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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