DIY Super 8 Movie Film to Digital Video Scanner/Transfer Device Telecine

I combined an old Canon Super 8 / Regular 8mm projector with a new 4K digital camera to transfer movie film to digital video. A do-it-yourself high-quality, low tech way of making low-cost transfers of both positive and negative Super 8mm motion picture film. Like a telecine, but true one film frame to digital frame, 18 or 24 frames per second. Actual transfer footage included!
Link to another KZbin 8mm build
• 📽️ 🎞️ 📸 ⤳💾✨ DIY 🛠️ 8mm...

[@jgo1961]

The butterfly shutter (two sets of blades) was common in projectors. The intent was that by increasing the rate of flicker, the flicker became less noticible to human perception during projection than if it flickered only once per frame. Each frame flashes on screen twice. 48 flickers per 24 frames.

[@EmporiumDigitalStudios]

This is simply outstanding. The explanation, the patience, the dedication, the details and ease of understanding makes your video a top selection for DIY transfers. Honestly very pleased and we thank you for your effort of making and sharing this. 💪🏼

[@cbdebill4]

I have to say that your results are the best I've seen so far for DIY transfers.

[@ATRTAP]

Shockingly gorgeous results, thanks for posting this video.

[@mdeange3]

I am impressed with your ingenuity, and the transfer results are superb. Thank you for sharing.

[@lostinthecrypt]

Watching this was a great pleasure. Clear, concise, straight to the point and with a superb narration. Thank you!

[@MattsTimeMachine]

Wow! Super impressive and results! Bravo. 👏

[@misframed]

This looks stunning!

[@scotdotwtf]

absolutely insanely high quality results, great job! 😭

[@yonkel]

Thank you so much for this! This is a great project within my means and your step-by-step layout is a tremendous help! I recently purchased a Wolverine digitizer that initially worked but gave up the ghost after about a dozen 50' reels. So back it went for a refund. I also wasn't too pleased with the compression of the images. I feel like this at least gives me a DIY fighting chance to transfer my box full of home movies.

[@grasserproduction]

The final video is insane!

[@gadgetsgimmicksandtech]

Excellent quality transfer! Very nice.

[@FreshGroundPictures]

Many thanks!

[@RedStarRogue]

That super 8 footage looks very clean and high res!

[@FreshGroundPictures]

Thanks for watching!

[@Efferpheasants]

Superbly narrated and explanation video, and by your results super 8 is the new 16mm.

[@brianmuhlingBUM]

Stunning picture quality with the Steady Gate program. No doubt about K40, it was a great film stock. I still have all my Standard 8 from 1956 on until Super 8 in 1980. Kodachrome for archival memories. 😊 You did a great explanation of your system.

[@rizzlerazzleuno4733]

Amazing DYI project. Thanks for the good video. I made reg 8 and Super 8 films in the 60s & 70s.

[@FreshGroundPictures]

Thanks for watching!

[@RotarySMP]

It is very inspiring to see just what resolution and quality is actually achievable. I need to make my 16mm telecine so thanks for all the ideas you have shared in your video series.

[@FreshGroundPictures]

Best of luck!

[@jeffparkin3122]

Fantastic work!

[@wutangpaul]

This is really cool, and the final result looks amazing

[@FreshGroundPictures]

Thanks!

[@FreshGroundPictures]

Thanks!

[@OnnieKoski]

absolutely wonderful. i've been wanting to scavenge my grandfather's old equipment so i could digitize some old films of my aunts and uncles. one thing that you could have done is mounted a first surface mirror at a 90 degree angle to the film plane so you wouldn't need to cut into the projector. also, painting everything black or putting some sort of lens hood on the lens might keep incident reflections down. GREAT WORK!!!!

[@Citrisity]

Great vlog I really must try this for my next project, it's great to see something on KZbin that really works, thanks.

[@FreshGroundPictures]

Thanks - there's also an update I posted for this project on the channel.

[@flapdance]

This is so awsome....what a lovly build.

[@FreshGroundPictures]

Thank you!

[@user-ew2hw3wd2b]

A very laborious and busy way, but deserves respect

[@mike82y]

the video quality is amazing

[@FreshGroundPictures]

Thanks for watching!

[@computationalcinematographer]

Wow, you even did a medical Arri 2C! Just posted this on the DIY Cine Film Scanner Makers Facebook group page.

[@FreshGroundPictures]

Thanks!

[@HelloKittyFanMan]

Thanks, interesting videos: both this and the 35mm-system ones!

[@FreshGroundPictures]

Thanks for watching!

[@HelloKittyFanMan]

@@FreshGroundPictures: Oh, of course; they are very interesting!

[@javierduhart336]

Thanks for sharing this. I,ve been thinking of doing the same. Only thing I’m lacking is a macro lens of some kind.

[@boywithadolphin]

That is a great project. I am building one using a digital microscope and magnets to hold the camera so I can adjust the position.

[@FreshGroundPictures]

Best wishes with your project!

[@pangrac1]

Thank you! Great inspiration for my. 👍🤓

[@FreshGroundPictures]

Awesome! Thank you!

