a 4k scan of a super 8 frame is probably beyond overkill...
I thought so too until I went to Chile over a year ago and saw Daniel's Super8 DI projected on 35. The only thing I can compare it to is the three dimensional brush strokes on an oil painting (with character) vs looking at a billboard.
...I'm sure it will have a distinct character. I recently saw a super 8 film blown up to 35mm and screened at the Seattle Cinerama and it looked astonishingly good with detail all the way to the grain. It was a 1920X1080 24p DI..
what I meant was that to my rather limited knowledge, there is already talk of an official RED Nikon F mount becoming available. This in itself opens a great range of glass...(if you wanted to get really obsessed you could chose something from this list http://www.naturfotograf.com/lens_spec.html) but ,the inevitable necessity for 'macro ing' the image means that a bellows type set up is perfectly feasible, allowing conversion to any lens mount you probably want to mention....which to sum up, is all very simple engineering, even if you went for a custom machined setup, compared, IMHO, to reinventing the wheel with custom made lenses...when plenty already exist. Obviously, there is a possibility of having to change the 'projector platform' you are using (John has excellent knowledge here), but then again, this is trivial compared to producing your own glass and really can be achieved very easily...
sarmoti wrote:Yes, thanks for the heads up. I'm waiting on my optician friend to put a custom lens together for me. We first started talking about using something like this: http://www.edmundoptics.com/onlinecatal ... uctID=2663
My friend might take a month or two but he's trying to make a setup with only high quality glass and using the fewest amount of elements possible. It might be an expensive blunder, we won't really know till we try.
Let me know what you end up with, I may want one myself.
I'll post any findings, it may end up being a series of optical lenses on an industrial mount, not pretty but we're after quality. We're just doing this for fun but also with no compromises, we have no business interest at the moment but if it works we might consider forming a small side company to deal with small format/budget film scanning.
Yes, there is a Nikon mount option for the camera, I haven't ordered it but I do have the standard PL mount and an order in for the intelligent Canon EOS mount from Birger Engineering. Thanks for that link, it's very informative.
Right now, we just got our hands on some lenses from optical printers from the 80's and should have them in later this week. Unfortunatedly, this project is going on hiatus in a couple days while I get back to "real" work. I'm going to be travelling to work on the pre-production of a stage show.
SOT: I want to make a public statement regarding Roger Evans: the ellegant simplicity of his designs are pure genius in my opinion.
Don't forget that unlike most other people who using smaller sensors for telecine, the enormous RED sensor means that you will probably be looking for glass optimised / corrected for enlargement and not standard reproductive sizes, and if my dodgy maths is somewhere near, that means something designed for 14X work....
MovieStuff wrote:So I guess the RED camera is no longer vaporware? Neat-O.
Roger
Not unless someone is slipping me some real good drugs. I wish that I didn't have to drop this project for the next few weeks but I'll post when there's something real to show.
The reason I can appreciate your work is the nature of my work itself, we often design theatrical effects that have to look amazing (illusions, yeah I'm a dork) AND work night after night and simplicity of design is key, otherwise we'd be blacking out the lights and looking really silly pretty often. I believe that it's really easy to overengineer (provided the funds are there) what impresses me it engineering that's simple and reliable yet achieves eveything you need it to.
