VelocityHD

DV8 Sniper & Sniper 16HD Auto-Sync Switching

Overview Switching between the 8mm and the 16mm units requires some additional set up since the 16mm unit has been upgrade to the auto-sync feature.   Both units still connect to Flag via a switch box behind Flag's monitor.  However, the audio connection (behind the Flag tower) needs to be manually reconfigured and some software settings need to be changed when switching between machines.

Video Connection

The physical video connection is changed at the switch box behind Flag's monitor.   (box orientation with the switch in the top half)  Switch to the Left for 8mm and to the Right for 16mm.

Audio Connection

The Blackmagic Intensity Pro capture card has a right audio in and a left audio in.  A 'Y' cable merges the left and right into one connection.  This connection (at the end of the 'Y') connects to either the 8mm or 16mm audio cable.  The 8mm cable has a yellow end and the cable is fatter than most.  The 16mm cable is the red & black end of a double cable (white & black end is not used).

BTW I tried connecting the two audio cables from the 8mm and 16mm using a Y to the other Y and this did work until the 16mm was upgraded to the auto-sync....now it will not work with both plugged in.  Eventually I need to replace the switch box with one that can handle audio and video and that will simplify the set up.

CineCap Velocity HD Switches

There are two settings that must be changed when switching between the 16mm unit and the 8mm unit or vice-versa.  Both setting are on the "settings" tab and in the "Capture Settings" box.

1) capture device - configure button:

8mm:  Video format must be:  HD1080 29.97PsF 8-bit 4:2:2

16mm:  Video format must be:  HD1080 30PsF 8-bit 4:2:2

2) auto-sync box:

8mm:  Must be UNCHECKED

16mm:  Must be CHECKED

BlackMagic Motion JPEG Codec

Overview The BlackMagic (BM) Motion JPEG codec is the codec that is used to create the AVI files generated during the film capture through the BlackMagic Intensity Pro capture card from the Sniper units.  The codec is maintained in the final file that is generated by the Cinecap VelocityHD program.

Issue

When these AVI files are ingested into the various NLE programs, these programs need to be able to translate the AVI files.  Customers have reported that Adobe's Premier Pro (CS 4 or CS5) does not natively ingest these files.  One person with a new system (quad-core PC, 8GB RAM, Win7 64bit) and CS5 and our website sample download got the dialogue box that said:  "The project file appears to be damaged"....he could however play it using a player on his system.

Install Codec

However, it cannot hurt to have the BlackMagic Motion JPEG codec.  Here's the instructions on how to install it:

It appears that they've repackaged things and the codec  can now be downloaded in something called "Desktop Video".  The other person that downloaded this had no problems and even found a cool utility to analyse his drive configuration for editing HD footage.  The direct link to download it for windows (xp, vista and 7) is here:

http://www.blackmagic-design.com/support/detail/?sid=3947&pid=3989&os=win&leg=0

Otherwise here's the route:

1) http://www.blackmagic-design.com/support/

2) Then select the OS, the Product Series is "Intensity", and the Product is "Intensity Pro" ... then click the <Search> button.

3) Under the downloads title, select the <Download> button for "Desktop Video 9.0 for Windows"

Film Transfers - Negative Films

Overview: Negative films (both 8mm and 16mm) require white balancing otherwise the finished film can be off in colour. I also found that if the white balance is off not only the colour can be impacted but so can the clarity of the image. I had one film that I incorrectly white balanced and the film had a green milky look about it. The milky look cleared up once the film was correctly white balanced.

White Balance - How:

1) Set VelocityHD to process NEGATIVE. 2) Load the film into the scanner and cue it up to a "white" section at the start of the film. Usually the best section is a clear piece of film at the beginning. 3) Push the menu button on the camera. 4) Toggle to the white balance and push the toggle in. 5) Run an 10 or 20 second test. 6) Process the test clip and view it. 7) If okay, proceed to the next step, otherwise repeat steps 2 to 6 on a different clip. 8) Re-cue the film to the start and scan it. 9) At the end, don't forget to RESET to WHITE BALANCE ..... set to white balance using no film in the gate.