[@walterhergt2361]

Well, this IS actually perhaps THE simplest, least expensive, and most accessible DIY telecine I've seen. I've also been looking into creating a home telecine to digitize about 2400' of Super8mm and have been experimenting with various approaches. Would you be willing to share a parts list? This seems so attainable and the results are gorgeous.

[@FreshGroundPictures]

Sure - I'll get a list together, most came from Amazon. I might put it into a short video as there are some other tips and improvements I've come up with as well. Thanks!

[@walterhergt2361]

@@FreshGroundPictures Thanks so much! I'm between 67% - 83% there already but your approach simplifies so much. A bit of concrete guidance would make this happen as an early winter project. Subscribed and looking forward to the next installment.

[@petepictures]

Well done, indeed.

[@Waadee101]

Awesome 👏

[@cinemyscope6630]

Great! Thank you!

[@RogerHyam]

Thanks for sharing this. It is really useful and I'm going to do it based on a Eumig projector. What is the specification of your stepper motor? I'm not sure what size to go for.

[@starchamber7700]

This is amazing. You are a legend. My only problem will be connecting the stepper motor to the driver. Would you consider making a video on how yto control a stepper motor. I'm sure it would be helpful to many, not just telecine.

[@FreshGroundPictures]

If you watch the "Update 1" on my channel, there is more info on wiring the stepper motor and driver. I use the stepper motors for their high torque and small size. These motors also allow you to spin the shaft when no power is applied - important because you can thread the film a lot easier. A regular DC motor would also work for my applications, but it is a bit harder to control - in my first 35mm transfer unit I used a regular hand drill motor.

[@Alyxandr]

I would love to do this! It might be neat to run a small film transfer side hustle with a DIY setup like this! My current method of transferring Super 8 is to use a box with a mirror inside to project the film onto and then have a camera shoot the mirror. The problem with that is that the shutter flickering is very visible no matter what settings I use.

[@FreshGroundPictures]

Yes, the only way to do it well is to get a frame to frame transfer - one digital frame for every film frame.

[@Mark_Chandler]

used my cellphone with a five dollar program called procam X. The software allows you to adjust the video framerate to your projectors frame rate. Gets rid of the flicker and ghosting.

[@Flatfrog42]

Very good DIY job. Excellent eplanation and documentation. I struggle with myself to implement the project myself as well. But I'm afraid that my camera shutter won't last that long. With 45 minutes of Super 8 film, the DSLR would have to perform almost 48,000 releases. With 20 hours of edited Super 8 film to transfer, that would mean 1.279.200 releases. More than my Canon EOS 7 D can manage. The advantage of the DSLR is that in RAW format of the photos the contrast range is much better. But I doubt that the shutter will survive this.

[@FreshGroundPictures]

I don't know if your camera has a fully electronic shutter, but that is what I use in these setups. Therefore, there's no mechanical wear. Thanks for watching!

[@alljerseystudiosnj]

Excellent step-by-step video. Adam Savage (a proud Mythbusters "maker" would be proud of your creation! I'm going to use your concept and many of the parts to create a 16mm version using a "parts only" Bell and Howell 1580 C Filmosound". I already own an excellent condition 16mm Elmo so not concerned about modifying the B&H. Wish me luck.

[@hakkimaziz]

where could we watch the full shortfilm...it looks so awesome!!

[@FreshGroundPictures]

I'm still working on restoring it. I'll post it here when it's done. Thanks!

[@marksadler4104]

I love this system!!!!, the quality is fantastic, wonderful colours coming through, much better than the DIY methods using small sensors and also in comparison with the telecine method I used 20 years ago (on screen wall with Sony PC100 miniDV). I''m going to build this!!!!😀 think you missed a trick which I'll see if it would work. For your triggering, you used a microswitch hitting a pin head. I will experiment with this method: The 3 shutter blades that you removed, leave one! I noticed that when the film was correctly framed, one of the blades was directly located at around 12 o'clock above the gate. At that point I would use a contact switch or laser sensor. When the sensor doesn't see the beam it will trigger( light bleed from laser considered) Anyway I have to prove it. Well done!!!👏👏👏 One question sorry, what macro lens did you use?

[@FreshGroundPictures]

Thank you. The macro lens is a Laowa 25mm - I have it in Nikon mount, but it's available in many others. Highly recommend!

[@PaulB19677]

I want to watch your films, are you going to upload them to share? They look fun and turned out great. Great job.

[@FreshGroundPictures]

The biggest hang-up I've had in getting my films out is the sound. They were recorded on single-system Super8 sound cameras. I have the sound from transfers to 3/4" umatic done years ago. This syncs to the new image transfers, but I wanted to clean it up a bit digitally. I've recently come across a couple of fantastic sound resources that are being tested by Adobe - this does a fantastic job cleaning up and restoring old audio. In fact, I just finished running the sound through their system and I think I finally have something that will match the quality of the new digital transfers. Stay tuned!

