New to Board: what is Workprinter?

[NickM]

New to Board: what is Workprinter?

Got an idea from the other posts, of course,
but I would love to learn the specifics:
where can I find ALL about it?

Thanks,
NIck

[MovieStuff]

Hi, Nick!

The WorkPrinters are modified projectors that allow one to tranfer their super 8 or regular 8mm film to video with zero flicker, no hot spots and with a clarity that is only limited by the quality of the camera you use, since the WorkPrinter lets you transfer right off the film with no screen involved. This is done by using your computer with a capture board and edit program that together allow for "stop motion capture". The WorkPrinter will AUTOMATICALLY transfer each frame of film to a single frame of video. No shutter blades and no synch issues, therefore, no flicker. It also has an enlarged gate so you can copy the entire frame, thus helping resolution tremendously. The end results are far superior to any other DIY method and are the next best thing to a Rank transfer.

For more information, please see:
http://www.afterimagephoto.tv/workprinter.html


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

[This message has been edited by MovieStuff (edited March 11, 2002).]

[NickM]

Forgive my impatience.
Found the site:
this looks interesting!

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[MovieStuff]

For what it's worth, I've got a stack of units going out this week to a variety of posters here. We should be getting some interesting feedback about the peformance of the WorkPrinters by the week's end. (hope it's good!)

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

[mcflytrap]

While we're on the workprinter subject, does anyone have any suggestions for some good cameras to use for the transfer? I really don't know where to start.

-mcfly-

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[MovieStuff]

There are a few things to consider. One is that a 3 chip camera is going to give best color and contrast. The other is that you need at least a 5x zoom or better to "mate" with the optics of the WorkPrinter. The condenser lens I use on the WorkPrinter was chosen to allow the widest array of video cameras to be used. Also, longer focal length lenses give a flatter field and cut down on distortion. Therefore, a typical video camera sits about 35-40 inches from the condenser lens and must be able to zoom in and focus on a three inch wide image.

I have not seen a video camera yet that could not do this as most video cameras have healthy zooms. Digital still cameras can be problematic as they typically have whimpy 3x optical zooms and can't crop in far enough without cheating and using their "digital" zoom which robs you of resolution.

So just make sure that you have a healthy OPTICAL zoom (not digital) of 5x or better and, as noted, three chips are better than one, though I've actually done some really nice transfers using a cheap single chip Panasonic firewire camera. Manual white balance and manual exposure are an added plus but are always found on 3 chip cameras. A single chip camera with manual settings would be very effecient and cost effective and there are some out there, though I don't know any specific model numbers, sorry.

Roger

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

[mcflytrap]

Thanks, Roger!

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[mattias]

may i suggest one where you can lower your "detail", "edge" or "sharpness" setting? this goes for all uses of the camera imho, but it's extra important for film transfer. i never understood why they still have edge enhancement on by default on most cameras when it's so super easy to add it in post if needed.

/matt

[Matt Pacini]

<BLOCKQUOTE><font size="1" face="Courier, Arial">quote:</font><HR>Originally posted by mattias:
... i never understood why they still have edge enhancement on by default on most cameras when it's so super easy to add it in post if needed.

/matt<HR></BLOCKQUOTE>

Probably because they're still considering these mostly consumer products, where people are just making videos, and not doing anything else with the video.

Matt Pacini


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[mattias]

you're probably right, but why do they record the edge enhancement on the tape then, instead of just adding it to the video signal at output? that way everyone would be happy? ok, i guess it's the if it ain't broken don't fix it rule that's at work, but i just wanted to state my opinion on the subject, and imho it is in fact broken. ;-)

/matt