Pip & Sasha,

Thanks for the info about Nicholas' system.


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

FrameWorks mailing list

Reply via email to