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Found 11 results

  1. I became interested in microcontrollers a while ago and I am considering a DIY sync sound motor for my Kinor 2m camera. I also have other cameras which could use a stable speed motor (for example my 35mm Soyuz-US3N camera and the rheostat motored Konvas 1KCP. This is because there is no available motors of any kind for Soyuz and the rheostat Konvas never had any sync motors made originally) . I started with the 16mm Kinor motor last month and I'm refining the analog control electronics and fine tuning the code now. I was just thinking, is there lots of people out there who could use a customisable sync sound motor on their camera and if so, which exact camera models would be the most in demand? If there seems to be some common interests then I could take them into account when developing my own motor project and it might be easy to make custom solutions for other persons cameras as well. --------- What would be the absolutely mandatory specifications for this type of motor? I am aiming for +/- 10rpm accuracy at the moment but we will see how accurate the diy solution will be when it is fine tuned for the specific motor and camera model. That 10rpm accuracy would be about 1 frame drift for every 2.5 minutes of footage shot which should be usable for sync sound uses in indie films which have relatively short takes (a minute per take for example). My current design for the Kinor16 motor will have 6 different preset speeds and it uses the original pilot tone generator just like the Olex crystal sync modification does though my design is not as sophisticated or accurate (one gets what one pays for :) the Olex motor is better and my design is cheaper). - what type of camera and "wild" motor would most urgently need a digital speed stabilising system like this one? - how accurate the speed needs to be. how much it can drift to be usable? I am talking about minimum specs which would enable practical use of the system, NOT about how much would be nice to have :) - how much it can cost, in case there seems to be so much demand that it would be doable to do for example a dozen or so of these? - how much the end user can assemble by themselves? is a parts kit with pre drilled circuit board enough (needs soldering and a little bit of tuning) or only fully assembled board would do? - it is very clear from beginning that this type of product needs to be user installed to be a viable option. It would not be economical to ship cameras and motors back and forth between continents, that would ruin the whole point of this type of motor solution - what kind of inputs for the encoder which is attached to the motor. My current design uses the pilot tone generator signal coming from the Kinor motor but for other cameras I will use either a encoder disc or magnetic sensors for rpm feedback.
  2. I've been experimenting with old Sync Sound Super 8 systems and am seeing what's possible now with digital transfers. There's the early Bell and Howell Filmosound system where a cassette recorder plugs into compatible cameras and the audio is recorded onto a tape. Then the tape deck is plugged into a filmosound projector and (if you shoot reversal) then you can project back image with the tape deck syncing up as well. My question is can this be transferred digitally using the rapid sync pulse that is recorded onto the other side of the tape as you record audio? Is there a program, or plugin or someway of having this audible sync pulse control the playback speed of the footage? From what I understand originally the tape deck would have controlled the playback speed of the projector, but when I have the film scanned frame by frame for transfer that would lock it into a constant framerate instead of being variable like it would be through the projector. On the higher end side of things, if I have one of the old Super 8 INC Sound Recorders and record audio onto fullcoat while having the recorder plugged into my camera, is syncing digitally any easier than it would be with the Bell and Howell system? (besides the fact that full coat would be way better quality) TLDR: Can I have a sync pulse control the playback speed of a digital transfer? (Oh also I'm searching for one of the fullcoat recorders if anyone has a lead!)
  3. Hi guys. Selling my lovely TOBIN TCS TXM-22 Crystal Sync Motor for Arri 16-S and 16-M. Bought from Du-All Cameras 2 years ago. Only tested, but never used. It´s as new. I will come up with a price and post pictures very soon. Just checking who might be interested. Please get in touch. Cheers. Flavio
  4. This forum is abound with requests for cheep 16mm cameras. Very few however broach the subject of sound. I'm looking for a camera with sound sync and a reflex view finder. I have four 100' roles in my freezer so it would be beneficial to be able to use them as apposed to a camera that only shoots 400' roles. I've shot two short films using the Canon Scoopic. Both projects where dialogue free. From what I've been told there's no good way to sync sound to them. In fact, I was told if you tried the sound would become desynced. is this true? I'm looking for a camera under $500 that has sound sync and a reflex view finder. I'm currently looking at a Bolex M5 with a reflex zoom lens but it's a bit more than i'd like to spend.
  5. What does everybody use to sync audio and video in Premiere Pro? I've been using Pluraleyes from Red Giant to sync footage for years now. Pluraleyes has never given me any issues...until now. A month ago we shot a wedding and everything was normal as always. But whenever I would use the software to line up the footage this happened (this is not my video): The exact same thing happens to me. We then shot another wedding two weeks later, and I wanted to see if Pluraleyes would line that footage up. Guess what...I lined up everything perfectly, just as it always has. So I'm thinking, "Great it works." Now I have the same issue just slightly different. Pluraleyes lined up the wedding ceremony, no problems. Pluraleyes lined up the rehearsal dinner speeches, perfect as can be. But then I tell Pluraleyes to line up the reception, it will not sync it. For the record, Comcast has better customer service than Red Giant. I even called during their listed business hours and they did not answer. I also sent them an email a month ago, and they have yet to get back with me. I have tried using Adobe's version of video/audio syncing and it doesn't work for crap.