[@PaulB19677]

@@FreshGroundPictures Can't wait, specially for your earliest videos like the one with yellow pickup. The quality your achieving is astounding.😊

[@alexinnewwest1860]

That looks very good for super 8 very nice setup What super 8 camera were you using

[@FreshGroundPictures]

It was shot with a Canon 814XLS. Thanks!

[@4CardsMan]

What did you do about sound? I have several thousand feet of Super 8 sound film, and the sound is critical. BTW, that Kodachrome 40 was just fabulous. I actually shot a sound film indoors with it, using a 250W photoflood bounced into the inside of an aluminum roasting pan, using an XL camera wide open at 18fps. Portions are underexposed of course, but it would clean up nicely after a high-quality digital transfer.

[@FreshGroundPictures]

Yes, I also have 2 short films shot with sound on them from long ago. Unfortunately I don't have a good way of transferring that sound now to exactly match. Fortunately, I had the film transferred to standard definition 3/4" video on a telecine system many years ago. The sound from those transfers syncs up perfectly because the transfer systems ran at an exact speed. At one point Moviestuff actually made a device to transfer the sound at exactly 23.976fps, but I have not seen one for a while. A sound projector specifically made for telecine (not modified) might work. The key is that the sound has to run at exactly 23.976 frames per second, and most projectors do not have that control.

[@Fischergarten]

Incredibile

[@KyleMiko]

Wonderful video! I am building a 35mm scanner and was wondering what is the model of the tripod you were using there? It looks like just what I need!

[@FreshGroundPictures]

Its a Zacuto Mini DSLR Baseplate - discontinued however. I did manage to find one on eBay though!

[@ghmh]

motion is seen at 24frames/second, but to avoid flickering frequentie has to up above 60Hz - 3 shutters per frame is to avoid flickering is 72hz

[@viens6196]

very clever usage of automotive light bulbs. maybe halogen bulb would give better colours because of CRI rating?

[@FreshGroundPictures]

I hadn't really considered a halogen because I was concerned it was too hot, but maybe that's not the case. It's easy enough to try as the bulb just pops in and out. Thanks for watching!

[@augustalan3528]

way cool

[@KremerErik]

First of all, what a cool project and a very clear explanation of how you converted this projector into an 8mm telecine machine. I have a question: "How do I remove the motor light button from this Canon projector S-400? The screw is already out, but I can't pull it off. I am also busy converting it, with the HQ Raspberry Pi 2 as camera. I would love to hear from you, thanks in advance. Kind regards, Erik Kremer Netherlands.

[@FreshGroundPictures]

Thanks for watching - I'm not sure exactly what you mean by "motor light button". Are you referring to the main switch control?

[@KremerErik]

​@@FreshGroundPictures Thanks for replying and sorry it's not clear what I meant. It concerns the button that turns on the motor and the lamp. To be able to remove the hood of the slow motto and slow fast.

[@Ni5ei]

Great job! Wouldn't it be better to use a lens hood (or even a tube between the lens and the film) to make sure any surrounding light won't interfere?

[@FreshGroundPictures]

Probably, but I transfer in very low light, and the LED is so bright that I've never had an issue.

[@doctorvox]

THANKS, looks like a great conversion, unfortunately the camera and lens combo runs to over £1000. Any suggestions for a cheaper solution!?

[@friedemannwachsmuth3414]

Which Zacuto Mount is this exactly? Looking great.

[@FreshGroundPictures]

I have it all detailed in the update video. It's the Zacuto Mini DSLR Baseplate - unfortunately they don't sell it anymore, but they do show up on ebay. Thanks for watching!

[@Jammerk40]

How long does it take to do one film reel? It looks like a very long process! Thank you for the informal video!

[@FreshGroundPictures]

It depends on the size of the file recording in the still camera. I usually do about 1-2 frames per second for a 24 megapixel frame. This takes 6-8 hours for 20 minutes of footage. It can be sped up if the camera processes quicker, but I don't push it. I prefer higher quality to quicker transfer time, but I guess that's why I built it in the first place. Thanks for watching!

[@GaryZenkerStoryteller]

Wow, cool although some of it was just over my head

[@marcoantoniosalome2365]

Se puede encontrar a la venta todo el sistema?

[@Thebrainymonkey]

This is fantastic. Do you have a list of bits you bought to get it all working?

[@FreshGroundPictures]

Please watch the Update video on my channel - I list the parts, most of which you can get on Amazon. Thanks for watching!

[@Thebrainymonkey]

@@FreshGroundPictures Awesome. Keep up the good work.

[@filmmaster6885]

This is a good design, but I have to pull you up on what you said about the machine-vision camera. They *are* the ones used by professional scanners - specifically Sony Pregius. DCS, LaserGraphics, Kinetta, and Filmfabriek all use effectively the same or similar cameras and probably DFT is as well with their new PolarHQ scanner. Arri uses their own camera (Alexa XT), and Blackmagic also use their own camera which hasn't changed in 7 years even with the new model released this year (the Blackmagic Cintel is a good low-end scanner, but it's not a professional scanner). If you were to get yourself a suitable Sony Pregius S camera and build a bright enough light you should be able to scan at 24fps+ with that set up. Even the Moviestuff scanners which come with lower-end cameras are limited in their colour reproduction and dynamic range not so much by the cameras, but by the low-CRI lights they use. Even the latest model only has a 90 CRI light, and the one they were using before it was dreadful quality.

