DIY Super 8 Film Digital Transfer Update 1
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- เผยแพร่เมื่อ 28 ก.ย. 2024
- This is an update to the DIY Super 8 film to digital video transfer/scanner system I created. Like a telecine, the system transfers from a projector, but outputs frame by frame onto a high-resolution digital Lumix still camera. In this video I detail all the conversion parts, offer a few tips and additions, and review the software systems I use to process and enhance the frames into 4K video. If you want to build your own system, feel free to use this as a guide, or experiment with your own parts and systems!
I am going to attempt this system. Pro8mm charges $100 for a scan unless you purchase film and have them develop it which cost’s $125. So essentially, they get $100 out of everyone. Film is under $50 and Spectra develops for $24 so if you think about it. The scan is literally buying another roll of film but the purpose or digital is to save on costs.. for 16 and 35 I understand the value of a good scan but Super8 is supposed to be the accessible cost effective format. Pro8 in Burbank is trying to monopolize the format and milk everyone’s wallet just to have super8. This system makes Super8 cost effective again.
Brilliant follow-up. Really appreciate the clarity and detail of the components used. The mechanical trip of the shutter is such an important and effective simplification vs many other home-built transfer systems out there. I will be creating my system with a Sankyo Dualex-1000 that I have which needs both a lamp and motor replacement anyway.
Good luck & have fun!
@@FreshGroundPictures It's happening! I'm transferring now and while the entire system needs a bit of refining, it works. I had to be a bit more aggressive with the Sankyo to create space for the Loawa macro lens, but I'm there. Thanks again for the generous guidance!
Great project! I'm working on something similar. I'm using a reed switch with a magnet for the shutter release, it's cheap, simple and causes less mechanical friction.
Great. The only thing I missed is how you make one foto each frame. I guess it is with the switch and the remote cable. Looks very good. Thanks for sharing.
I've just built a transfer system using this as a guide. Other than having a different projector to work from, the only change I made was in the power supply: I went with a "MEAN WELL LRS-35-12" (no affiliation!) Otherwise, I grabbed these parts and followed this approach. So much more attainable than the Arduino madness!
That's great! Congrats!
Do you recall the watt output of the Meanwell Lrs-35-12? On Amazon they have the same model number but 50watt, 35watt and 36watt outputs. Is that a critical spec?
@@boydtvUnless you need a bench power supply for other things it's much cheaper to use a fixed 12V 2A wall wart power supply. You can get one for less than $10
Your update 1 is just as interesting as your first video on transferring film to video. I love the narration. 😊
Glad you enjoyed it!
I have bought all of the parts now except for the lens and camera mount. So I will attempt this build in the coming months 😃
Have fun and good luck - someone pointed out that I forgot to show the 12 volt power wires attached to the stepper motor variable speed control, so make sure to supply power to the plus and minus ports.
@5:11 whoa! film scratchy!!!! the horror!... I would just get a some film rewinders with an super 8 adapter hub. You could also put some film conditioner to store your film after you rewind it for storage. NICE setup. I want one of these!!!
I think you may have left out 2 connections on your wiring diagram for the stepper / controller / motor. You should also show a 12 volt power source connected to the Usongshine Stepper Motor driver module. I see in the video a red wire is connected to the Vcc terminal and I assume the black to GND next to it. I assume these go to the 12 V bench power supply Plus / Minus terminals. I guess it might be assumed the 12 volts needs to be powering the module. Great videos non-theless. I am converting a 16mm Bell & Howell FilmoSound projector same as your 8mm here. Thanks for the detailed steps!! (PS I plan to document my project here on TH-cam and reference your links as well!)
Yes, you're absolutely right, I accidently left the power connections off the drawing. Thanks!
Amazing. Thanks. I learned a lot watching this. Be well.
I am assembling the parts at this very moment - according to your GREAT PLAN!
Stepper motor does not move. Does the JUMPER CONFIGURATION on the stepdriver matter? Which configuration do you use?
Thank you very much!!!
For the power supply I wouldn't recommend people to go and buy a bench power supply if they don't need it for other applications. A simple 12V 2A wall wart will do to drive the motor. Saves money and space. And since the motor and festoon bulb are both running on 12V you may as well use a single 12V power supply.
I'm not posting this to criticize on your work, you did a great job. But if people blindly order what you've been using in the video they're buying stuff they don't need.
Hi! So instead of buying the Mean Well LED power supply, I should instead just get a 12V / 2A wall wart and call it good? The only two things I'll be running from mine are the recommended festoon bulb and the stepper motor. Thanks!
This is a great and detailed explanation. For stabilizing, do you overscan the frames, then load them in Avid Composer and it aligns the frames using frame borders as guidelines, THEN you crop it to normal viewing size and process in Topaz?
