The camera is in movie mode all the time. In the case of the GH2 camera, we actually need to start the camera recording to get a full quality signal out the HDMI. Many recent cams (Panasonic GH3 & GH4, Blackmagic and Sony) have no such requirement.
Between the LEDs and the gate are a few layers of diffusion: white plexi sandwiched between 2 lumi-disc diffusers from Sekonic light meters. The machine isn't in front of me right now, but the lens was purchased on eBay. It's a Schneider (50mm? I forgot!) reverse-mounted on a lens standard from a JK. (mounting in reverse is slightly sharper in this case). You're right about the X/Y/Z adjustments. (Y on the JK lens mount, X and Z on the macro stage under the camera.) The JK lens mount fits on a custom bracket that positions the lens correctly for our needs. It has enough wiggle-room to fine tune enlargement and position (locked with thumbscrews). We can render at a variety of frame-rates, defaulting to 24. All options are progressive, no pull-down applied. A similar JK-based system would be fairly easy, since the projector is already built. (Just needs a sold-state relay to control it) and the software could always know when a frame is ready since the JK is so slow and reliable. (So x milliseconds after you trigger the projector you're guaranteed to have a frame in the gate ready to capture. When it's captured you trigger the projector again and repeat... No LED blinking and no visually sensing frames.) Have you seen the amazing JK controller projects in Kathryn Ramey's new book "Experimental Filmmaking: BREAK THE MACHINE"? It has been blowing my mind: the first film textbook I've seen that is written from a contemporary perspective (using contemporary technology) but wonderfully contextualized, like a film version of Nic Collins "Handmade Electronic Music".
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