Re: [Frameworks] optical soundtrack generator?
I should have linked to Matt's "filmless" [1] scripts too, which use the SoundtrackOptical library to generate soundtracks along the side of digitally printable film strips and laser cutter templates to cut them out with. It's an "off-the-shelf" method to make projectable "films" with optical sound, without photochemical processes. -Zach On 2020-09-12 19:18, Zach Poff wrote: I get this as a digest so pardon if I missed a post where somebody already mentioned it, but one solution is here: https://sixteenmillimeter.com/projects/SoundtrackOptical/ One of the many gifts that Matt McWilliams has given the world is a software library for generating soundtracks. It's not an off-the-shelf solution but it may get you most of the way toward a digitally-generated optical track! -Zach Poff Links: -- [1] https://sixteenmillimeter.com/projects/filmless/___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] optical soundtrack generator?
I get this as a digest so pardon if I missed a post where somebody already mentioned it, but one solution is here: https://sixteenmillimeter.com/projects/SoundtrackOptical/ One of the many gifts that Matt McWilliams has given the world is a software library for generating soundtracks. It's not an off-the-shelf solution but it may get you most of the way toward a digitally-generated optical track! -Zach Poff___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Creative Field Recording Workshop @ UnionDocs Brooklyn NY
Hi frameworkers. I have the great pleasure of leading this upcoming workshop which brings together six artists and researchers at UnionDocs in Brooklyn. I think there are still a few spots left. - Zach Poff CREATIVE FIELD RECORDING [1] A three-day intensive on the theory and practice of field recording for various forms of sound design FRIDAY, MAR 23 AT 10:00 AM – SUNDAY, MAR 25 AT 5:00 PM Details and registration here. [1] (Cheaper early bird registration ends March 9th, 2018 at 5PM.) Sound has a special relationship to emotion, instinct, and memory, both individual and collective. Tapping into an ancient area of our brain, sound provides immediate information telling us where we are, if it is safe, and how we should feel about that. This three-day intensive and immersive workshop, with lead instructor Zach Poff, will have its participants considering the path from listening, to recording, to designing sound for various project forms. Covering topics and techniques from listening to Deep Listening, soundwalks and sound recording in the field, the relationship between the soundscape and sound design, and what is carried and created on the path from recording and recordings, to sound art, performance, and design. Guest instructors include: Bonnie Jones [2] Benjamin Tausig [3] Jacob Kirkegaard [4] Monteith [5] McC [5]ollum [5] Andrea Williams [6] Links: -- [1] https://uniondocs.org/event/03-2018-creative-field-recording/ [2] https://bonnie-jones.com/ [3] http://www.stonybrook.edu/commcms/music/aboutus/faculty/Tausig_Benjamin.html [4] http://fonik.dk/ [5] http://www.monteithmccollum.com/ [6] http://www.listeninglistening.com/___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] 16mm sound recording (Mike Morris)
Hannes Bruneel in Belgium (www.postproduction.be [1]) contacted me earlier this year, mentioning that he uses my Film-O-Sync [2] software to sync digital playback to a Picot optical sound camera to generate optical tracks without the mag step. (He actually had some problems occasionally, but my soon-to-be-released update should fix them.) Maybe he's on this list? If not you might want to get in touch. Meanwhile, I wonder if Colorlab could be convinced to do something similar? They do some very impressive in-house tech. -Zach Links: -- [1] http://www.postproduction.be/ [2] http://www.zachpoff.com/software/film-o-sync/___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] film scanner (Scott Dorsey)
I made a DIY scanner for Cooper Union art School. We use it every day and it looks great (1080p24 ProRes outputs, enough flexibility to do color neg without difficulty). It involved a lot of tinkering but the basic tech is nothing exotic: modified projector, diffused RGB LED backlight, mirrorless still camera with live HDMI out, custom software for control and capture. It's slow (about 4 fps) but it doesn't kill mechanical DSLR shutters and it's been a game-changer for our students. I wrote about it on my website [1]. (Sorry I don't have the time or materials to build one for others, but I'm happy to share what I've learned!) -Zach Links: -- [1] http://www.zachpoff.com/diy-resources/16mm-film-to-hd-transfer-system/___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Lomo 3D replacement spindle - any feedback?
