If you project on 18% grey card or paper you get more range in your
digital files to play with colour balance and light levels etc. ie it
produces a better gamma curve than a white screen. You can get this card
from photographic suppliers. Its the same stuff used to make accurate
exposure readings.
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NACHLEBEN FILM LAB AND ARCHIVE
http://www.nachleben.org.uk
CUBE CINEMA. BRISTOL
http://www.cubecinema.com/
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On Wed, 27 Feb 2019, Christopher Ball wrote:
I had no problem with light bleed from the projector, and the further
distance meant I could be more in line with the projected image, which
helped with key stoning but more importantly made the light image more even,
and I didn't have a centre hot sport with darker edges.
Yes, I remember now, I did not use the screen (I was shooting this in my
theatre) I used a new piece of ROSCO 216 diffusion gel, which is even white
and no texture. I had that mounted flat on my screen.
I was not adjusting the camera speed, I was adjusting the shutter speed.
There are probably very few projectors that run at 24fps or 18fps even, so
matching the fps will be nearly impossible, however if you can adjust the
shutter speed you can eliminated the flicker (but you need extremely fine
shutter speed) adjustment to make it perfect). I would run my film for
about 30 seconds to fine tune the shutter speed, then reverse the image,
then run it forward over the leader for one final check of the shutter speed
before the first image came up. I was able to eliminate the flicker that
way.
C
On Wed, Feb 27, 2019 at 12:56 AM Dave Tetzlaff <djte...@gmail.com> wrote:
I agree that off-the-wall DIY transfers can be quite good,
though I’ve mainly done 16mm, not S8.
The two main things are:
1. The camera has to be capable of running at the same frame
rate as the projector. (e.g. 24fps, for 16mm). You may or may
not need the frame sync feature in the camera that can fine tune
the speed down to a fraction.
2. The projector must be capable of hoilding its speed steady.
This is often an issue with S* projectors, especially those with
a mechanical variable speed nob.
NOTE: for S8 especially, you aare unlikely to get the camera and
projector to sync up at the speed the film was shiot at (e.g. if
its 18fps as most are, not 24fps). As long as you can get sync
at any speed (e.g. 24fps), you transfer at that speed – in
effect undercranking the video copy – and then shift it back to
the proper speed in FCP, AE, or whatever. The frame blending
usually isn’t noticable to most viewers, and no more a detrement
than the old school 24-into-30 of 5 blade telecines.
As far as physical setup:
> I then shot it onto a movie screen which has high
reflectivity, and projected it so the image size was about 1
foot x 1 foot, to make a nice bright image.
You do want a small bright image, but screem material designed
for a larger image isn’t necessarily the best projection
surface. You want a matte white surface with no visible texture.
I just got a nice big white paper sheet at an art store.
You should set things up in as close to complete darkness as
possible. I used to do it in my basement after blocking the
little windows.
> I had the camera back away from the screen on a longer lens so
it was as close to the projector angle as possible.
The problem with that is light bleed from the projector bouncing
into the camera lens. You want the fromt of the camera lens
barrel in front of the projector lens barrel. Putting the camera
as close as possible to the right side of the projector
generally eliminates any objectionable keystoning. Mounting the
camera on a three-way still-photo head makes for easiest
adjustment of squaring things up. It’s hard to get viideo heads
into the right horizen plane.
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