I've dabbled in this area quite a bit over (on and off) over the last decade and tried quite a few things. I appreciate some of the challenges involved and really admire seeing how others respond to these challenges. In this case it looks like you may be using an intermittent film mechansm, maybe one taken from an old projector? If this is the case, that seems like a great solution to get really good registration/stability of the frames. I've tried a few other things and there is always a lot of wobble requiring stabilization of the frames in post.
Thanks Chris. It is indeed a film gate from a broken Bolex D8 that I bought on eBay for 8 euros. All of this project is on my blog, see www.sabulo.com.
A nice project and interesting to see the project evolving. Do you take RAW pictures or what is the reason to use a single lens reflect camera in your project - a better dynamic of the image sensor maybe? Do you use the same procedure making a video in Blender as in version 2. video? I photographed my Single-8 films ten years ago with modified Sankoy sound-600 projector + PIC microprocessor + Canon HV-20 digital video camera as single picture mode and made videos with virtualdub. A slow process taking 3-4 hours/3 min 20 sec film. I fine tuned films with Magix Movie Edit Pro and burned DVDs. I think I got an equal or better result compared to commercial telecine services available at that time.
Thanks Hannu, much appreciated. I changed to a macro reversed SLR because I couldn't get a sufficiently high quality macro lens for the Ixus95. This one grabs pictures where the frame size (4.3mm x 3.5 mm) comes out as almost 3000 x 2200 pixels. I then use Blender to crop and assemble. Your project probably gives the best possible quality.
Nice work. May I ask, what is the measurement between the lens and the film gate. Does this allow you to focus only on the gate. How do you deal with the exposure part, as there is no manual control. My camera is Canon 600D and some manual FD lenses I can use.
Thanks!. I set the aperture at F11, press the depth check button, and simutaneously disconnect the lens. Then I reverse it. The cradle for the camera allows for movement against the film plane, so I just move it until I have a good focus. Currently it has some 3 cm between the lens and the gate. I run the camera in the Av mode, which adjusts exposure time according to the image. I am using the standard 18-55 lens at 35mm.
Thanks Mark. I am putting together the final file set of V3 printables when school starts and I return to the University. I haven't made new scans but have shot one roll of b/w which I will demo when developed and scanned.
This is more or less the concept I am building. A DSLR is orders of magnitude better in image capture compared to the cheap digitizer units and even a cheap "kit lens" is much better. May I ask two things? How do you make sure the framing remains constant through hundreds of frames shot? Even a tiny fraction of a mm per frame can shift the frame by a significant percent after a couple of hundreds of frames. And it's not just slippage, it's also about ensuring the frame is presented at exactly the same position every time. Otherwise, vertical jitter will result. My second concern is about the endurance of the SLR camera shutter. These shutters are rated for 50-100.000 pictures taken through the lifetime of the body, perhaps 5-7 years. A single 50ft reel of super 8 is about 3.000 frames (to give a nice round number). So after 15-20 reels, the shutter would have reached it's designed life. Not saying it will fail then - it might fail sooner or much later - but it is a concern. Being a Canon user myself, I was considering that once the mechanical (transport) device is done and optical tests are satisfactory, an EOS M mirrorless camera with electronic shutter is more appropriate for this task as there is no wear. Which is something to budget, as I use a 7DMkII and have no real need for a new / different camera. And since I started asking questions, here's a third one. How about designing the transport in such a way that the film is moving constantly at a rather faster rate and using opto-interrupter on the sprocket holes to fire the shutter in succession every time the frame is presented? I have the gut feeling that constant motion with positioning feedback from the sprocket holes would give a smoother transport to the film, less jams (don't forget bad splices), less positioning error (due to uninterrupted motion and the feedback) as well as higher fps.