I have experience with this part. I found that the thread was wrong for my Lomo so a friend made this modification: http://www.thingiverse.com/thing:1300093 We printed it on a typical "FDM" printer (like a Makerbot) but the part was weak and snapped after several uses. I'm new to 3D printing so I didn't realize til later that he set up the printer to use less than 100% infill (this is typical practice when printing objects where the exterior is the only important area). It probably would have held up nicely if printed with 100% infill, so I would recommend trying this approach. Later I ordered the part from shapeways, using their "strong and flexible plastic" material (which is laser-sintered from a powder). The result was much stronger, but a bit dusty. I had to "break in" the threads by repeatedly screwing it into a matching metric nut, but eventually it worked and seems strong.Dunno if it will eventually dissolve though! I don't know about the longterm because our students managed to crack the Lomo platters badly enough that the whole thing is now useless. Sigh. -Zach Poff, Cooper Union Art School___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] 16mm prints turned pink
I've been pleasantly surprised by how much color I can restore from magenta prints using careful RGB back-lighting and Adobe Premiere's curves. There's an example here (scroll down a bit). http://www.zachpoff.com/diy-resources/16mm-film-to-hd-transfer-system Not exactly pretty but it's a lot more watchable than the original. (In this case the capture device is a mirrorless still camera, so I expect that the increased resolution and color depth of a professional scan would open up more possibilities.) -Zach ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Film to digital photo to video on a JK
I didn't have time at work to look back through my build documents, but here are some answers to most of the questions from Chris: The general operation is as you describe. (Clarification: The projector motor runs constantly during capture. It doesn't stop/start for each frame since the intermittent projector movement handles that.) If the software sees signs of a dropped frame, it will stop the projector and warn the user, but there's no way to know for sure. I've been using it for several years at about 4.15fps without many problems. (max speed discovered via trial and error) I didn't get screen grabs of the other windows, but will try on Monday. Captures are 8bit, due to several factors: All inexpensive cameras with HDMI live feeds were 8bit a few years ago when I built it. More importantly, Max can't capture higher than 8bit anyway! The color values are all manual. We dialed in a custom WB setting on the cam after tuning the LED control code, so if you pull the software RGB sliders up together you'll get a pretty balanced grayscale. We use the camera's picture modes to make the most of the 8bit signal: A low-contrast profile for reversal and a high-contrast profile for neg. The Blackmagic capture boxes should work fine. Max is undergoing a transition from Quicktime capture to AVFoundation so their capture code was just re-written to directly grab from BMD devices. Haven't tried it myself. For now I'm sticking with years-old Matrox drivers and the old Quicktime capture code. If it aint broke... We're running it on a 2010 Mac Pro tower (sorry, forgot CPU specs) with 16GB RAM and an SSD for capture. Then we render onto a conventional HD. Not a fast setup by today's standards, but it's a workhorse. The LED is a 40W RGB unit with multiple dies under a single lens. It requires about 24v and we run it at way less than 40W. It's similar to this one: http://www.mouser.com/ProductDetail/LED-Engin/LZC-83MC00/?qs=sGAEpiMZZMtPzP3zsh8uzJaSIyo3FeiS We can keep the enlarger lens at f5.6 or f8 for 90% of transfers, with the option to open up if we run out of light. (The camera stays at its lowest ISO.) We dim the LED channels with 3 hacked driver boards [1] that were originally intended for little MR16 LED reflector bulbs, based on the Powtech PT4115 chip. They keep constant-current and have a PWM input, which we drive with the Arduino at a faster-than-usual PWM frequency to avoid flicker. (I originally tried current-based dimming but there's not enough accuracy in the low range for accurate color mixing.) The motor is a fancy Buehler gearhead unit with an integrated driver that I got via surplus. No longer available anywhere. Any low speed, high torque motor would work, via a PWM motor driver. I think the most important projector considerations are slot-loading, gentle film handling, and enough room in the lens area to center your enlarger lens without hitting the chassis. The Eiki's removable lens mount was a huge help! Secondary factors would include belt-drive for easy motor swap, and enough room in the lamphouse for the LED heatsink. Eiki slot-loaders meet these criterion, and the back door swings open for easy access too! 100ft capture takes about 15min, then another 10ish to render. Max has a built-in scope [2] object (vectorscope, WFM, parade, histo). They cost a fair bit of processing overhead, but it's certainly doable. Hope ity helps. I'll try to put this on my website