  6. Hi everybody, Shooting a 2 1/2 minute shot in slow motion (30 fps or slower) but it's a shot of someone lip syncing an entire song. I'd like to do it on 16 or Super 8 but I'm not sure what the most budget-conscious way of proceeding would be. There's definitely no way of achieving this without crystal sync, right? So any advice on the cheapest camera system that can do slow motion (at 30fps or slower) and keep sync? Thanks so much for the help! - Ez
  7. Hi everyone! Im very excited to join the cinematography community here in order to learn and continue to advance my craft. With that said here is my very first question / post. I've noticed a handful of music videos that are shot in slow motion (my guess here is possibly 60fps?) and the performer is singing and yet the lips appear to be relatively in sync to the music. Now is this a case of simply shooting the performance like you normally would but just at a higher frame rate, or is there more to it that I'm missing ? Below are some examples the first one being the strongest. Example # 1 Example # 2 (most evident at 1:03, you can see the bus on the right moves slowly yet lips are in sync) Example # 3 (most evident at 0:49) Thanks everyone!
  8. Hello! I have been trying to outfit my Arriflex 16MB with a sync motor for music videos or similar (knowing how loud my camera is). I purchased a 60hz - 42v sync motor without its transformer for a reasonably low price on ebay. I shouldn't have any trouble building my own transformer but the connector on the motor is a little confusing to me. Does anybody know what the pins are on these 60hz - 42v motors? I assume there is a ground, pilot tone, +/- 42v, maybe a secondary at 8vdc for the torque motor on the SB model? Any help would be appreciated!!
  9. Comrades, I have some footage I shot that I would like to add sound too but I am totally baffled as to how to do it. When it comes to Final Cut Pro I am a total neophyte. I shot using a Canon Scoopic MS. I shot it on 24fps. I then got my footage processed and then transferred to HD 1080 @ Pro Res. I recorded audio from the day using a ZOOM H4N but it my stupidity I forgot to put the windscreen on my H4N, so the audio footage has a lot of what I call blow-outs from the wind. I asked my friend to re record all the songs from that day and I have all the songs re-recorded. The problem I am running into is how to sync the footage with the newly recorded audio. I should of gotten my camera modified by the film group to shot shoot crystal sync but at the time I could not afford it. The 24 fps marking on the Sccopic MS is probably not exactly 24, correct? However once I got my footage digitally transferred to HD wouldn't the frame rate change? Basically I am asking how can I change the footage frame rate in FCP so that I can match it up with my audio? Also what are some basic tips/things to do when editing film transferred to HD on FCP? Like for instance: getting rid of the edges that show the perfs so that I just get the (4:3) box? On some of my transfers I get a little beyond the pert, so I get a sliver of white, I am sure I can crop it out but I do not know how to do this operation :( Can I enhance my footage, perhaps make it look sharper? Lower the grain/noise ( I got good exposures. I figure ask anyway.) Can I play with the colors? My main goal is to sync the audio with the footage. I almost matched the audio with the footage but it comes undone at some point and then is out of sync. I did this in the crudest manner just by moving the audio to the point where the musician starts playing the guitar. I normally edit in camera( i started out using super8 and really dig the straight8 thing but I now I ready to actually EDIT). I plan on learning how to edit the original way, splicing and taping/glue/film cement my film but I acquired some computer programs and really need to learn how to use them, I also plan on taking some courses in the various programs (after effects/fcp x/ compressor/etc). For now I figure I come here and ask. Please excuse my ignorance/stupidity. here is rundown of my gear used and available: Canon Scoopic MS 16mm camera *unmodified Regular 16mm* non-crystal sync ( not for long, like i mentioned earlier I plan on sending my camera to get the crystal sync mod) Final Cut Pro X Compressor Adobe After Effects Adobe Audition I got the film processed over at PacLab digitized at DiJiFi I just acquired these programs as a gift but I am computer illiterate. Sincerely, Rudy
  10. HI all, I'm just curious if anyone has shot an iPad on film and has encountered frequency sync issues. Any flicker / roll / etc? Do I need a video sync box? (can I even use one with an iPad....) The project I'm prepping is 2perf 35mm on Panaflex GII or Platinum and there is talk of iPad screens being built into some key set pieces.... I'd test if I had time and budget to, but..... Thanks in advance. Matt
  11. I hate live lip-syncing but I'm lost on a music video. I've shot it at 18 FPS and it got telescined at 25FPS. I think I should of made a seperate recording with a phone or something. I'm having difficulty getting it to fit. Is there some percentage I need to slow it down in post? Many thanks
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