Some short clips from a roll of expired Fuji Eterna Vivid 160 taken with an Eclair ACLII Super 16mm camera. The capture was done using a Retro-16 Pro Scanner and the Flycap2 capture software used with the units on-board camera (a Chameleon CMLN-13S2C).
The captured images were originally in 1296X946, but were placed on a 1280x720 frame in Sony Vegas.
Apologies for the condition of the film, I have used it often for testing (hence the scratches and wear-marks).
Very cool. I like how the sprockets are black as well.
I have been experimenting with a similar workflow. I use FlyCap to capture the full frame, and then use a utility to detect and crop out the frames, resize/upscale the images and apply some light sharpening. I really like being able to see the full frame as it's being captured.
I'm excited to see that. Just sold my Retro-8 which was an awesome machine, and purchased the Retro-Universal with the 8mm and 16mm gates. I've been working with Moviestuff units and Super 8 for 11 years so being able to scan 16mm Vision3 is going to be a really awesome. Need to order a batch of 16mm stock and shore up my S8 stash here soon!
is the Flycap software better than the alternaware software recommended by Moviestuff? I've been trying to get a stable transfer on a Retro16 Pro for a few months now, of new negative shot on Arriflexes and Aatons, with not much success. This transfer in the YT link is also not nearly as grainy, I wonder what post techniques are used to dampen the grain. We've tried Resolve 11. Or, are people using some other program to make the captures steady and with good grain reduction?
Steven Bradford
Studio Director
Seattle Film Institute
After posting that, which I had submitted while waiting for a Retro Pro 16 I had sent in to be serviced, the unit came back and now the unit is much more stable, to the point where it's hard to tell if the resulting weave is from the camera or from the scan.
Steven Bradford
Studio Director
Seattle Film Institute