[@FreshGroundPictures]

Thanks for your comments. I have a couple of new 95 CRI bulbs that I'd like to try soon. At one time I did have an earlier Moviestuff unit and was frustrated by the camera quality. On this unit, I tried a Lumix GH5s as well - micro4/3 chip, and it did not perform quite as well as the full frame camera. I'm sure the quality of machine cameras has improved greatly, but I happened to own the Lumix cameras.

[@filmmaster6885]

@@FreshGroundPictures Oh of course the quality varies greatly. One of mates calls the JAI camera used in the 5K ScanStations and the ScanStation Personals "the junk traffic camera". It's also a machine-vision camera, but designed for traffic use (designed as a red-light speed camera). And yes I appreciate you're making use of your own camera instead of spending stupid money buying a brand new camera plus an appropriate lens. The best bang-for-the-buck for a white light is a Yujiled COB 95+ CRI at 50W, but you will need serious cooling for it. To put it into perspective, the household LED downlight is 9w. All that aside though, your present results are _very_ nice. The design is good, very good if I'm honest, and you should think about investing in a faster camera so you can scan at 30fps not for any other reason. Here's a link to a 5.3K model: www.flir.com/products/blackfly-s-usb3/?model=BFS-U3-161S7C-C or spend a little bit extra and get the one that LaserGraphics uses: emergentvisiontec.com/products/hr-camera-series/hr-16000-sb/

[@Jmexis]

You should do a video on how to edit super 8 and 8mm film to enhance quality

[@FreshGroundPictures]

I'm working on an update to the Super 8 scanner video. In addition to supplying more build info, I'm also outlining the post-production process I use on the footage. I think you'll find it interesting.

[@carloshenriquealberto]

How about the super 8 with sound. My films have a magnetic track. Thank you

[@brianmuhlingBUM]

Could you tell me the brand of the adjustable camera mount that you bought, then discarded for the one you used. Great production on both the 8mm and 16mm transfer machines, and loved the story on the Arri 35BL. Thanks. 😊

[@FreshGroundPictures]

Hello - I got it from BHPhoto, it's a Neewer Pro 4 Way Macro Focusing Rail Slider, BH #NE10033981.

[@brianmuhlingBUM]

@@FreshGroundPictures Thank you FGP. I built my first transfer machine in 1986 for commercial work doing 8, S8 and 16mm at 18 and 24 fps. I retired years ago, but HD has got me and I am building an 8 and S8 unit using some of your valuable information. My friend in New Zealand is a mine of information on flat field copying lenses and also has some great ideas. There is a lot of information on a Super 8 Kodachrome frame and I want to see it all on my giant screen through my Panasonic projector. Again, thank you for all your videos and valuable help. Regards, Brian Western Australia 😀

[@FreshGroundPictures]

@@brianmuhlingBUM Thanks Brian - good luck on your project!

[@theKEB42]

WoW

[@blamm5348]

Overkill on the stepper motor controller. LOL

[@TwoboltsPictures]

Fantastic looking footage!! Great job!! Are you interested in possibly selling your scanner?! Or building one to sell?

[@yasumotonoboru]

Is the DSLR on timelapse mode or are you manually taking one picture at a time with the remote?

[@FreshGroundPictures]

The DSLR is triggered automatically by the momentary contact switch added to the projector. It's not on timelapse, but it is using the remote connection in the camera.

[@predatoramses]

Is there a possibility that you have where to buy the products?

[@HelloKittyFanMan]

Of the bulb: "It's way too bright..." Of the LED light: "Very bright..." Uh... uhmmm... OH! Okay... I guess. 😛

[@jarhii]

Very nice! I've been working on a 3d printed solution to scanning 8mm and 16mm film. I've gone through a few iterations (from optical recognition of the sprocket holes to driving a sprocket with a stepper to advance in precise increments). I still don't have registration exactly where I want, but I've gotten it down to fractions of a mm. Still, it needs stabilized in post. As it happens, in the meantime have squired multiple 16mm projectors and I may try modifying one in a similar way. The only downside is I wouldn't be able to overscan unless I modified the gates, too. How stable is the registration from the projector?

[@FreshGroundPictures]

I did a video on my 35mm system using an old arri medical camera - the registration on that is rock solid. Super 8 is another animal though. The system itself is not steady as the "pressure plate" is in the cartridge - a piece of plastic. I was not expecting a lot, even though I think the projector is fairly steady. 16mm cameras and projectors are built to much better tolerances. I have an Elmo sitting on the shelf and I pulled it out the other day to see if I could possibly convert it. I was surprised how well the gate and transport claw was constructed. I think I will try it, as 16mm cameras are mostly too small and expensive to be modified for transfer. Even though it's a bit riskier for the film, I like the idea of mechanically stabilizing the film in a gate with a pressure pad to keep it steady. As long as the projector movement is not worn out, I think the results might be rather good.

