Previously on the old board, I made an annoucement about the introduction of the CineMate series, which has three different shutter blade configurations for 15fps, 20fps and 24fps. Marc posted the following information about which transfer rate might be the most economical if only one speed had to be chosen:
My latest analysis has led me to the following conclusions:The five blade shutter will give you Original+original+original+ composite+composite and the pattern repeats itself. The three blade shutter gives you original +original+ composite and the pattern repeats itself. The four blade shutter (which I am assuming you are using on the 15 fps model) can yield one of two results -no guarantee which because the video camera will not be synced with the projector. 1)original-1 +original-1 +original-2+original-2 + original-3 +original -3... etc. Or 2) original +composite +original +composite +original.....etc. My opinion is that the three blade shutter (20 fps) projector would probably be the best of the the three because you could go up or down in digital editing to change to 24 fps. or 15 fps. In the five blade shutter scenario ( 24 fps.) the composite frames occur 6/15 of the time and in the three blade shutter scenario ( 20 fps. ) the composite frames occur 5/16 of the time. So the composite frames occur less frequently in the three blade shutter projector. If you want shoot at 24 frames per second and then transfer at 20 fps. this works out just as well, if not better, when you go to digitally adjust the speed.
The only possible advantage of the four blade model( and no guarantees here since the video camera will not be synced with the projector) is the possibility of getting all original frames on the chance that the video camera will start recording on the right shutter opening.
I need to correct a typo on the previous reply I meant to compare 6/15 with 5/15 ..still a better ratio!"
I transferred your material to the new board. You are totally correct in your observations. However, the only fly in the ointment is that the CineMates are not synchronous. They can drift slightly over time even though flicker will not necessarily be visible. This means that regardless of whether or not you start on the correct shutter opening, the end results might be random and too tedious to depend on. Again, the CineMate will transfer with no visible flicker but that does not mean that you are perfectly in synch with the video as there is a margin of error that can allow for loss of synch with no noticable signs of flicker. Even super expensive telecine projectors with synchronous motors can suffer slippage or loss of synch, which is why telecine transfers rarely synch up with Rank transfers, even though they are supposedly running at the same speed of 23.97. Telecine projectors can be off, even ones with synchronous motors and the CineMates do not have synchronous motors.
So, again, while the theory holds true, the reality is that if people want Rank-frame accuracy, then the WorkPrinter Pro is the way to go. If they just want to get their footage into their computer or onto tape for editing and have it look really good, then the CineMate series is more practical. Both the CineMate and the WorkPrinter will give you results that far surpass any other transfer device available next to a Rank transfer.
The CineMate series has not yet been "officially" added to my website but the information and pricing should be up in the next few days. The CineMate units will offer a condenser lens for shooting right off the film, an enlarged gate and true, flicker free transfers to either your camera or computer with zero hot spot and crystal clarity. Price for the CineMate units is $699 plus shipping.
For new readers wanting more information about the transfer devices I offer, please click my URL "www" button below!
(Man, I love this new board!)