Note

Setting the white balance on the capture camera WILL stay set even if the camera is turned off.  What will NOT stay set is the exposure setting.  If the camera is turned off the exposure setting will have to be re-calibrated (set it using the same method as before)

More Reference:

Here's a link to moviestuff's instructions on negative exposure.

Film Transfers - Extreme Exposure

Overview Sometimes a film can have an extreme exposure.  For example I just had a 16mm film that was shot in B&W and the subject was highlighted by a "bright" light and the rest of the frame was black.....(you know, sort of like the interrogation under the bright light routine).

Problem:

Using the automatic settings caused the subject to blow out and the black to go gray and grainy.  Not good!

Test Solution:

When you have a film that you know is going to be difficult, test and process a small section so that you can view the result.

Solution:

In summary, the solution is to go manual on the camera exposure settings and/or the LED light source.

I tried using the LED light source and bringing the brightness down to just above off.   The processed film showed horizontal rolling lines in the black.   This is probably due to the LED's not working well at such a low level.  The blacks and contrast looked good though.

Next I tried setting the camera's exposure on manual and knocking it down to -3 of -6.  At the same time I also put the LED's on manual and turned them down a little.  It was a balancing act between the LED's and the exposure setting.  I tried not to turn the LED's too low to make sure i did not get the horizontal rolling lines....I just took the edge of the light.  I did a test section and viewed the results before doing the whole film.

Here's a link to moviestuff's instructions on manual exposure.

Film Scanned Output Files - What NLE's Support

Overview Many times people ask whether or not their NLE can support the film output AVI files.  Here's info on this topic.

Output File Format

With the latest version of CineCap Velocity HD ver 1.4 (Mar 2011) we have a couple of output options.

1)  We can output files using the Blackmagic Motion JPEG codec in an AVI wrapper.  The Motion JPEG codec is a very common codec used by many camera manufacturers.  This codec is compatible with both MAC and PC based systems.

2)  For a codec independent file format we can now generate sequenced image files.  One image is created for each frame of film and therefore this makes the "file" independent of any codec.

MAC Users

iMovie - according to wiki's comments regarding iMove 8 (released August 2007), ".....Motion JPEG encoded AVI files do appear to be recognized, this is the most common format used by digital cameras (click here to check the full article).  At this point of time I believe the latest version is iMovie 11.

I tested iMovie 3.03 on the Power MAC and the avi file does load with no problems.  One problem is that iMovie 3 and I believe 4 only support 4:3 aspect ratio.  Pretty sure that ver 6 supports widescreen 16:9.

Final Cut Pro - According to a customer (Brian Lye) back in mid 2011 using the film avi files in Final Cut Pro ..."the process is very easy.  So if you have customers with a similar inquiry the steps are: "

  • Bring the .avi footage into Compressor (program comes with Final Cut Pro package).
  • Put the settings for Apple ProRes 422 onto the file.
  • Hit Submit.
  • Voila!
  • It is easy to now edit within Final Cut.

Film File Sizes - why is one bigger than the other?

Pupose: Sometimes customers ask why one file size is bigger than the other with regards to film transfer file sizes and different fps.  Here's an answer/explanation that may help.

Answer:

As for the file size, that all has to do with the fps and the corresponding pull-down that is applied to the file based on the fps selected.  Basically, standard video is at 30fps (29.97) and this is the file that we are seeing.  Now depending on the fps selected, the video will have multiples of the film frame in the final file.  For example, if the file is processed at 10fps there will be 3 copies of each frame, if at 15fps there will be 2 copies of each frame, and at 30fps there will only be one copy of each frame.  16fps, 18fps, and 24fps do not evenly go into 30fps so they will be further complicated by adding pull-down frames to pad them to 30fps.  Therefore, in summary, a 16fps speed file will be larger than a 24P file just due to the number of frames.

I hope that I’ve explained it clearly enough….I know it took me a while to understand it at first.

