To clarify, the OP requested advice on a cheapo projector-and-camcorder 

There are lots of reasons for people to do this, especially with work in 
progress. It might even be considered a video work-print. However, for serious 
work shot in film that is going to be distributed in digital form, a proper 
scan is the way to go. k.a.r may not be at that point yet, or may have a 
different purpose in mind. In no way did I mean to suggest that 
telecine-by-projection is a substitute for a proper scan. It's not.

Of course, a lot depends on the aesthetic strategies involved. People go lo-fi 
for a reason, with everything from Super-8 to Pixelvision to funky compressed 
Quicktimes. A DIY telecine could be fine for certain limited kinds of things - 
including the transfer of already 'distressed' archival material to be included 
in a doco. But if you see the work in your mind's-eye as lovely rich filmic 
imagery, (generally transfers of film you shot yourself) trying to save the 
cost of a scan is penny-wise and results-foolish.

Though I have no personal experience with Bito and Miko, or Kinetta transfers, 
I trust Jeff's unquestioned expertise in these matters, and were I in need of a 
scan, I would be eager to investigate any suggestion he would have.

On Jun 23, 2012, at 1:21 PM, Jeff Kreines wrote:

> Since you are in the Mission, you might consider getting a proper scan of 
> your film instead of subjecting it to a projector and camcorder. Note that 
> you will be getting a video with combined fields that often blend two frames 
> together -- and unlike a conventional telecine with real 3:2 pulldown the 
> cadence isn't locked to anything and will drift. 
> Buck Bito and Jennifer Miko run the Video Transfer Center on Van Ness -- they 
> are relocating in a couple of weeks and will have a new, far better name. 
> They do excellent work in any format -- 8mm, S8, 9.5mm, 16mm, S16, 17.5mm, 
> 28mm, and 35mm.  
> Disclosure:  they have a shiny new Kinetta Archival Scanner, which I make.
> Jeff Kreines
> Kinetta

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