Video Transfer Service Layout Final

[MovieStuff]

Hi, all!

Okay, here's the final layout on my film transfer set up. Obviously, this is not to scale, etc. This just shows the principle of how I'm aligning everything.



Now, initially, I was going to use an enlarging lens only with an extension tube and shoot right off the film. However, after doing some experiments, I found that by changing out the projector lens to an enlarging lens and by changing out the video zoom lens to a prime lens, the end results were identical to the eye.

Very, very sharp.

I'll still be shooting right off the film, but using more elements than an extension tube array would dictate. Technically, using an extension tube would be better but this set up allows for much easier alignment since the target image is over 3 inches across as opposed to only 8mm!

Also, as seen above, I am introducing a secondary back lite source via a beam splitter to give contrast and color control over the dark areas of the frame. This is really important for K40 and other reversal where darker colors tend to lose chroma due to contrast. This will also give more control over negative transfers than using only a single back lite source.

In all, this set up will allow for contrast and color correction using non electronic means to get the image as close to the original as possible before final color tweaking on the timeline.

As you can see, this is an "in line" set up different than the set up I sell with the WorkPrinters. We (my wife and I) decided to go this route since we planned on letting the computer add the 3:2 pulldown, which means we can just do a horizontal flip to correct the reversed image at the same time.

We will be transferring negative as well. We'll be using an MX-1 effects unit downstream of the computer to invert the image into a positive signal for viewing purposes only. This will allow us to make color corrections while viewing a positive image, even though the actual image we're sending to the computer is still a negative.

However, since the color and density corrections will be built into the negative signal, all that remains is for it to be inverted by the computer during the 3:2 render. This method allows for no processing of the signal on the way to the computer, which means that signal integrity is kept as pure as possible to prevent undue distortion or resolution loss.

I now have all the parts at my disposal and will be working on it in my copious spare time.

It is my goal to have it together by the first of the year; possibly sooner.

Roger Evans

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Roger Evans
MovieStuff http://www.afterimagephoto.tv/moviestuff.html

[This message has been edited by MovieStuff (edited December 09, 2001).]

[MovieStuff]

Well, some things have changed. Some good and some bad.

We have abandoned the "in-line" set up and have decided to reduce the transfer speed to allow for automatic insertion of the 3:2 pulldown without rendering. This will mean slower transfer times but will mean more roles per day can be dealt with. We have also aquired a good proc amp capable of dealing with real time color and density corrections as well as real time inversion for handling negative. As such, we won't have to render; and since we won't have to render, then we might as well rectify the mirror image by simply using a mirror (hence the abandonment of the "in-line" set up).

What this all means is that I am probably going back to my original plan to use the extension tube and enlarger lens array. However, because changing image size is such a hassle with that type of set up, I am forced to sacrifice regular 8mm transfers, I'm afraid. I am still looking into it but the number of responses I've had for potential reg 8mm transfers has been less than I expected and the mechanics of switching from one format to the other just doesn't seem worth it.

Anyway, not that anyone seems to be reading this particular thread, but I thought I would keep people posted.

Later!

Roger

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Roger Evans
MovieStuff
http://www.afterimagephoto.tv/moviestuff.html

[StopMoWorks]

<BLOCKQUOTE><font size="1" face="Courier, Arial">quote:</font><HR>Originally posted by MovieStuff:
Well, some things have changed. Some good and some bad........
......Anyway, not that anyone seems to be reading this particular thread, but I thought I would keep people posted.
<HR></BLOCKQUOTE>

I think it's interesting reading how your workprinter and/or service is progressing. It seems like your transfer unit for the service is going to be a more refined unit (than the MovieStuff WorkPrinter) geared more for volume work.

I don't quite understand the "3:2 pulldown without rendering". Does rendering refer to adjusting the playback speed (like in Premiere) which doubles every 4th frame (24fps to 30fps)? How does the "automatic" 3:2 pull down insertion differ from a 3:2 "rendered" pulldown? Is that auto 3:2 pulldown some special program or something? Those who get the workprinter, can they do that auto 3:2 pulldown or the 3:2 can only be done with a "speed change"?

I don't know if I am making any sense or maybe I'm having difficulty in phrasing my question, or maybe I missed something. Again, I was just interested & curious, but sometimes this can be a little confusing (to a beginner).....you know.....video fields, interlacing, de-interlacing, frame sharing, etc. etc.

Lionel




[This message has been edited by StopMoWorks (edited December 13, 2001).]

[MovieStuff]

<BLOCKQUOTE><font size="1" face="Courier, Arial">quote:</font><HR>Originally posted by StopMoWorks:
It seems like your transfer unit for the service is going to be a more refined unit (than the MovieStuff WorkPrinter) geared more for volume work?
<HR></BLOCKQUOTE>

Yes. I am trying to get the best quality I can at the highest volume. This is necessary to keep the cost down per roll.

<BLOCKQUOTE><font size="1" face="Courier, Arial">quote:</font><HR>Originally posted by StopMoWorks:

I don't quite understand the "3:2 pulldown without rendering". Does "rendering" refer to adjusting the playback speed (like in Premiere). <HR></BLOCKQUOTE>

Yes. On some systems, after you adjust the playback speed to 80%, you must render out that clip and export it as a new clip. Now for the occasional transfer using the WorkPrinter, that's no big deal. You just set your system to render and go do other things, like sleep overnite!

However, due to the time it takes to render out an entire 50 foot roll, I realized that it would be better for me to slow down the transfer so that I could allow a secondary cam/microswitch combination to double the fourth frame automatically. In other words, the unit will transfer each frame one to one until it gets to the fourth frame. At that point, an excentric cam and microswitch will click of an extra frame, thereby doubling the fourth frame automatically. This will mean slower transfers on a per roll basis but will mean more rolls per day that can be handled since we don't need to render.

Roger



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Roger Evans
MovieStuff
http://www.afterimagephoto.tv/moviestuff.html