The best way I've found is to load it into media composer as a 2K file - this provides a little extra resolution for the stabilization. I just stabilize using the frame without the borders or frame-lines. It works really well in Media Composer without the strange warp effects that sometimes appear in After Effects. I'm not crazy about using the frame lines or perforations as the Super 8 format is inherently unsteady because it lacks a proper pressure plate and no registration pin. Since the steadiness of the frame-line and the film relative to the sprocket hole depends on the in-camera steadiness, I personally have achieved much better results using digital stabilization based on the frame image itself. Of course, a handheld shot usually looks fine without stabilizing. I then take the 2K and blow it up to 4K in Topaz - the AI adds a bit of detail and cleans up the image. I've tried scanning straight to 4K from Super 8, but the resolution is not there. I think the Topaz uprez looks better and is less computer-file intensive. If you watched my newer 35mm transfer system, I have that working in 4K really well. I'm currently working on a 16mm system, and I'm not sure wether 4K scanning will produce better results - we'll see!
Brilliant, just a thought, did you try to record the film as a 4k video at 18 frames per second, rather than one frame at a time as modern mirroless cameras can usually record at 24 frames which would eliminate flicker?
I would love to see s more detailed step by step post processing. Really interesting to see what can be done with ai sharpening and upscale
What strength of white diffusion did you use? 1/4, 1/2, Full?
I built your exact setup. It’s amazing! You’ve saved me thousands on digitizing my family’s super8 reels.
That's great to hear! I'm not sure of the exact diffusion strength - I've had the roll for quite a while and there's no label anymore. It's pretty heavy though - maybe 1/2 or full. I think the heavier, the better as it smooths out any hot spots from the LEDs.
@@FreshGroundPictures Thanks, I ended using 1/2 tough frost from a roll I had kicking around and it works great.
Thanks for sharing. Found useful things for myself
Do you happen to remember what Rosco diffuser you used? I’m trying to look at them but there’s such a plethora that my eyes are glazing over.
No unfortunately. I had a roll for years, with no label on it. The more diffuse, the better. The light source should be plenty bright enough, and the more diffuse the gel, the more even the light spread.
Great video!
Did you try using RAW to recover the highlights?
In the last clip that would be useful, I suppose...
I've used raw in the 35mm version I built (see video on channel), but not the Super 8. Generally, I try to get the highlights on the film at about 75% on a waveform monitor. In this case, the highlights were blown out on the film - reversal film does not have much latitude, and if it's overexposed there really is nothing there. Thanks!
Great video! The only thing I would suggest is that you use noise reduction as your first node in Davinci Resolve not the last as you've suggested here. If you put it last then you are making it harder for the noise reduction system as it now has to work on any contrast and sharpening that you have done to the noise in the node chain. Davinci 18.1 now has very good noise reduction but use it sparingly, less is more. Around 1.8 to 2 gets great results (This is possible only in the paid version and not the free version of Resolve)
Hello, Thank you for the great videos! I'm working on my set up and am having trouble getting the steper motor to turn. Are there any dip switch settings i should set on the stepper controller?
Although you probably wired it already, make sure you have 12 volt power going to both the driver and the speed control. If you're still having trouble, please send me an email message through the "about" tab on the page. I have photos of the wiring and dip switch settings I can send.
Thank you, sir!
I've almost decided to go with a very similar setup, however I don't really understand how do you control the exposure between frames of different brightness (I assume this macro lens only allows fully manual mode). Do you set some average exposure combination between the brightest and darkest frames of the reel and then adjust in post production?
Nvm, the answer was trivial. A and even S modes may also work, depending on camera
Thank you and you earned my like and subscribe. Great job!!!
Could you please tell me if there is a model number for the baseplate you used at 3:57 ?
Thanks.
Thanks for watching! It's a Zacuto Mini DSLR Baseplate - unfortunately no longer made by Zacuto, but you may be able to find a used one.
Fantastic!
THANK YOU !!!
I am reffering to that 6-way unit (in my case the red one with the tiny white switches)
First, be sure that you feed 12 volt positive and negative to the driver and the speed control device - not sure I detailed this in the drawings, but the speed control has a 12 volt positive and negative socket with screws on the side. If you want a pic of the dip switches for the driver, send me an email at freshgroundpictures@gmail.com.
@@FreshGroundPictures Thank you very much, FreshGroundPictures, for your answer! I found out later that day, that I had to connect 12 Volts to the driver as well; as you said!
