quot;films"
with optical sound, without photochemical processes.
-Zach
On 2020-09-12 19:18, Zach Poff wrote:
I get this as a digest so pardon if I missed a post where somebody
already mentioned it, but one solution is here:
https://sixteenmillimeter.com/projects/SoundtrackOptical/
O
I get this as a digest so pardon if I missed a post where somebody
already mentioned it, but one solution is here:
https://sixteenmillimeter.com/projects/SoundtrackOptical/
One of the many gifts that Matt McWilliams has given the world is a
software library for generating soundtracks. It's
Hi frameworkers. I have the great pleasure of leading this upcoming
workshop which brings together six artists and researchers at UnionDocs
in Brooklyn. I think there are still a few spots left. - Zach Poff
CREATIVE FIELD RECORDING [1] A three-day intensive on the theory and
practice of field
Hannes Bruneel in Belgium (www.postproduction.be [1]) contacted me
earlier this year, mentioning that he uses my Film-O-Sync [2] software
to sync digital playback to a Picot optical sound camera to generate
optical tracks without the mag step. (He actually had some problems
occasionally, but my
I made a DIY scanner for Cooper Union art School. We use it every day
and it looks great (1080p24 ProRes outputs, enough flexibility to do
color neg without difficulty). It involved a lot of tinkering but the
basic tech is nothing exotic: modified projector, diffused RGB LED
backlight, mirrorless
eventually it worked and seems strong.Dunno if it will eventually
dissolve though!
I don't know about the longterm because our students managed to crack
the Lomo platters badly enough that the whole thing is now useless.
Sigh.
-Zach Poff, Cooper Union Art School_
I've been pleasantly surprised by how much color I can restore from
magenta prints using careful RGB back-lighting and Adobe Premiere's
curves. There's an example here (scroll down a bit).
http://www.zachpoff.com/diy-resources/16mm-film-to-hd-transfer-system
Not exactly pretty but it's a lot
I didn't have time at work to look back through my build documents, but
here are some answers to most of the questions from Chris:
The general operation is as you describe. (Clarification: The projector
motor runs constantly during capture. It doesn't stop/start for each
frame since the
Hi folks. I recently had some experience modifying a Steenbeck flatbed
for synchronization to Pro Tools. I wrote a guide about it on my website
and figured I'd share with Frameworks:
http://www.zachpoff.com/diy-resources/steenbeck-with-synced-digital-audio/
[1]
Feel free to contact me with
Zach here (responding to the digest so apologies if I missed some of the
newer emails).
My MultiScreener software hasn't been updated in awhile, but seems to
work fine on the machines I've tested recently. I would recommend it for
people who already have a bunch of computers. However it's
Hi Scott. I can wholeheartedly recommend the BrightSign HD222 players
for multichannel sync. They can handle H.264 files up to 25 Mbs and they
loop and sync flawlessly with no moving parts and no computer hassles.
Their Achilles heal is the windows-only authoring software that is
usually
moments, so the result is a constantly-updated loop of fleeting glances,
awkward pauses and other interruptions of the sonic flow.
http://www.zachpoff.com/projects/video-silence/ [2]
-Zach Poff
Links:
--
[1] http://www.zachpoff.com/projects/the-shape-of-memory/
[2] http://www.zachpoff.com
12 matches
Mail list logo