Reference:

Further info can be found in a document:  User Data\TMM\Research\16mm transfer units\Film Transfer process.docx

Process 8mm or 16mm Film

Purpose: This document describes how we process film.  The process includes the following stages:

  • Identify and catalog the film.
  • Make minor repairs.
  • Clean the film.
  • Scan the film.
  • Render the film into the final format.

Before we start any film transfer we do three main things, identify and catalog the film, inspect the physical shape of the film, and clean the film.

Identify and Catalog

Before we catalog the film, we need to make sure the customer information has been entered into the client log, www.lifetimeheritagefilms.com/clients/.  In particular we need at least the name of the client and the email address.  The email address is required if the film process is deluxe.

In the film catalog file, www.film2hd.com/myfilm/ we fill in the boxes in three steps:

  1. Initial information such as the customer name, film id number, and various physical film identification stuff.
  2. While scanning the film, or after scanning the film, we can add "tags" that identify the content of the film for future searching of our database.
  3. After rendering the film we can fill in details such as the length, fps, etc

First let's identify the film:

  1. size of reel (check diameter of reel with film size table) <insert link>
  2. type of film a) Regular 8mm (Reg8) - film is 8mm wide with large sprocket holes on one side b) Super 8mm (Super8) - film is 8mm wide with smaller sprocket holes on one side c) Super 8mm (Super8) sound - film is same as silent Super8 but on the edge opposite the sprockets you will find a very narrow magnetic audio strip d) 16mm silent - film is 16mm wide and has sprocket holes on both edges of the film e) 16mm sound - film is 16mm wide and has sprocket holes on one edge and a optical sound track on the other edge
  3. any identifying marks on the container such as year, title, what is on the film

Inspect Film

Physically inspect the film for:

  1. Mold.  If mold is found <link to process to deal with mold>
  2. Check to make sure film is on the reel correctly (ie. backwards, upside down, etc) - film orientation a) The leader should have the shiny surface up (this may have dull surface up and it really does not matter) b) the film should have the emulsion surface up c) film frame will have the top of the frame nearest the leader d) mount the reel on the right rewinder (dead post) e) the sprockets must be on the far edge (away from you) f) the film will come off the reel at the top and toward the takeup reel
  3. If no leader, add one.
  4. Check to make sure the leader is long enough: a) 8mm film - 2 feet b) 16mm film - 3 feet
  5. Trim end of 8mm leader if needed - no sharp corners on the edges at the end

Film Is Not On The Reel Correctly - Fixes

Problem: The film head is okay (top of frame is nearest the leader or start of film), but the non-emulsion side is up.

Solution: Mount the reel as per normal except that the leader will be coming off the bottom of the reel.  Take the leader and feed it to the top of the take-up reel.  Then wind the film as normal and rewind as normal.

Problem: The film is backwards on the reel.  The bottom of the frame is nearest the leader (or start of film).

Solution: Wind the film from the original reel to the take-up reel and DO NOT REWIND.  Take the take-up reel and mount it on the projector.  After scanning the film, remove the take-up reel and replace it wit the original reel.  Now rewind the film onto the original reel.

Clean Film

Clean the films on the rewinders using the Solvon film cleaner (in the little brown glass Edwal film cleaner bottles):

  1. Mount the customers reel on the right rewinder and the takeup reel on the left
  2. Thread the film from top to top of the reels
  3. Grab a film cleaning cloth and the Solvon
  4. Open the Solvon, put the cloth on the opening and tip the can until you feel the liquid on the cloth
  5. Close the Solvon cap ASAP
  6. Where the liquid is on the cloth, pinch the film in the cloth near the left winder
  7. Holding the winder handle, slide the cloth to the right reel
  8. keep the cloth pinching the film near the right reel and wind the film onto the left reel
  9. wind film onto takeup reel
  10. Switch the reels from one winder shaft to the other, keeping the reels in the same orientation
  11. Now thread the right reel to the left reel (customer reel), this time the film should go from the bottom to the bottom of the reels
  12. If the film appeared really dirty on the first pass I sometimes will re-clean the film when rewinding the film back onto the customer's reel

Tips

  • Make sure that the cap on the Solvon is closed ASAP because the Solvon evaporates quickly.
  • On large reels I sometimes stop the rewind and check the cloth to see how dirty the film is.  If dirty I switch to a clean location and put more Solvon on the cloth.