I'm building a similar system with only some changes : the feeding movement and the shot are triggered not by a switch but by an optical interruptor driving an Arduino. Hence I can play on the delay between movement and shot independently (just the delay to be modified in the Arduino sketch) + some additional features : frames counter (drived by Arduino too) , visual display of the frame rate( in fact stepper driver speed), camera remote command activated by a non mechanical relay (Arduino ...), etc.. When I see this video I wonder if all what I'm doing is not completely superfluous...hmm..
I personally didn't want to get that involved, as my knowledge of the electronics is lacking. The only fault I see in the mechanical system of mine is that eventually the momentary contact switch might have to be replaced. I think it's great that you could add all the other features though. The one thing that I'd like to add, and your system might make this easier, is an auto shut off when the film runs out or breaks. Good luck!
@@FreshGroundPictures That's exactly why I was reluctant to use a mechanical contact !. Re electronics, I grabbed on the web some quite simple designs, since myself I'mnt comfortable with electronics..I think that by measuring the light, if it keeps high too long, Arduino could shut off it easily since it can control the camera (shot and power) . Nic suggestion, I'll try to add it. Anyway, congratulations for the quality of the results!.
@@florentleider222 I used the same mechanical switch in my 35mm transfer system and it is still holding up after several thousand feet transferred!
@@FreshGroundPictures Bad info ! (It would have been simpler for me to use it).
My main issue remains the optical part .I'm 100% ignorant when time comes to juggle with lenses !!
Would you mind sharing your settings when using Topaz Video Enhance AI. Many thanks.
They've updated and changed the software so much that my original settings are not relevant anymore. I have a bunch of film I'll be working on in the next few weeks and I'll post the new settings for a current version of the software - it takes a bit of experimenting.
What model name does that Metabones adapter have on it? I've never seen one with a 2nd grip ring behind the aperture grip ring. I went on Metabones website and could find no adapter had that 2nd grip ring.
It's a Metabones NF-L mount. The front ring is for manual iris.
Urbanski film sells splicing tape. I have that same splicer.
That's good to know, thanks!
Great follow up. I took apart the same projector, and robbed the gate/claw mechanism to do a DIY. I came across two issues when thinking about using the projector itself, one was the space for the camera lens (I see you had to cut into the projector frame too) and I could not figure out how to remove the dial below (which you did). Is there a trick to remove it or did you break it apart?
It's been a little while, but I think I had to cut the wiring, then there were some bolts in the gate area that had to be loosened or removed as well in order to get the knob out. These bolts then had to be retightened to secure the gate area.
I am wondering would you be open to make a commission?
Hello - please email me in the "about" section. Thanks for watching!
jpeg----vLog ???????? Jpeg is a 8bit low dinamic image!!!! vLog is an Hight dinamic.
The best thing to do is to use raw files. At the time, their was an issue with using them - I can't remember exactly what, but it was a speed issue. I used vlog because it was the lowest contrast setting, and I was transferring very contrasty reversal films.
@@FreshGroundPictures Yes, sound strange 8 bit vlog, but seems Panasonic have..lol
This is an excellent build which I am replicating. The only thing different is that I want to keep all the original parts working. So I just want to ask why you need to cut the shutter of the projector out. Can it not be left in?
I plan to use a magnet instead of the pin on the projector shaft and hall sensor to fire the shutter as I have found the micro switches to be very unreliable. Also use a 12v LED ceiling light to provide a focussed light source instead of the festoon ...
Hello. Taking out the shutter blades was the simplest way to ensure that the camera mechanical switch could be easily set to activate when the frame was stable in the gate. The shutter has 3 blades - 1 to cover the pulldown of the film, and 2 to "flash" the frame on and off to reduce the perception of flicker. As such, you'd have to time the digital camera activation very carefully to fall between the blades. If the blade moves across the frame while you're exposing the digital frame, I suppose it's possible that flicker might result. I think I cut the blades because there's no easy way to remove them without taking apart the whole movement - I'm also not sure if other mechanical components might be altered if the blades are completely removed - it's been awhile since I did the video.
is there enough space for the lens to shot the film head on? Am I seeing that it's shooting at an angle or is that just my old eyes?
It's pretty much perpendicular - I carved out a section of the projector body so the lens barrel actually extends slightly into the projector. The way it is now however, there's no leeway. I was actually thinking of carving out a bit more so the lens could swing to right for more adjustment room. It's tricky cutting into the projector body as you need to make sure everything is taped off to avoid getting chips in the mechanism.
@@FreshGroundPictures Oh, I didn't notice you had carved into the projector body. I'm not sure I understand exactly where you did this. Is it possible to se an image of this alteration in the body of the projector? All the projectors I have tested don't have enough room to shoot the film head on. If one is looking at the film gate head on, there need to be more room to the right of the gate for the barrel of the lens. And this particular lens must be really close to the gate to be able to nail the focus.
