Another boring negative film transfer test on a Workprinter

Post by **tacotim** » Fri Oct 01, 2004 1:02 am

Thanks for the tip roger, I'll give that a shot.

-Tim

Post by **jojolimited** » Sat Oct 02, 2004 8:45 pm

<<Virtualdub is suited for full size video - but it can't use video for windows codecs (I think this is for licensing reasons) -- a whole lot of plug ins are here:
<<
There is another great and free tool called Wax from a programmer named Satish. He creates free video tools for commercial NLE too (Vegas, Premier). His wax tool supports Virtual dub filters and Wimdows Movie maker filters. The software handles both older windows codec and the newer directshow codecs. Plus it includes 3d special effects tools.
He also has a great morphing tool and a frame server tool that lets you use justa about any video/effects tool with another one.

http://www.debugmode.com

Wax includes all the effects and I beleive the morphing tool.
The Frameserver tool installs as if it is a codec that you render out to.
Think of it as something similar to rewire, but for video.

download the latest, and make sure to read the faqs before using.

Post by **newmanauk** » Mon Apr 04, 2005 12:36 pm

Hi,

Did anyone try taping over the gate to cover the sprocket holes? Where can I get the tape from?

I've transferred a few dark scenes and I'm having the same problem.

Thanks

Alan

Post by **MovieStuff** » Mon Apr 04, 2005 2:12 pm

newmanauk wrote:Hi,

Did anyone try taping over the gate to cover the sprocket holes? Where can I get the tape from?

We have been using the silver masking tape used for slides but that is getting harder to find as people stop using slides these days. The best suggestion I have heard is using the magnetic sign material to block the light. This is the magnetic vinyl material used to make little magnets for your refrigerator or larger signs that go on your car. I would check with a local sign shop and see if they'll sell/give you a piece. You only need a tiney rectangle and it will cut cleanly and stick to the back of the gate to block the light in the sprocket holes.

Roger

Post by **audadvnc** » Mon Apr 04, 2005 3:50 pm

Ive seen examples of light flare before. But if you project negative do you then get dark flare?

Post by **newmanauk** » Mon Apr 04, 2005 3:58 pm

I found this thread:

viewtopic.php?t=8921&highlight=workprinter+light

It exactly describes the symptoms I've been seeing.

I'm now 100% certain it's an alignment issue. I'll have aplay tonight and let you know how I get on.

Cheers

Alan

Post by **newmanauk** » Wed Apr 13, 2005 12:02 pm

Hi,

With help from Roger ove the phone (thanks Roger) it turned out to be a problem with the angle of the little white refector chip in the WP.

I replaced the original chip with a slightly larger, thicker chip at a different angle and the light is now evenly spread across the gate (checked by using the negative function on the camera as suggested above)

Also did the 2-pass capture of the Vision2 200T on the WP and used the multiply function in Premiere. Worked a treat, darkening the dark areas getting rid of the white dust particles present after inverting.

The hard part is aligning the 2 captures. I don't have a remote control for the camera so the camera tends to move slightly (1-2 pixels) whenever I adjust the iris.

My solution is to take the footage into Adobe After Effects and set one capture to be 50% opaque and align the 2 shots. Then reset to 100% opacity and export out the 2nd capture, now aligned. Bring both avi's back into Premiere and, viola, pretty much perfectly aligned.

I also used this technique with K40 to try and reduce the contrast. This time I used screen key in premiere. 1st capture is dark (expose for the highlights), 2nd capture is brighter (slightly blown highlights 1 stop over).

Align in Afer Effects then, in Premiere, put the 2nd capture above the first and apply Screen Key and adjust the opacity to between 50% and 75%. This seems to work.

Will post some screen shots tonight if I get a moment.

Post by **VideoFred** » Wed Apr 13, 2005 12:39 pm

newmanauk wrote:Will post some screen shots tonight if I get a moment.

Please do this, then I can compare with my own double capture experiments.

Btw: horizontal re-aligning, if necessary, is so easy with Avisynth....
But the best is capturing the same frame twice, then alignment is perfect.

As soon as possible, I re-arrange my projector, to make this possible.
I already made a temporal setup and it works fine.

I have very promising results with a greyfilter instead of changing the iris.
I also figured out we don't need double capturing all the time.
But for some scenes, it's the only way to capture them as it should be.

video"double capture"Fred

Post by **newmanauk** » Wed Apr 13, 2005 2:55 pm

Fred,

2 quick questions:

Have you modified your WorkPrinter to do 2 captures of the same frame? (if so, how?)

What AVISynth Plugin do you use to realign? Will it cope if the images are the same size but off both horizontally and vertically?

Thanks

Alan

Post by **VideoFred** » Wed Apr 13, 2005 3:35 pm

newmanauk wrote:Fred,

2 quick questions:

Have you modified your WorkPrinter to do 2 captures of the same frame? (if so, how?)

What AVISynth Plugin do you use to realign? Will it cope if the images are the same size but off both horizontally and vertically?

Thanks

Alan

Alan,
2 quick answers:

1) no workprinter, but a modified Eumig
2) no plugin, just cropping a few pixels from one of the images.
but this works horizontal only. Vertical should be possible also.

Fred.

Post by **newmanauk** » Wed Apr 13, 2005 8:52 pm

Post by **VideoFred** » Thu Apr 14, 2005 8:23 am

The profile shot is awesome!
But you should use a mask for the overlay, to block the overexposed parts. A BW negative mask is ideal for this.

Fred.