hot spot

[megalith6]

Hi Bolex Plus,

now i understandstand what you mean! i would say 4' was the least you could get away with re keystoning; the two verticals are probably slightly tapering up to the horizontal but i zoom in to crop off anything untidy;

the top horizontal on my projector is a dog's dinner anyway - as you focus in on the film, the edge of the projected rectangle goes out of focus - slightly fuzzy - this shows up particularly on the top horizintal, for some reason ... brightest (=sky), cos i generally film landscape?

the result is an apparently uneven top horizontal. about 1 month ago i thought this effect was due to dust but no, it is the image rectangle out of focus = blurry edge/s

[img]eek.gif[/img]

bizarre?

there is much less fps-flicker, filming the movie this way, though: indeed the result is almost tolerable. i do have a 'deflicker' filter download, but i do not know how to use it yet? if this fails i may try an experiment with an LCD screen - i cannot send this footage away because it is mixed stock - a transfer studio would need to unsplice the whole film to process it

[img]graemlins/cry.gif[/img]

... i think i will persevere, i am pretty close to a decent transfer

not there yet though . . .

bests,

ric


[img]graemlins/thumbs_up.gif[/img]

[megalith6]

update

managed to pick up some ultra thin 'opal glass' (fragments) today, one of which i have managed to position between the lamp and aperture gate

i cannot wait to see what effect this has on the hot spot? - but am waiting for a replacement belt for the Chinon, presently

<u>wish list</u>:

what would a good 2nd projector be please - either a Nizo or an Elmo, due to their consistent speed/fps controls?

ric

[megalith6]

update

well, the opal glass was a dead loss [img]graemlins/broken_heart.gif[/img] , it ain't perfectly flat so can't be positioned perpendicular to the beam, and cuts out too much light anyway; by pure fluke i picked up some ground glass at the same time, which fits neatly between the lamp lens and aperture gate, diffusing the 'hot spot' to a great extent as far as the dv capture goes

[img]graemlins/sun.gif[/img]

what's this, i hear surprised 8mm's ruminating, ric's found a wireless/beltless way to get his projector going? in a word, no; i received a metre of strange green rubber belting from Bristol Cine Sales, which when cut to size - and both ends lightly melted, fuses together between your fingers. can you believe this - it actually works! Chinon rides again!!

[img]graemlins/party.gif[/img]

bests,

ric

[BolexPlusx]

Hi Megalith6,

RE: Projectors. My favorite of the bunch I have is my Elmo ST-800, because it's built like a tank and has the best sound system of the fleet.

However, it's completely useless for telecine because the FPS is fixed (at least externally, there may be internal potentiometers)

For what telecine I do, I have a Eumig 810D, a close 2nd to the Elmo in many respects, but equipped with a continuous adjustment between 18 and 24 FPS.

[megalith6]

Hi BolexPlus,

but isn't there an Elmo 1200, or something - standing alongside the Nizo Visacustics?

i'm thinking of changing my fps from 24 to 18 incidentally, cos i think the 3 blade Chinon will give a more stable image - at dv / vhs - at 18fps?

thanks,

ric

[BolexPlusx]

Sure,

The GS-1200 is spectacular, but I can't lay out that kind of money for a projector. For something in the neighborhood of 10% what the GS-1200 would cost, The Eumig does a good job.

The primary intent of the GS-1200 is basically showing commercially produced Super-8 prints on a very large screen. For example, it is a stereo equipped machine, and the only way I know of to obtain a stereo recorded film is from a commercial house. It is also standard with a 250 Watt lamp with a Xenon option going up to (I believe) 500 Watts. These beasts have been known to put up a bright, sharp image on a 20 foot diagonal screen. The further away you get from needing this kind of capability, the more it becomes a very expensive toy.

They are also much more complex than the average projector, for example having seperate motors for forward and rewind, and are therefore prone to reliability problems.

I'm not saying I'd refuse if offered one, but I'm saying having one of these for typical kinds of projection is like driving a Ferrari to work: Yes, it will be fun on the good days, but you are liable to wind up walking more than you would have with something more ordinary!

[megalith6]

okay - got it: the Eumig looks good

thanks Bolex -

ric

[BolexPlusx]

Just a thought,

Even the 800 series Eumigs may be overkill for you if you never intend to play films with sound on magnetic stripes. I believe there are Eumig projectors in the 700 and 600 series that are silent, but have continuously variable speed capability like the 810d. They will sell for less, because you won't be fighting the film collecting bunch (in other words: People like Me!) who insist on sound machines.

Why pay extra for a feature you don't need?

There are also Yelco silent machines with continuously variable speed which are good for telecine.

[megalith6]

Hi BolexPlus,

you kindly wrote:

Even the 800 series Eumigs may be overkill for you if you never intend to play films with sound on magnetic stripes. I believe there are Eumig projectors in the 700 and 600 series that are silent, but have continuously variable speed capability like the 810d. They will sell for less, because you won't be fighting the film collecting bunch (in other words: People like Me!) who insist on sound machines.

hm, my Chinon has variable speed, but the speed fluctuates microscopically, that the human eye would never detect, but the 1/50 sec shutter speed on a dv or vhs camcorder would (does); if i were to upgrade to another projector, would i not find myself facing the same problem? the only projectors i have been assured to have complete control over the fps speed are the Elmo and Nizo heavyweights with their quartz regulators?


There are also Yelco silent machines with continuously variable speed which are good for telecine.


this also sounds good but how can anyone get a good telecin? from a projector whose speed is even fractionally inconsistent? for example, i have been told that simply the bulb heating up will alter - by a tiny amount - the resistence in an average projector, thus affecting the motor and therefore the projector's speed? i have even been advised to put the bulb on a separate circuit to get round this technical conundrum?

thanks,

ric

[BolexPlusx]

From what I've seen, once the speed is fine tuned to the point where the flicker is totally gone, it seems to stay that way, and I'm talking about transferring several films each one 10-15 minutes long.

However, from what you are saying it certainly makes sense to allow the projector to warm up a couple of minutes so that everything stabilizes at a high temperature and stops drifting. This is the reason that a projector changes focus as it runs: the heat actually distorts the shape of the optical path. Why not other things?

What gets me is it's possible to have the flicker apparently gone but not really. About a year ago I transferred a film, took the equipment down, transfered the video into the computer and only then discovered that it was flickering really slowly, maybe 5 to 10 seconds between light and dark extremes.

I tried to make all kinds of excuses why nobody would notice, then admitted to myself that <u>I</u> had noticed it, so it wasn't good enough. I then cursed it as loudly as I could with a 3 year old sleeping in the next room, set it all up again and did it right!

<font color="#a62a2a" size="1">[ February 23, 2006 03:29 PM: Message edited by: BolexPlusx ]</font>