@@solosoulet If you watch the original video of this build, around 12:15 I show the area where I cut out a section. Here's the link to that video: th-cam.com/video/yStZmqdWDLA/w-d-xo.html
Mr. Fresh Ground...would you be interested in doing an 8mm film conversion job for some 60 year old footage I have. Please let me know...thanks
Please click "About" on our channel page, and then "view email address". Please send an email with more information and I'll get back to you.
A great Video. Thank you so much for your support! 😉
Hi
Thank you for sharing these videos.
Excellent explanations and great result!
You might be able to help me?
I have accumulated a good number of 16m amateur film footage. I can watch it on an Elmo projector I own. But I'd like to trnsfer them to digitalI am working on a 16mm film scanner. I came to similar solution as you. For the registration I use the transport mechanism of an Ampro 16mm projector. I bought this as sold "for spares". The transport mechanism is fine. The firm reels will be held on bespoke turntables with an tension controlled electric drive for the take-up reel. I also bought a second hand Sony NEX camera and are using various macro lenses with a bellow, mounted in reverse and even 2x and 4x microscope lenses. (First trials of these optics have been run on a Pathe Gem 9.5mm projector I am also converting for a film scanner: th-cam.com/video/stTI1pALTKE/w-d-xo.html )
For the film transport I purchased the same stepper motor, controller and driver unit.
Unfortunately I struggle with the wiring and to make the motor spin.
Could you help me with a snapshot of your wiring or a scheme??
Many thanks
Hello. First, make sure the cable from the motor is the same color arrangement as the one I used. It's very important to have the A & B connections correct. Also, be sure you have the positive 5 volts out of the control box to the driver split in 3. I have some close photos of the wiring and dip switch settings on the driver, and the wiring diagrams in the video, but TH-cam won't allow me to post these in the comments. You can try contacting me through the "About" section on the TH-cam page. Thank you.
Where you are taking 1000s of photos per 100ft of film would you not wear out the camera fast? I was planning on using a 12mp raspberry pi camera that has no shutter to negate this but worried about quality of results.
The camera I used has both a completely electronic shutter and a normal mechanical one. Many mirrorless cameras now offer this feature. I would not use the mechanical shutter, as you're right, it would cause unnecessary wear. Electronic shutters are not as good for fast-moving subjects, but since the film frame is stationary this is not a problem.
Cool build. Ive never used 8mm film, although I do have a camera, just for its inherent beauty. Yashica Super-40K, got for a $10 reserve bid for 3 8mm cameras. gave the others away. one of these days I'll get around to modding it to digital, I have some ideas I haven't seen anyone else try. I was lucky enough to be in the last year that my highschool photography course was actually done on film, it is magical stuff.
As an electronics, camera, and hack-one-thing-to another nerd, this fits my venn diagram perfectly, very much enjoyed the video.
Any chance you'll post the whole 8mm film to youtube? I'd like to see it, looks like you a bit of fun. the bird mask with the cigarette made me chuckle.
Thanks! I actually have 2 short films shot on Super 8 sound from the 80s. I'm restoring them and will post.
I don’t know how long this microswitch will last, it may happen that after one digitization it will break. there is just a plate inside. It is better to put a reed switch and a magnet and it will be easier to adjust and the reed switch is sealed, and these microswitches are not reliable shit. In addition, it will click constantly, if you leave it overnight, then I don’t know how to sleep under this click.
Many thanks.
Great project! I'm currently building this transfer system, could a fixed-lens Nikon Coolpix 7800 fitted with a macro attachment serve as an acquiring device?
It all depends on 3 things - if the lens with macro attachment can fit within the physical constraints of the projector side, the camera has an electronic shutter (which I think it does), and the camera has a remote trigger port (which I don't know for the Coolpix).
@@FreshGroundPictures yes, the camera does have an electronic shutter and a remote trigger port, as far as the macro attachment is concerned I fear the quality may suffer....
I know it's an old video but... I can't make that motor spin, are you sure about your wiring scheme ? what power on the motor driver if you have no Voltage and no Ground wired ?
Also, the switch on the side of the driver, which one should be on and which one should be off ?
I've already checked continuity on every wired and everything seem fine :( little bit a help would be appreciate thanks you ! :)
Hello - sorry you're having trouble. Both the driver and the speed control need to be powered with positive and negative 12 volts. I'm not sure that's shown on the drawings. If you want, go to the "about" section of this page and send me an email and I'll send you some photos of the wiring.
@@FreshGroundPictures hey, figured it out, it work flawlessly (as long as both get powered on!) sorry for the bother and thanks you for the reply :)
@@Stry-Glitch I'm having the same problem. Can you please explain how you resolved your issue? Thanks!