New WorkPrinter Features and Pricing

[MovieStuff]

Hi, all!

I've updated the WorkPrinter page. New features now include a condenser lens assembly, enlarged gate and FireWire compatability. Also, the bulbs have been changed out. The original bulbs were REALLY hot 150 watt bruisers that cost $35 apiece and lasted only about 15 hours.

With the new included condenser lens, you shoot right off the film so you don't need as much light. The new bulbs are only 40 watts, won't even begin to heat up the film, last 1500 hours and cost less than a dollar in any hardware store! Not only are they dirt cheap, the film can not burn no matter how long you leave it in the gate.

For more information, including the condenser lens design, please see:
http://www.afterimagephoto.tv/workprinter.html

There has been a price increase to accomodate the condenser lens. Also, anyone ordering needs to indicate either Analog or Firewire usage. I feel comfortable with this design so things shouldn't change in the future.

Roger

[MovieStuff]

<BLOCKQUOTE><font size="1" face="Courier, Arial">quote:</font><HR>Originally posted by MadFor3D:

I don't understand the difference between choosing analog or firewire. Doesn't that depend on what type of video camera the person is using with the Work Printer.
<HR></BLOCKQUOTE>

Hi, Madrone!

Okay, here's the deal with FireWire and analog:

If you hook up your analog camera to the analog input of your NLE system, the image on the monitor is, more or less, in perfect synch with reality. If you clap you hands in front of the analog camera, the same thing will happen in synch on the monitor. (in truth there is a microsecond delay but not perceptable to the human eye). For all practical purposes, therefore, there is no delay on the analog signal.

Likewise, the "capture command" coming from the WorkPrinter is also just as instantaneous as the analog video signal.

However, if you hook up a DV cam to your computer via FireWire and clap your hands once in front of the camera, the image on the video monitor will not happen immediately. There will be a considerable delay. It is about the same amount of delay as saying "pop-corn" would have between the first and second sylable.

So, the firewire image is delayed and the capture command is not.

That means that they arrive at different times at the computer; the capture command ahead of the firewire image (or the firewire image after the capture command).

Now, when using analog video, the best time for the capture command to happen is just after the film frame has been pulled down into position. This would leave the biggest window of opportunity for capture with the frame just sitting there.

However, IF the timing is set for just after the pulldown, and you use a camera with FireWire, then the image that arrives along with the capture command isn't of the frame sitting in the gate. Instead you get an image of the frame during pulldown, since that is what happend just BEFORE the capture command. Again, the FireWire image is delayed, so the computer can only capture what the camera saw the instant BEFORE the capture command, not after.

In the end, I have to set the timing on the WorkPrinter to accomodate the delayed signal of the FireWire or the real time signal of the analog. One does not work better than the other. It's just that the best position for capture on analog is just AFTER the pulldown and the best capture timing for firewire is just BEFORE pulldown!

Does this make sense?

Ultimately, if someone buys the analog version and decides to change over to firewire during the 90 day warranty period, they can ship the unit to me and I will make the timing alteration for free. Outside the warranty period I would only charge $35 to change it. I started to make a circuit that would allow either timing but it made little sense since it is apparent that the majority of the users are going to be firewire and not analog, anyway. No need making the unit more expensive or complicated than necessary.

Roger

[MadFor3D]

Roger,

I don't understand the difference between choosing analog or firewire. Doesn't that depend on what type of video camera the person is using with the Work Printer.

Thanks,

Madrone



------------------

[Matt Pacini]

<BLOCKQUOTE><font size="1" face="Courier, Arial">quote:</font><HR>Originally posted by MovieStuff:
"Ultimately, if someone buys the analog version and decides to change over to firewire during the 90 day warranty period, they can ship the unit to me and I will make the timing alteration for free. Outside the warranty period I would only charge $35 to change it. I started to make a circuit that would allow either timing but it made little sense since it is apparent that the majority of the users are going to be firewire and not analog, anyway. No need making the unit more expensive or complicated than necessary.

Roger<HR></BLOCKQUOTE>


(Matt pacini responds):
Or, you could be really cool, and pay extra for the single frame option like I did, so I can grab frames from a digital still camera at 2K or 3K resolution, and really get ALL the detail that Super 8 has to offer!

Matt Pacini

------------------

[MadFor3D]

Matt,

That really does sound like the way to do it. How much extra are you paying for it? Have you figured out how to make it work?

Thanks,
Madrone


------------------

[Matt Pacini]

I think I'll keep the pricing to myself, only because it's more complicated in my case, because I'm getting some custom stuff done, and i don't want to confuse anyone.
Needless to say, the deal Roger is now giving is outstanding, and I can't imagine anyone who plans on shooting any Super 8, wouldn't get one of these.
Like I've said before, it's cheaper than the cost of a single telecine session, so it's a no brainer.

As far as the digitizing with the still camera goes, I've got it figured out in theory, and it's not too complicated, but it depends on a few factors, and I haven't ironed that out yet.
Namely, the features of the particular camera I get will determine how complex the solution will be.
If I can find a digital camera that can receive commands through its USB port, (telling it to take a picture) and automatically ship the image to the computer, then it will be no problem!
Anyone out there really familiar with digital still cameras?
If I can't find one that will do that, then I will have to modify one somehow.

Matt Pacini

------------------

[mattias]

> it's cheaper than the cost of a single telecine session

well, that would depend on the session, wouldn't it? i know you shoot features and stuff, but most of us would have to transfer a lot before breaking even.

i know you think the minimum price for a rank transfer is $500 or so, but there are several places in europe with very small or non existent start up fees, often even coupled with very low hourly rates. ;-)

/matt

[Matt Pacini]

Well, you're right, I don't rank S8 unless I have at least 30 minutes or so to transfer.
The place I go, I have to rent the Super 8 gate for something like $250. so it doesn't make sense to go in with 3 50ft rolls!

Still, it's pretty stinking cheap to get the Workprinter, if you ask me, if you EVER plan on shooting more than say 15 rolls of Super 8 and getting it transferred.

Matt Pacini

------------------

[mattias]

yeah, it's cheap. that's why i'm planning on getting one "just for fun" as soon as i can rise the cash. rent payment due tomorrow, and barely enough in my wallet for a pizza.

mom? ;-)

/matt