[@gomezcreativemedia]

Great telecine video! How can SUNY Purchase College Film School purchase your product so we can telecine Super 8mm to Blackmagic RAW?

[@FreshGroundPictures]

At the moment, I don't have plans to sell it - the projector I used is getting difficult to find. I'll let you know if anything changes, or if I come up with a more easily produced design. Thanks for watching!

[@nicolablasco]

Hello, everything is fantastic and I congratulate you. But I have a question: using a reflex camera after 150k shots, the shutter could be damaged. The repair is too expensive. 150k shots of Super8 frames equals 125 minutes of digitized film. When you get to this amount of shots, do you replace the camera?

[@FreshGroundPictures]

Hello - I think it's in the video, but I use a mirrorless camera like the Lumix S5, strictly on electronic shutter - nothing mechanically moves in the digital camera, and the frame is taken electronically.

[@kwameboadi3245]

Amazing. Unfortunately I’m not as mechanical savvy as you seem. Would it be possible to build one for me at a price? 😭

[@FreshGroundPictures]

Thanks for the offer, but right now I have way too many projects going on - perhaps in the future...

[@mystarstudios]

what is the name of the DSLR mount you used and where did you get it?

[@FreshGroundPictures]

It's a Zacuto Mini DSLR Baseplate - unfortunately discontinued, but you might find one used.

[@yonkel]

At 12:17, how did you cut away that portion to make the extra room for the lens? Coping saw or Jeweler's saw? I'm using the same projector and it looks like I'll need to remove a few more parts/elements on the inside to clear the way. Did you have to separate the projector body further to be able to cut out that section? I want to be as careful as I can in the handling of everything to prevent damage to the gate etc. My project is going great with all other modifications completed. I'm just anticipating what I'll need to do when I get to that part of it. Thanks for any comments/help.

[@FreshGroundPictures]

I kept the projector together, as it was difficult to get it down to the support plate without removing the gate mechanism, which I didn't want to do. I taped off and covered everything on the projector to prevent metal pieces from getting inside. I also taped the backside to keep out metal dust from the cut. (I used blue painters tape) I used a Dremel with a small cutting disc for metal. It worked well, but I wish the cut had been a little cleaner. It worked fine though. Good luck with your project and thanks for watching!

[@yonkel]

@@FreshGroundPictures Thanks so much! Makes sense. I do have a Dremel. I just need to pick up a good cutting disc. To hold the gel filter for the led lamp. I used a transparent 35mm film canister without the cap. I cut a notch halfway along the side from the open end and a large window out of the side. Also, drilled a large hole through the bottom for additional ventilation. Then I glued the gel to the outside curving it around the cut-out window. The notch in the canister slides over the lamp support bracket and keeps the gel nicely in place.

[@milanjani]

But I still need to send film to lab for processing before we can digitize? Question may sound silly but I am new to these.

[@FreshGroundPictures]

Yes, that's correct.

[@HelloKittyFanMan]

So why _don't_ Super 8 cameras have a pressure plate there?

[@craigw.scribner6490]

What Super 8 camera(s) did you use to shoot your home movie? A Beaulieu? A Nizo? Just curious, as the image quality is really impressive.

[@FreshGroundPictures]

I used a Canon 814XL-S, with sound recording.

[@craigw.scribner6490]

@@FreshGroundPictures Thanks! I really enjoyed this video and am now a subscriber to your channel. I had a Kodak M12, and then a GAF-ST/802, and shot lots of film which I need to digitize. The Canon 1014XL-S was my "dream camera" back in the seventies. I never got one, but I did find a lightly used Nikon R8 for a good price. I have several dozen rolls of Super 8 film I need to digitize. Your setup is by far the best I've seen and you did an absolutely outstanding job of explaining its setup and construction. Thanks again!

[@daxroman]

Excellent construction. From what I understand, a functional projector is not needed to be able to do the conversion, what is needed is the device with the mechanical functions, all the original electrical part is not needed, right? In that case, could I buy one on ebay that is not electrically functional?

[@FreshGroundPictures]

Old projectors are kind of simple, mostly mechanical devices - in some cases though the existing bulb might cost more to replace than the projector. Unless things have changed, they usually were pretty cheap now - thanks!

[@daxroman]

@@FreshGroundPictures Can you tell me the size and reference of the belt used to connect the motor to the projector? thanks

[@FreshGroundPictures]

Hello - I used the existing projector belt so I don't have exact measurements or reference for it. It is 4mm wide, round, and about 250mm in length.

[@daxroman]

@@FreshGroundPictures Thanks, I'll start putting mine together in the next week, your video is an excellent guide, I'm just waiting for all the components to arrive.