Thanks for your comments, Sidros. I am using a recycled film gate from a broken Bolex D8, bought off eBay for eight bucks. Since the transport is identical to the camera shooting the film, I get exact movement. When the film gate pin has pushed the frame down, it presses down a switch, which is connected to the camera. As for the shutter age limit, I will probably come to it at some point and see how to deal with it then. A shutterless would be nice of course, but I have no opinion on that right now. As for optocoupling, it's not necessary due to my mechanical system. I grab 22 frames a minute which is just fine. I will definitely look into your suggested camera model. I suggest you read the previous parts of the blog to see all the details.
Savvas, mirrorless does not mean shutterless. Mirrorless models that include electronic front-curtain shutters (or whatever they are called) have drawbacks that you would need to consider (it seems to me the sensor always being on would be one of them). Say worst case.... how much is a new shutter? Or a new dslr 3 years from now? How much film are you digitizing? You might be overthinking it.
@@Milkmans_Son Hi, I know mirror less cameras do have curtain shutters but with these cameras, you can use the electronic shutter (or silent as they call it) and take pictures of individual frames without any mechanical wear. And yes, the electronic shutters do have drawbacks in normal picture taking and especially video, but when shooting still frames in constant lighting, they work fine. I am perhaps overthinking it but for a low cost dSLR, replacing the shutter is not cost effective - at about $250 to have that done. If you are doing 2-3 rolls a year, obviously it's a non-issue, but for intensive work - I do have around 70 rolls of 50ft film - it is a consideration.
Very nice. I wonder, how many exposures have you made in all, and do you expect the camera to hit a limit on the number of exposures? I ask because my rig (a total hack by comparison, hit a limit and the camera failed. th-cam.com/video/Nzb32rtTIv0/w-d-xo.html I'm thinking of retooling with a Raspberry Pi and the Camera 2 module.
If you check the other videos, you'll see how the film moves. And read my blog entries on this too. A rather rude start for a conversation there. If you don't like the video, move on to something else.
I've dabbled in this area quite a bit over (on and off) over the last decade and tried quite a few things. I appreciate some of the challenges involved and really admire seeing how others respond to these challenges. In this case it looks like you may be using an intermittent film mechansm, maybe one taken from an old projector? If this is the case, that seems like a great solution to get really good registration/stability of the frames. I've tried a few other things and there is always a lot of wobble requiring stabilization of the frames in post.
Thanks Chris. It is indeed a film gate from a broken Bolex D8 that I bought on eBay for 8 euros.
All of this project is on my blog, see www.sabulo.com.
A nice project and interesting to see the project evolving. Do you take RAW pictures or what is the reason to use a single lens reflect camera in your project - a better dynamic of the image sensor maybe?
Do you use the same procedure making a video in Blender as in version 2. video?
I photographed my Single-8 films ten years ago with modified Sankoy sound-600 projector + PIC microprocessor + Canon HV-20 digital video camera as single picture mode and made videos with virtualdub. A slow process taking 3-4 hours/3 min 20 sec film. I fine tuned films with Magix Movie Edit Pro and burned DVDs.
I think I got an equal or better result compared to commercial telecine services available at that time.
Thanks Hannu, much appreciated. I changed to a macro reversed SLR because I couldn't get a sufficiently high quality macro lens for the Ixus95. This one grabs pictures where the frame size (4.3mm x 3.5 mm) comes out as almost 3000 x 2200 pixels. I then use Blender to crop and assemble.
Your project probably gives the best possible quality.
Nice work. May I ask, what is the measurement between the lens and the film gate. Does this allow you to focus only on the gate. How do you deal with the exposure part, as there is no manual control. My camera is Canon 600D and some manual FD lenses I can use.
Thanks!. I set the aperture at F11, press the depth check button, and simutaneously disconnect the lens. Then I reverse it. The cradle for the camera allows for movement against the film plane, so I just move it until I have a good focus. Currently it has some 3 cm between the lens and the gate. I run the camera in the Av mode, which adjusts exposure time according to the image. I am using the standard 18-55 lens at 35mm.
Excellent, Do you have a printable file for 3.0 like you do 1.0? Any new examples of what you've scanned? thanks
Thanks Mark. I am putting together the final file set of V3 printables when school starts and I return to the University. I haven't made new scans but have shot one roll of b/w which I will demo when developed and scanned.