next week. Even a quick braindump is better than nothing! > Hi Zach, > > First off thank you for your detailed and inspiring response! It helps to > know about the shutter. If you have time to answer them, I have several > questions and would greatly appreciate your feedback either here or off-list > to help me further conceptualize my project. I must to say that I haven't > worked in Max yet and I'm a little lost on a few principles that your system > is based on. > > * The general interface/communication. >From what I can glean the camera is > initialized into a video mode, then motor advances the film one frame, the > arduino /+ PWM controller power on the LEDs once and TC Controller captures > this event as a single frame in a video? Lather, rinse, repeat... * It'd be > helpful to see screencaps of the capture and frame sensor settings just to > get an idea of what other control your system affords > > * At what bit depth are you capturing? > > * When the software checks the sprocket hole brightness do you use this to > automatically configure the color space values? > > * Would something like the Blackmagic Ultrastudio Mini suffice in place of > the Matrox? > > * Specs of the machine running this > > * LED specs > > * Motor specs > > * Important characteristics of the projector? I'd assume an easily removable > gate, no Kodak worm gear BS, so on... > > * Amount of time to capture 100' of film (~20' for capture only?) > > * Could you theoretically implement a WFM or histogram into
[Frameworks] Steenbeck with digital sound
Hi folks. I recently had some experience modifying a Steenbeck flatbed for synchronization to Pro Tools. I wrote a guide about it on my website and figured I'd share with Frameworks: http://www.zachpoff.com/diy-resources/steenbeck-with-synced-digital-audio/ [1] Feel free to contact me with questions, corrections or suggestions. -Zach Links: -- [1] http://www.zachpoff.com/diy-resources/steenbeck-with-synced-digital-audio/___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Multi-channel video tech requirements
Zach here (responding to the digest so apologies if I missed some of the newer emails). My MultiScreener software hasn't been updated in awhile, but seems to work fine on the machines I've tested recently. I would recommend it for people who already have a bunch of computers. However it's much easier and more reliable to use a BrightSign HD222 or older HD220 player for each channel (About $300-$350 each). They play directly from SD cards using a simple text script for setup. No daily startup/shutdown rituals required and no risk of some stupid MacOS software update notice appearing in the middle of your show! Feel free to try MultiScreener. There is a guide on the site with full setup details. You can run multiple channels on one computer. It's clumsy but it has worked well in practice. I modern Mac Mini would probably keep 2x 1080p videos in sync, but test everything to find out. I listed lots of similar software on the Multiscreener page. Summary: If you have a budget I'd go for a fleet of BrightSigns. http://www.zachpoff.com/software/multiscreener/ (One note: There are some Applescripts in the MultiScreener download that were compiled in the Pre-Intel Mac days, so they need to be opened in Script Editor and re-saved.) http://www.zachpoff.com/software/brightsign-video-sync-scripts/ [1] Feel free to get in touch via email if you have specific questions. -Zach Links: -- [1] http://www.zachpoff.com/software/brightsign-video-sync-scripts/ ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] two projector HD video for installation?
Hi Scott. I can wholeheartedly recommend the BrightSign HD222 players for multichannel sync. They can handle H.264 files up to 25 Mbs and they loop and sync flawlessly with no moving parts and no computer hassles. Their Achilles heal is the windows-only authoring software that is usually required to set them up. But you can use simple script files instead (editable on Win/Mac/Linux). You can download them from my website: http://www.zachpoff.com/software/brightsign-video-sync-scripts/ [1] Links: -- [1] http://www.zachpoff.com/software/brightsign-video-sync-scripts/ ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Max MSP/Jitter
+1 for Vade's shaders. I haven't used them for anything useful but they are a great example of digital tools emulating analog processes. I use MAX for all of my work, although it only sometimes resembles analog processes. Here are 2 examples: In The Shape of Memory MAX algorithmically re-edited found Super8 footage based on image-similarity, so it begins with one image and then searches through all the other frames looking for something similar. Rinse and repeat. http://www.zachpoff.com/projects/the-shape-of-memory/ [1] In Video Silence MAX watches live TV and compiles the most silent moments, so the result is a constantly-updated loop of fleeting glances, awkward pauses and other interruptions of the sonic flow. http://www.zachpoff.com/projects/video-silence/ [2] -Zach Poff Links: -- [1] http://www.zachpoff.com/projects/the-shape-of-memory/ [2] http://www.zachpoff.com/projects/video-silence/ ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
