What is your WorkPrinter setup like?

[stoney]

Konton, great mpeg. I saved it on my machine so I wouldn't eat up
your transfer quota. I played it and I played it again.

White balance
Burchis, here are some other threads on filmshooting that discuss the
white balance issue.
viewtopic.php?t=7389&highlight=workprin ... te+balance
viewtopic.php?t=6841&highlight=workprin ... te+balance

I manually set the white balance using a white leader strip. When you
shoot w/ a video camera you zoom in tight on something that represents
white under the lighting conditions that you will be shooting with. No
other lights. This tells the camera what white is supposed to be.
Unfortunately many of the consumer cameras won't let you manually set the
white balance. If you don't have a manual white balance setting you will
have to adjust it in post.
Another factor is the difference between the films balance and the light
that it was shot with. It may be tungsten or daylight balanced film.
I usually have reels that have many different lighting conditions.
I am experimenting and learning every day.

Flourescent green cast color correction
Here is a short mpeg that was transfered from regular 8mm that was
shot under flourescent lights and has a green cast. I rendered the
color correction effect with the split screen so that the left
side of the screen is uncorrected and the right hand of the screen
is color corrected.
1. I used the black/white balance of the
video_effects->image_control->color_correction->black/white_balance
to define what black is using the black pants of the referee
and define what white is using the white stripe of the referee's
shirt.

2. I use the HSL Hue offset master control
video_effects->...->color_correction->HSL Hue offset
to make an adjustment in the opposite direction of the average
direction and magnitude of the green cast shown in the vector scope.

3. If you look at the YC (luma/brightness Chroma/color) scope at
certian points on the timeline you will notice that the intensity
exceeds the legal NTSC or PAL levels. You can apply a limiter
to ensure that it meets the requirement if is going to be broadcast.
You can also use the color correction effect control 'Curves' to
change the intensity of the highlights or shadows.

Snapshot of NLE with vectorscope and color correction controls
http://www.adendro.com/filmshooting/cor ... enCast.jpg

mpeg with the left and right sides of the screen denoted by the white
arrows. You can see my yucky leveling problem.
http://www.adendro.com/filmshooting/gre ... oval2.mpeg

Stoney

[T-Scan]

I mentioned in another thread.. last night I got better results.. more accurate color by balancing on the white light of the WP instead of the leader. this may be indepandant of my model DV, but balancing on the leader gives a blue cast on the raw capture.. requiring careful correction in post.

Stoney.. Where in P town are you?

[LastQuark]

Here's my WP set-up. It is still work-in-progress. The Sony camera works but I want to try the Ikegami that has better CCD's. Installing a c-mount lens on a 1/2" bayonet is a pain though. SRB Film hasn't deliver the goods for over 3 months now.


 

[Kurt8]

Last Quark,

On this setup you have removed the projector lens, right?

Thanks!

Kurt

[LastQuark]

Last Quark,

On this setup you have removed the projector lens, right?

Thanks!

Kurt

Yes, the lens has to be remove. I can insert the small Sony macro lens inside the cover but it has to be removed to allow more room for x-y adjustment.
 

[paulcotto]

Glad to see you got the Sony macro lens before they ran out. I got 2 myself. Do you have a macro X-Y stage for focusing the lens under the camera? I have a similar setup but I use a single chip USB 2.0 webcam that captures at 1280X1024 at 24 bits per pixel. I also have a 3CCD Panasonic PV-GS120 that I am playing with. I don't have the workprinter so I use a modified Bolex 18-5 super-8 projector with the shutter removed. The projector has a reed switch from a security door that is fired by a rare earth magnet. Its all installed on the front of the projector with the magnet on the inching knob. it's easy to adjust the magnet by moving it around on the inching knob until you get the timing correct.

Cheers,
Paul Cotto

Here's my WP set-up. It is still work-in-progress. The Sony camera works but I want to try the Ikegami that has better CCD's. Installing a c-mount lens on a 1/2" bayonet is a pain though. SRB Film hasn't deliver the goods for over 3 months now.


 

[aj]

Terrific!

The best part of this business is seeing archival footage of important times and events. Nice......

Roger
http://www.moviestuff.tv

Yep, there must be a treasure out there worldwide, just waiting to be transfered....
Very hopeful four you and your company!

Here in Ghent, there's a museum.. They asked people to send their Super-8 footage to archive daily life in the sixties. They recieved allready 1000 reels! Just one city in little Belguim. Can you imagine the amount wordwide? And there was also something like regular-8...

We have work to do! :lol:

Fred.

If we all had the time to watch it.

Sometime ago on WDR (german regional television) there was a program on the small gauge work of a single citizen from Koln. As presisdent Clinton was to tour the city a camera-crew asked for the use of a balcony along the route. They then learned that at the time of the visit of John F Kennedy the tour went by the same balcony and the owner had then filmed the going by on cine small gauge. They were glad to use some of the footage on the Clinton program. The gentleman further showed some of his archive and as this was all very well shot much of it was later used in a program on the average family life in Germany in the sixties.

I think I mentioned this on the forum before.

[VideoFred]

Sometime ago on WDR (german regional television) etc....

Very interesting... But there must be a lot of old 8mm in Holland, too.
8mm Filming was very popular in your country too, right?

Speaking your langue myself , I have lots of Dutch books and magazines here, about the subject.(Focus-Elsevier)

Fred.

