why don't I send the film back to you with a copy of the PAL miniDV "ranking" and you can run the film through The Sniper and get a direct comparison (some how I don't think your's will be lacking)

Scot

[Matt Pacini]

Pretty dang cool, Rog'.
Hey, pretty wild looking lens setup.
Go into more detail about this.
I've never seen this before.
What type of mount does your video cam have to be able to take that lens?
I take it the image needs to be flipped electronically after the scan, right?

MP

[MovieStuff]

<BLOCKQUOTE><font size=2 face="Verdana, Helvetica, sans-serif">quote:</font><table border="0" width="90%" bgcolor="#333333" cellspacing="1" cellpadding="0"><tr><td width="100%"><table border="0" width="100%" cellspacing="0" cellpadding="2" bgcolor="#FF9900"><tr><td width="100%" bgcolor="#DDDDDD"><font size=2 face="Verdana, Helvetica, sans-serif">Originally posted by Matt Pacini:

What type of mount does your video cam have to be able to take that lens?</font></td></tr></table></td></tr></table></BLOCKQUOTE>

I designed a special aluminum mount with M42 threads for the Takumar lens. It's a custom design that doesn't exist on the commercial market. The snoot on the front is needed because I end up with a rectilinear lens that uses a very small portion of the circle of illumination. Without the snoot, I get over spill and bounce light in the chamber. The snoot limits the circle of illumination back down to something the camera chamber is expecting, otherwise the image gets washed out.

<BLOCKQUOTE><font size=2 face="Verdana, Helvetica, sans-serif">quote:</font><table border="0" width="90%" bgcolor="#333333" cellspacing="1" cellpadding="0"><tr><td width="100%"><table border="0" width="100%" cellspacing="0" cellpadding="2" bgcolor="#FF9900"><tr><td width="100%" bgcolor="#DDDDDD"><font size=2 face="Verdana, Helvetica, sans-serif">Originally posted by Matt Pacini:

I take it the image needs to be flipped electronically after the scan, right?</font></td></tr></table></td></tr></table></BLOCKQUOTE>

That is correct. I needs a vertical flip only which is achieved via some custom software that Jeff Dodson wrote for us. Actually, the vertical flip function is part of DodCap but we only use the batch render function. We actually capture on one computer and then firewire in real time over to a second computer for super fast renders. DodCap works just terrific for that.

Too aid us while we transfer, however, I had a broadcast underscan monitor modified with a vertical flip built in to the picture and a switch to let me change back and forth from normal to flipped orientation. That way we can see a normal picture during transfers and won't go nuts from watching everything upside down.

I'll try and post some stills later.

Roger

[Mike Buckles]

Very cool, Roger...if I send some films in for transfer, would you be using this new equipment, or would we have to special request it? Also, are you doing transfers again? Thanks, MikeyB

[becomedeath]

I've had three rolls transfered on Roger's new setup and back all that he says, it is quite lovely. I recently had my Beaulieu crystal synched and shot three rolls of K-40 in Tompkin's Square Park (Manhattan's East Village, my neighborhood) to be sure that the synching worked. It did. Beautifully. Also, I gave Roger pretty short notice on having my rolls transfered and needed them back in a very short time. He accomodated me very well. I encourage all to work with Roger if they have the opportunity, though I'm sure that everyone on this forum is aware of this anyway. Now that I have pretty much figured out the technical aspects of super 8 I will be moving into larger and larger projects and fully intend to have Roger do all my transfers for me.

Tayman Strahorn

[digvid]

Roger -

Ha! Unbeknownst to you, I rigged your "special" copy of Dodcap to self-destruct three days from now. If I have a DV8-Sniper on my desk before that time, I will abort the self-destruct sequence. Otherwise, you are out of luck, buddy!

- Jeff

[Levi]

Looks great Roger!
I was just curious as to how you decided the distance between the gate, lens, and camera? Did you have to play with it for awhile or is there some mathematical way to figure that? Seems like a real pain! Another thing, what kind of video output does that camera have. Isn't there some sort of converter box needed?

Corey

[Levi]

Looks great Roger!
I was just curious as to how you decided the distance between the gate, lens, and camera? Did you have to play with it for awhile or is there some mathematical way to figure that? Seems like a real pain! Another thing, what kind of video output does that camera have. Isn't there some sort of converter box needed?

Corey

[Levi]

Looks great Roger!
I was just curious as to how you decided the distance between the gate, lens, and camera? Did you have to play with it for awhile or is there some mathematical way to figure that? Seems like a real pain! Another thing, what kind of video output does that camera have. Isn't there some sort of converter box needed?

Corey