Scanning Film

  1. Place machine in "stop" (16mm) or "rewind" (8mm)
  2. Clean machine a) For 8mm machine

    • take cover off film track and spray both cover and track with canned air
    • wipe dust off machine with a cloth

    b) For 16mm machine

    • remove and clean film gate with canned air
    • spray canned air of film track
    • clean audio drum with rubbing alcohol
    • wipe dust off machine with a cloth
  3. Mount the reel.  For the 8mm machine you may have to place or remove the Super8 adapter on the reel axle depending on the film reel hole.
  4. Thread the machine with film a)For 8mm

    • Thread thru the top of the film track and keep feeding until the film comes out of the back end of the film track,
    • Make sure the start of the film is hooked under the film post just below the front reel.
    • Hook the film onto the take-up reel and manually wind the film around the reel a couple of times

    b) For 16mm

    • Thread the film thru the film wheels
    • Feed the film into the slot on the take-up reel and manually wind the film around the reel a couple of times
    • Make sure that there is a fingers spaces between the first wheel wheel and the film
    • Keep the finger in the loop above the first white wheel and rotate the start switch to 2 o'clock
    • Remove the finger from the loop and pull the film down a little to increase the loop below the gate
    • Move the switch to the play position
    • There should be a good loop above the gate and below the gate
  5. Run (use the "Motor" switch) the machine for a few seconds to settle in the film.
  6. For the 16mm machine, make sure the "silent or sound" toggle is set for the appropriate film.
  7. Also, make sure the switch box behind Flag's monitor is set to the correct machine.

The Software - "CineCap Velocity HD"

Start up the software on Flag captures the video feed from the scanner.

  1. Make sure that Flag has enough space on the "N" drive...should have at least 200GB or more free.
  2. Start up the software.
  3. Check the "settings" tab to make sure that everything is set correctly.  Items to check are:
    • Drive to Capture...should be N
    • Manual Sync .... generally should be unchecked.  (used to be that if the 16mm film was bigger than 1200 ft, it had to be checked and set to -5...not sure if this is the case with the new software).
    • SD progressive .... only check if planning to render to SD progressive
    • Process all film as negative ..... check if needed
    • Lossless High Def ....  generally not checked...if checked,this gains about 5% quality and 4X the file size.
    • High Def Progressive .... usually checked.
  4. Switch to the "Capture" tab and the image should be displayed from the scanner
  5. Enter the correct "Film Type" and the full "Customer" name (ie. john_smith)
  6. Usually the "Auto-name" boxed is checked....sometimes not checked if you want to override the naming.
  7. Before "Start" is pushed, the filename number is the next number...after the "Start" is pushed it changes to the next number (not the current number).  Move the cursor onto the "Start" button.
  8. Start the scanner and push the software's "Start" button before the film starts to show real images.
  9. When the film is done scanning or approaches the end of the real images
    • Click the software's "Stop" button.
    • Then click the "keep" button.
    • Make sure the film has cleared the film track (for 8mm this usually requires a little manual push on the take-up reel)
    • Toggle the "motor" switch to off.
  10. Rewind the film
    • Thread the end of the film into the customer's reel.
    • Wind film manually for a few turns
    • Switch the scanner to "Rewind"
    • Toggle the "Motor" switch on
    • Once the film has rewound, toggle the "Motor" switch off
  11. Remove customer's reel from scanner and put safely away.

Tips

  • Generally all toggle switches on the scanners should be up when the unit is running.

Render/Pulldown via CineCap Velocity HD

Go the "Speed Change" tab and set up the scanned film to be processed.