[Kurt8]

Glad to see you got the Sony macro lens before they ran out. I got 2 myself. Do you have a macro X-Y stage for focusing the lens under the camera? I have a similar setup but I use a single chip USB 2.0 webcam that captures at 1280X1024 at 24 bits per pixel. I also have a 3CCD Panasonic PV-GS120 that I am playing with. I don't have the workprinter so I use a modified Bolex 18-5 super-8 projector with the shutter removed. The projector has a reed switch from a security door that is fired by a rare earth magnet. Its all installed on the front of the projector with the magnet on the inching knob. it's easy to adjust the magnet by moving it around on the inching knob until you get the timing correct.

Cheers,
Paul Cotto

Paul,

Do you stop down the Sony lens to a specific f/stop when you capture or do you control exposure through some kind of software? Also, how would I adjust the files to PAL specs using the camera that you use or can I just import them into my NLE application the way they are?

Thanks.

Kurt

[VideoFred]

I have a similar setup but I use a single chip USB 2.0 webcam that captures at 1280X1024 at 24 bits per pixel. I also have a 3CCD Panasonic PV-GS120 that I am playing with.

Hello Paul,
I have seen your wonderful 'dragon' clip.
Is this made with the 1280x1024 webcam?
Is this a CMOS cam?
I have a noise problem on dark, underexposed scenes.
Do you have this problem too?

Its all installed on the front of the projector with the magnet on the inching knob. it's easy to adjust the magnet by moving it around on the inching knob until you get the timing correct.

This is exactly what I did, without knowing of your system: moving the trigger around the inching knob. In my case, the inching knob is on the backside of the projector, and I'm using a simple mechanical switch, but a magnet is better.

Fred.

[burchis]

Seems my biggest problem is getting the film loaded in the workprinter. How about sharing your tips/techniques on getting the film threaded in the workprinter.

Thanks

[MovieStuff]

Seems the biggest waste of time is getting the film loaded in the workprinter. How about sharing your tips/techniques on getting the film threaded in the workprinter.

Wow. A "time waster"? I always considered the WorkPrinter about the easiest projector to load in the world!

Okay, here are some tips:

A) Make sure the leader is either new or has no memory curl. This is not negotiable. If the leader has curl, it will be a pain in the ass to load and will jam every time.

B) Cut the end of the leader in a curve, like your fingernail. Again, this is really important because if it is not tapered, it most likely will hang up in the film path.

C) Make sure the unit is in the "off" position and do not run the motor during loading. These units do not have "auto-load".

D) Oddly enough, always stand to the right of the unit (by the condenser lens) and use your left hand to push the film into the slot, about an inch at a time. I know this seems strange but experience has repeatedly shown this to be the easiest position to load the film from.

E) If the film seems to get obstructed upon insertion, "bump" the motor button to make the claw retract, then continue pushing the film through.

D) If the film seems to stop at the bottom of the channel, turn the control knob to the "rewind" position, which will open up the gate a bit more. After you make the firstt 90 degree turn, then put the knob back to "stop".

E) Never try to load or run film with the side cover off.

F) Once the film exits the rear of the unit, just gently pull and thread onto the take up reel.

Sorry you were having problems loading your unit. Hope this helps!

Roger
http://www.moviestuff.tv

[burchis]

Roger,

Thanks for your helpful hints on loading the film. To clarify futher, I have most the problems when trying to load white leader. The actual film (when no leader attached) loads fairly easy.

I feel the problem is memory curl. Is there anyway to combat this, or should I just snip it off? I was able to remove the side cover to inspect what's causing the hangup. I should send you a photo of where the film gets caught at. Is there any retro-fitting available to help guide the film along the bottom just before the last turn near the exit area?

My posting was a result of todays frustration. I have done several transfers with smooth results and just wanted to query others for their tips and techniques in loading film. Again thanks for your great product and sincere tech support to all.

[paulcotto]

If I remember correctly it is the webcam. The Webcam is CMOS. I have not seen any noise but I use plenty of light.

Regards,
Paul Cotto

I have a similar setup but I use a single chip USB 2.0 webcam that captures at 1280X1024 at 24 bits per pixel. I also have a 3CCD Panasonic PV-GS120 that I am playing with.

Hello Paul,
I have seen your wonderful 'dragon' clip.
Is this made with the 1280x1024 webcam?
Is this a CMOS cam?
I have a noise problem on dark, underexposed scenes.
Do you have this problem too?

Its all installed on the front of the projector with the magnet on the inching knob. it's easy to adjust the magnet by moving it around on the inching knob until you get the timing correct.

This is exactly what I did, without knowing of your system: moving the trigger around the inching knob. In my case, the inching knob is on the backside of the projector, and I'm using a simple mechanical switch, but a magnet is better.

Fred.

[paulcotto]

I use a median adustmnet to get the exposure close then I use Virtual dub to fine tune density and to perform any frame rate adjustment. I don't use PAL so you will need to experiment.

Regards,
Paul Cotto

Glad to see you got the Sony macro lens before they ran out. I got 2 myself. Do you have a macro X-Y stage for focusing the lens under the camera? I have a similar setup but I use a single chip USB 2.0 webcam that captures at 1280X1024 at 24 bits per pixel. I also have a 3CCD Panasonic PV-GS120 that I am playing with. I don't have the workprinter so I use a modified Bolex 18-5 super-8 projector with the shutter removed. The projector has a reed switch from a security door that is fired by a rare earth magnet. Its all installed on the front of the projector with the magnet on the inching knob. it's easy to adjust the magnet by moving it around on the inching knob until you get the timing correct.

Cheers,
Paul Cotto

Paul,

Do you stop down the Sony lens to a specific f/stop when you capture or do you control exposure through some kind of software? Also, how would I adjust the files to PAL specs using the camera that you use or can I just import them into my NLE application the way they are?

Thanks.

Kurt