[@BlondieSL]

This is excellent. Some great tips too. I didn't even consider the jitter that the original camera(s) caused. What software did you use to put all the frames together to create the video? Or does that camera have a mode for that? Also, where does one get a microscope lens like that? I do have one, BUT, it's on the microscope and I use it daily. LOL I won't be scoffing that any time soon. LOL Also, you gave me some ideas on how to trigger the frames for capture. I have to look at the projector that I plan on using. It doesn't use the claws to move the film. Rather, it uses pinch rollers. I had to go that route, because my really old unit had the toothed sprocket which destroyed some old film by literally ripping the separations between drive holes. Not good. Fortunately, I found 2 projects (same Make, just 2 slightly different models) that use the pinch rollers method. Those ruined films now run perfectly through these. When I decide to get off mah BUTT and do the project, I'll have to see how these projectors trigger the advance of the film to each frame. I hope that it's something easy to tap into, but rather than a switch like that, I plan on using a optical sensor to avoid mis-triggering by noisy switches. As for the light course, I LOVE how you literally put a "tube" around the LED source to even out the light. I would not have thought of that at all. My orig. plan was to use some plastic defuser pieces from an old laptop LCD. I'll still use that, but I'll copy your idea, because, well, it's just brilliant. LOL Thanks for your work on this.

[@FreshGroundPictures]

I used Adobe After effects to put the frames together and crop if needed. The lens is a full-frame Laowa 25mm Macro, designed for extremely close work. The whole key to getting the system to trigger correctly is figuring out the exact moment when everything is in the right place (the film frame) for the digital capture, and determining a consistent way to trigger the capture on each frame - a rotating shaft, like in the projector I used, revolves once for every frame.

[@johngriffin4831]

@@FreshGroundPictures Great video. Can you tell me what software you use for digitally stabilising the footage - i.e. correcting for small differences in frame positioning as the film progresses?

[@FreshGroundPictures]

@@johngriffin4831 There are a number of programs you can use - I edit with Avid Media Composer and I used the stabilizer in that. There's also a stabilizer in Adobe Premier & After Effects, as well as Davinci Resolve. Depending on the motion within the frame, you might have to tweak the settings to get the best results. My advice is to use the minimum settings first, as frame jitter is not that hard to correct - sometimes the program goes overboard and produces weird results.

[@johngriffin4831]

@@FreshGroundPictures thanks, I used warp stabilizer in Premiere Pro but it seems to excessively crop the frame when all it needs to do is vertically shift the frames relative to each other. I'll have a look at the others you mentioned.

[@FreshGroundPictures]

@@johngriffin4831 I think Avid now has a free version and hopefully it has the stabilizer included. Honestly I found the Media Composer to be the best.

[@cambapintudo]

Good job! I have the same Canon projector..could you do the modification for me? $$$

What kind of macro lens was used?

[@FreshGroundPictures]

I use a 25mm Laowa Macro lens - not too expensive and very close focus.

[@CL-bq9ul]

is there anywhere we can watch the short film?

[@FreshGroundPictures]

Working on it - will post on this channel.

[@colmhiggins6091]

Is there any reason why this method wouldn't work for negatives as well as reversal film? I'm specifically thinking black and white. Obviously you'd have to invert the image in post. I've scanned 120 negs on a flatbed scanner, and they turned out fine, so I can't see why not.

[@FreshGroundPictures]

It should work fine. Color is a bit more tricky - check out the video I did on my Version 2 35mm Color Negative Transfer System. Thanks!

[@colmhiggins6091]

@@FreshGroundPictures Nice one! I'll take a look. Great video by they way.

[@TiMitchMedia]

What is the big difference between powering the LED light with the USB power supply, and using the bench power supply for the stepper motor? Since they both run on 12v power, could the motor also be powered using a similar power supply as the LED light? Or is there a special reason why the LED light and the stepper motor are powered separately? Forgive my ignorance 😅 I’m about to start work on my own 16mm transfer system. Your videos on 8mm and 32mm film transfers have been very helpful!

[@FreshGroundPictures]

I chose to use the bench power supply for the motor because you can alter the amperage, and I wasn't sure what would work best for the tension on the motor - how high the amperage needed would be. I could have then wired the LED light from that, but it was cleaner to just use another small power supply - just yank it out to turn the led on and off. Offhand, I don't know if the small power supply is beefy enough for both. BTW, the power should be 12 volts, whereas a USB supply is 5 volts I think.

[@ericbarr4199]

@@FreshGroundPictures So, looking at the video, while running you look to be pulling around .8A. Would it be safe to just use another regular 12V power supply rated at 1A to run the motor circuit, instead of the more costly variable bench power supply? Please forgive my ignorance on the subject, I believe it would be fine, but would like to get your opinion on it. Great build and presentation! I have an old Canon P-400 projector I am preparing to repurpose with your basic design using my Canon 90D Camera. I have a Kodak Reels telecine and am sending it back. Cannot get the basic quality I am looking for, the way it over-corrects and exaggerates color and over-compresses the video. Your build convinced me I could get much better results with equipment I mostly already have. And the Topaz software is already in my arsenal as well, makes amazing "fairy dust" in post! Thank-You!

[@FreshGroundPictures]

@@ericbarr4199 Thanks, have fun!

