Super 8 Filmtransfer with Blackmagic Pocket Cinema Camera BMPCC 6k
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- Опубліковано 7 вер 2024
- FILM-DIGITAL tests in this video the small format film transfer with the BMPCC 6K and shows how to further process the digitized material in the free version of DaVinci Resolve.
Take a look at the FILM-DIGITAL transfer equipment in the online shop:
www.film-digit...
Another advantage of the Blackmagic cameras that we unfortunately didn't go into in the video:
You don't need a projector converted to 16.66 fps with this series of cameras. You can use a projector running at 18 fps and simply set the camera's shutter speed to 1/54 second instead of 1/50, which works for Blackmagic Pocket cameras, but also for Blackmagic Studio cameras and others.
1:57 The film transfer equipment from FILM-DIGITAL you need to upgrade your projector
5:33 The best camera settings for digitizing Super 8 with the Blackmagic Pocket Cinema Camera 6k
Request a free test file (Super 8 positive, digitized with System 1011 and BMPCC 6k as .braw) at: info@film-digital.de
Here you can find the FILM-DIGITAL LUT "Filmprojection 1970" for free: www.film-digit...
Just download the zip file, unzip it and install it in the LUT folder of DaVinciResolve.
Got one of these, still a learning curve to setup, get the lens lined up. Very easy to get one side blurry. By hooking up to a bigger monitor do help, but please, make a more step by step guid video!
Good idea, we will soon make a step-by-step video!
Excelent method. What about use the Ursa 12K to this.?
Generally, you can use as much K as your camera records. Its no problem with the optics. I just doubt how you can edit the 12K files afterwards ...
This process looks impressive. I'm not sure much is gained in out putting 6K digitised small gauge film, rather than 2K files. What do viewers think of a process that transfers film in real time, rather than scanning frame by frame?
Frame-by-frame systems work much slower than our almost-real-time systems. And they cannot record sound at the same time as the image. Anyway, we just develop a frame-by-frame upgrade for our systems. If you use a camera with a trigger input (as almost all photo cameras have), you will be able to decide if you work in almost-real-time or with frame-by-frame at a trigger base.
@@film-digital2129 what is a trigger input? the BMPCC has a trigger only on the start/stop button also via bluetuth, but it is not possible to perform stop motion. Real-time shooting without sync is not possible. the picture goes out of sync.
Sorry, but how can you synchronize the shutter of camera with the shutter of the projector?
There is no need to synchronize. If you set the shutter to 1/54 eg, and the speed of the projector is 18 (18x3=54), then there will be no flicker. If you want to, ask for a sample with BMPCC4k: info@film-digital.de Please watch this video also: ua-cam.com/video/RbIpI2mD00M/v-deo.html
@@film-digital2129 Nes!! or maybe not exactly, be careful. I understand you want to scan at a multiple of the film frame rate. But remember that if the projector isn't exactly in sync with the camera's frame rate, sooner or later you'll end up with the shutter crossing the field. I understand you use a slow shutter speed, but this only makes the shutter pass smoother. So the projector must have a DC motor controlled with a ring encoder or using a stepper motor, and the clock of the projector electronics must be exactly the camera's clock. also you need a signal to start the camera from the projector at the moment when the frame is not covered by the shutter. Then you are right. But this is exactly a frame by frame scan, only faster at 18 fps, and the end result is no different from a scan done at 1 fps or 5 fps or whatever. Finally, it is not true that a cinematic projection is more fluid than a video one. In cinema you have the shutter that blacks out 18 times a second, or 24 times in the case of 35mm. An 18Hz lamp is very annoying.
My telecine, under development, works at 2.5 fps, but in order to not stress the old film, but it could very well work at 18 fps, the result would be the same. It works with two steppers, one for frame change and one for reel recovery, a control electronics by ESP32 and a synchronism with the BMPCC 4k via bluethoot. Also my camera take it at multiple, 32 in my case for 16 fps film. If you are interested, I will soon publish it on the net. Greetings.
I believe it's also true that the original speed of standard 8 is 16fps, so if it runs at 25fps it would be running a little fast which can be slowed down in software. Would that be correct?
The original speed of standard 8 is 18 , as far as I know - if you record with 25, you can slow it down to 72%. You need quite a good editing software for it like Premiere Pro or DaVinci Ressolve ...
@@film-digital2129 Thanks for all the help! I also believe that if you want to record to NTSC @ 24fps, then you would capture at a speed of 20 with a 3 blade shutter. Looking forward to owning one of these systems.
@@benkleschinsky Yes, that´s right (20 x 3 = 60 of NTSC). You can increase the speed after the transfer without any loss of quality.
@@film-digital2129 I beg to differ. Originally 8mm film had a native speed of 16fps, whilst Super 8mm had a native speed of 18fps. I am told that late in 8mm development some of its cameras ran at 18fps.
@@film-digital2129, are you saying that if Super 8mm film is scanned, or rather transferred at 25fps, then it can be out put in After Effects using ReVision FX' "Twixtor" at 72% speed?