I'm curious as to why you used halogen rather than an RGB led with adjustable gains (for color correction)?
It was available at the right color temperature, and the result is good.
This is more or less the concept I am building. A DSLR is orders of magnitude better in image capture compared to the cheap digitizer units and even a cheap "kit lens" is much better. May I ask two things?
How do you make sure the framing remains constant through hundreds of frames shot? Even a tiny fraction of a mm per frame can shift the frame by a significant percent after a couple of hundreds of frames. And it's not just slippage, it's also about ensuring the frame is presented at exactly the same position every time. Otherwise, vertical jitter will result.
My second concern is about the endurance of the SLR camera shutter. These shutters are rated for 50-100.000 pictures taken through the lifetime of the body, perhaps 5-7 years. A single 50ft reel of super 8 is about 3.000 frames (to give a nice round number). So after 15-20 reels, the shutter would have reached it's designed life. Not saying it will fail then - it might fail sooner or much later - but it is a concern. Being a Canon user myself, I was considering that once the mechanical (transport) device is done and optical tests are satisfactory, an EOS M mirrorless camera with electronic shutter is more appropriate for this task as there is no wear. Which is something to budget, as I use a 7DMkII and have no real need for a new / different camera.
And since I started asking questions, here's a third one. How about designing the transport in such a way that the film is moving constantly at a rather faster rate and using opto-interrupter on the sprocket holes to fire the shutter in succession every time the frame is presented? I have the gut feeling that constant motion with positioning feedback from the sprocket holes would give a smoother transport to the film, less jams (don't forget bad splices), less positioning error (due to uninterrupted motion and the feedback) as well as higher fps.
Thanks for your comments, Sidros. I am using a recycled film gate from a broken Bolex D8, bought off eBay for eight bucks. Since the transport is identical to the camera shooting the film, I get exact movement. When the film gate pin has pushed the frame down, it presses down a switch, which is connected to the camera.
As for the shutter age limit, I will probably come to it at some point and see how to deal with it then. A shutterless would be nice of course, but I have no opinion on that right now. As for optocoupling, it's not necessary due to my mechanical system. I grab 22 frames a minute which is just fine. I will definitely look into your suggested camera model.
I suggest you read the previous parts of the blog to see all the details.
Savvas, mirrorless does not mean shutterless. Mirrorless models that include electronic front-curtain shutters (or whatever they are called) have drawbacks that you would need to consider (it seems to me the sensor always being on would be one of them).
Say worst case.... how much is a new shutter? Or a new dslr 3 years from now? How much film are you digitizing? You might be overthinking it.
@@Milkmans_Son Good point. I am shooting max two rolls a year. That's about 10,000 frames.
@@Milkmans_Son Hi, I know mirror less cameras do have curtain shutters but with these cameras, you can use the electronic shutter (or silent as they call it) and take pictures of individual frames without any mechanical wear. And yes, the electronic shutters do have drawbacks in normal picture taking and especially video, but when shooting still frames in constant lighting, they work fine.
I am perhaps overthinking it but for a low cost dSLR, replacing the shutter is not cost effective - at about $250 to have that done.
If you are doing 2-3 rolls a year, obviously it's a non-issue, but for intensive work - I do have around 70 rolls of 50ft film - it is a consideration.
@@savvassidiropoulos5952 Yes, but then again, I use this to take 8K images per year, so a used D1000 that costs me 30 e will last for years.
Very nice. I wonder, how many exposures have you made in all, and do you expect the camera to hit a limit on the number of exposures? I ask because my rig (a total hack by comparison, hit a limit and the camera failed. th-cam.com/video/Nzb32rtTIv0/w-d-xo.html I'm thinking of retooling with a Raspberry Pi and the Camera 2 module.
бестолковый ролик, не описано самое главное как перемещается пленка, как сделать грейферный механизм
If you check the other videos, you'll see how the film moves. And read my blog entries on this too.
A rather rude start for a conversation there. If you don't like the video, move on to something else.