[@ericbarr4199]

@@FreshGroundPictures Would you recommend using a regular 12V 1A power supply in place of the variable bench supply?

[@FreshGroundPictures]

@@ericbarr4199 That should work fine. Considering that the only power draws are the motor and lamp, you could use a 12 volt, 5-10 amp source.

[@filippocarlot]

Wow! I would love to do such a thing but I have no idea where to buy those components like the motor and the pulley and the controller for the motor. Also when you buy them are there instructions on how to connect them? Could you give me some links to buy them?

[@FreshGroundPictures]

I have another video called Update 1 on this system where I give details and information on most of the parts. I believe if you take that info and search on Amazon you can find just about everything except the projector. I'd do ebay for an old projector.

[@pebey]

Your setup seems simpler to make than many I've seen. As soon as someone says the words "Raspberry Pi", I move on. I don't want to destroy a good projector to do this, but I found a very basic Kodak Brownie that will do, and won't be missed if I have to, you know, wreck it. I'd probably not go to the trouble of making fancy brackets to hold things in place, when for instance you can just solder leads onto the LED array, and bent the wires until the lamp's in a good spot. Anyway, I'll give it a try. Your results look darn good. (A lot of people put down the Wolverine machine, and I take it it doesn't handle splices as well as it should - but people complain that it adds "jpeg artifacts" - kids, that's film grain you're looking at. Buncha amateurs!)

[@FreshGroundPictures]

Thanks for watching - have a good build!

[@pacowhn4205]

its hard to find canon cine projector c-400 , is any other choice you recommend

[@FreshGroundPictures]

I don't have any one specific projector to recommend, but the basic system could probably be applied to many other projectors. One of the key things is that the film gate is not so far back that the macro lens can't get close enough to it. Old projectors are pretty cheap, so you could get one and experiment.

[@pacowhn4205]

Thanks for your advice 🙏🏻🕺🏻

[@pacowhn4205]

and also , 1000mA 2-30 VDC DC-DC Constant Current Step-Down LED Driver 6-36Vin Wire Style

[@FreshGroundPictures]

@@pacowhn4205 I would think so. I use it to insure that the voltage to the LCD, and hence the brightness frame to frame does not vary significantly.

[@daxroman]

When cutting the blades, you must be careful NOT to cut the screws that have the blades on the inside, those are the ones that move the outside blades and this moves the part where the needle head is placed to activate the limit switch. If the screws are cut it will not work well, it already happened to me and now I am looking at alternatives.

[@daxroman]

6:37 in the video.

[@HelloKittyFanMan]

Wouldn't you get an even cleaner transfer by not letting outside-angled light leak in between the gate and the lens?

[@FreshGroundPictures]

Theoretically, but I transfer in very low light, and the LED is so bright that I've never had an issue.

[@HelloKittyFanMan]

@@FreshGroundPictures: Oh, so you do actually turn the room lights off or very dim when you do this for real, even though you don't show that; is that what you're saying?

[@FreshGroundPictures]

Yes - although I think I've accidentally left the room lights on and it didn't seem to matter, as the LED is so bright.

[@HelloKittyFanMan]

Huh, interesting, @@FreshGroundPictures. But you still don't want it quite AS bright as the old incandescent bulb, which is why you replaced that one with the LED one in the first place, right?

[@HelloKittyFanMan]

Hmm, I don't think I would trust one of those as-it's-moving systems unless it was up at the rank of the Rank Cintel.

[@thumperstrauss4431]

Started off thinking maybe I could follow these steps, too, and then the bottom fell out at minute four. The amount of things I don't know is shocking. Hoping someone decides to make these things and sell them on Etsy.

Excellent picture quality, but very annoying stepper motor sound.

[@FreshGroundPictures]

You don't actually need a stepper motor - I chose it because of size, torque and the ability to move slowly without extra gearing that might prevent rotating the motor shaft when not powered. My original 35mm unit used a regular 12 volt drill motor, but there's extra gearing built-in around it to get really slow speeds.

[@davida5296]

has anyone tried to modify a flatbed scanner, and scan about 17 inches of frames a pass, then use a program to assemble the frames in to an mp4 or whatever? the quality could be much better with a flatbed scanner and at 17 inches of s8 or 16mm, it wouldn't take so long to capture the footage. it would work out to about 25 scans per minute of 16mm

[@HelloKittyFanMan]

LOL, 4K video from Super 8 film? That sounds like overkill because I really don't think the grain count of Super 8 would be enough to match that sort of video resolution. It even begs questioning _standard_ HD. It'd be interesting to see if the way 1920x1080 pixels divide up the comparably very coarse grain of such a small film stock could still produce better results than SD video. Maybe that's debatable but I have a hard time imagining that 4K+ could do any better. Even 35MM film in typical motion orientation just approaches 8K video (33MP), at least based on what I learned in college.

[@HelloKittyFanMan]

"High quality on a budget." Oh shoot, you missed a perfect opportunity to be a bit contrarian for better effect: "High quality on a _low_ budget," ha! (That's even more accurate, anyway, since just about everything has some kind of budget, even if that's a high one.)

