Pip & Sasha, Thanks for the info about Nicholas' system.
Joe, I'm still pursuing this for JK-based application so hopefully this comes along "quickly" and will share results one way or another. Did you use to live in Milwaukee? Overall is seems that there are a lot of systems that are similar in theory but differ in application, having a broad range for different needs. If I was only using this to digitize I would be more inclined to just replace the JK lamp with tungsten balanced LEDs and call it a day. I'm determined to (eventually) implement a variable 3200K/5500K source. Part of that is informed by my desire to use Vision3 50D without filters, but as I've said, also something that could be used for color filtration and separation as well. One would be able to program color variations, ideally while retaining the same aperture. Although that might be a huge undertaking given the variations in stocks/their color sensitivity, the amount of testing it would require to have a one-size-fits-all color spectrum and the fact that the stocks its designed for will probably all be gone by the time that's done! I really like the projector-based transfer system, and I believe that's ideal for capturing prints in decent condition. The Kinograph intrigues me as a system that doesn't put stress on the sprockets and could be used for shrunken/damaged films- though it seems that they are still struggling with the frame registration/stabilization and so the output is still less than ideal. As of now reading the optical track isn't a priority for me and I'm still attached to the JK as a means to transfer various formats on the same setup. If anyone has an extra Super 8 gate laying around let me know :) I ordered the LED Zach suggested and am now assessing the LED power, PWM and drivers for my application. I'm curious to hear if anyone else has a similar desire for the lighting control on a JK for both film-to-film and film-to-digital. Chris
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