Peter Richards

We had to get that 90s look, and tried a whole bunch of plugins etc, but just ended up feeding the footage from the RED into an old SuperVHS deck and recording it, and then played it back from tape and captured it back into the system and upscaled it back to HD again. It worked way better than any of the various grading solutions and gave the perfect look. Was fast too!

Hi Daniel, I have built a telecine around the Blackmagic 4K camera, the lighting I am using a triggered RGB LED light source designed by Frank Vine, it also has a trigger output for machine vision cameras like those mentioned earlier in the thread. The light source, controller and software can be had for under a grand, and has full control, highly recommended. The tricky part for me is a phase-locked-loop controller for the motor to drive the film advance, as it has to be a closed loop system to keep it precisely at 24fps.

You are doing a fantastic job of keeping the detail but removing the noise.

I used to use combustion for this type of thing, and would create some master reference frames for each scene and use the auto colour match tool. Have you tried Davinci software?

Great stuff Fred. I am also using one of Frank's RGB backlights, they are brilliant aren't they?

That is an angiograph viewer, not sure it is setup for 35mm cine film.

I'm building a telecine rig based on Frank Vine's lighting system, for 16mm to transfer some films, using a Point Grey 2.8MP mono camera, catpuring each frame three times, once for each R, G and B channel in uncompressed 16bit. When I'm done capturing my stuff, I'd be happy to do anyone's captures just based on a cheap hourly rate to cover my time, if it was for their own film projects. I'm not sure if that is of any interest to anyone, but I thought I'd throw it out there, I would love people to still be able to shoot on film! I can do Super8 as well using the same camera, but I don't know if anyone uses that any more at all? I'm looking to build a 35mm unit in a year or so, I have a bunch of 35mm stuff to transfer as well. A big thanks to all of the Franks and everyone else that has helped me out over the years, it has been wonderful to pick everyone's brains and to be finally getting close to having the rig finished at the quality level I needed.

Unfortunately they are rubbish for telecine work, I have tried one personally and it was awful quality. The DBK41 and the newer model of the DBK21 are okay, a little noisy and lower resolution, but give great results in practice. IS cameras do cut some corners, and I have used the Pt Grey cameras with the same CCD as the DBK21 and the Pt Grey had less noise, and no artifacting at 60fps (the IS camera had edge ringing at 60fps but was okay at 30fps). So they are good cameras, but not best of breed. If I was going to use one, I would take some darks, and stack them and use that as a noise removal mask, it works well, but if you can afford it, there are better models with the same CCDs out there. But for home use, they are very good.

Another quick question, has anyone compared the machine vision cameras to the newer DSLRs that have uncompressed HDMI outputs?

Nice stuff. Has anyone considered doing an infra red capture as well to get a 'mask track' for digital dust and scratch removal? Most colour film stocks are 'invisible' to infra red, so the only thing you get on the capture is an image of the dust and scratches. Makes removing the defects easy whilst presercing the detail. Does anyone have an easy to build, functioning wetgate?