[@HelloKittyFanMan]

"I'm not gonna show that because it's too complicated to explain." Well, why not just show something like that _without_ trying to explain it, and just let us try to figure it out visually, then? No harm in just letting us _see_ something you can't explain the operation of... is there?

[@carbonarrow7]

What was not calculated in cost is the Full frame digital camera to which most people do not have, do to the cost of $1997.99 plus tax for just the body and no extra batteries, charger, lenses. The cost of the projector and parts. The cost of the camera lens which is $400 plus not counting the cost of the adapter ring to fit that camera.The cost of the shutter release plus parts for modifications. This is a very very expensive DIY project. This is also not counting the ware and tear, the high shutter counts to do one small roll of 8mm film, one 50' roll (4 minutes) of 8mm film at 16.67 fpm requires 4000.8 shots minus any bad frames on a camera. Super 8mm 50', A little less shutter counts for 18fps and a little less (minus only 400 frames from the 16.67fps 8mm film), for 24fps. The cost of replacing the shutter in the camera frequently due high shutter usage and wear out. So therefore, it's cheaper to buy a Kodak Reelz 8mm & Super 8 or Wolverine 8mm & Super 8 Reels to Digital MovieMaker Pro Film Digitizer to transfer this film to digital then edit in say Magic Vegas pro (Sony Vegas Pro) editor or Pinnacle Studios Ultimate. Do not use the other free editors like VideoPad, DaVinci Resolve, OpenShot, HitFilm Express, etc. They are all limited in functions to take out jitters, scratches, set correct speed, etc. Free means limited functions for amateurs or beginners, but just enough corrections for basic limited cleanup and no advance editing functions to correct anything else.

[@jcobb2073]

Every piece of equipment needed could be downgraded for cost savings, this in no way requires a $2,000 camera. It's not a $50 project, but the level of quality attained here compared to something like a Wolverine is night and day. This method could get you 4k film transfers, whereas the Wolverine tops out at a very compressed, low dynamic range, and low quality 1080p. Also, you may have missed some information in the video. He says the projector and all the extra parts cost him around $100. You could sacrifice a little optical quality and get a Mitakon 20mm 4.5x macro lens for half the price of the Laowa, and buy a mirrorless dslr second hand for around $250-$300. Which brings me to the other thing you missed, which is using electronic shutter. Mirrorless cameras don't have to use a physical shutter, so you don't have any shutter wear since you're never using it, like he said and did in the video. This project could be done for around $600 with the changes mentioned, while delivering an astoundingly superior end result than anything a Wolverine or a Kodak Reelz could produce, which both cost $400. ($300 for the 720p version)

[@bobafett64]

@@jcobb2073 After seeing this video I can not ever even consider digitizing my 8mm movies with a garbage solution like the Wolverine orKodak Reelz. The difference is just mindblowing!

[@Graeberwave]

@@jcobb2073 I'm confused about the meaning of a 4k film transfer. Perhaps you could answer it? Do I need a full frame digital camera for a 4k film transfer? And isn't there a certain point after which going for more resolution is pointless? Thanks.

[@jcobb2073]

@@Graeberwave A "4k film transfer" is just a scan of film with a digital sensor at 4k resolution. Secondly, 4k doesn't rely on the sensor size, only the amount of pixels. Anything from a full frame sensor down to a micro 4/3 camera sensor could be 4k. Using a camera of any size, that has a 4k resolution digital sensor, could be used in this rig to achieve 4k film transfers. Lastly, there definitely is a point where you achieve diminishing returns in regards to resolution with these smaller size films. File sizes can quadruple from 1080p HD to 4K, your grain might be much larger than a 4k pixel, or your lens might not be sharp enough to capture the film in it's highest detail. All those reasons would be valid ones to not scan it in 4k, but here would be my personal argument against those points. 1: People often think resolution of the final video is all that matters, but the bitrates and compression really dictates a lot of why higher resolutions might look better, even though 8mm film might not be big enough to give "4k detail". Between two same type h.264 HD and 4k exports of your scans, the 4k will always look better, even if your image is a lower optical resolution. This is because a 4k file will have a higher bitrate per frame. You could increase the bitrate of a 1080p export, but then that file size will be much bigger, so I personally opt for 4k and keep the extra pixels. 2: when scanning with this method, you're taking still images. most digital cameras are at least 12MP, so each image will have slightly greater resolution than a single frame of 4kUHD footage. I've heard of many use cases where the type of film scanned saw benefits being played back in 4k, even down to 8mm film, due to small grain sizes on low iso film. The resolution of your end video is up to you once you put your stills into the editor, so unless you're pressed for storage space, I'd again personally go ahead and render a 4k video. 3: I'd stick to community approved macro lenses to keep sharpness high. Especially with these smaller film stocks, you don't want to lose any more contrast. The lens used in this video is fantastic and very sharp, but there are still great macro lenses for more affordable price points.

[@Graeberwave]

@@jcobb2073 Amazing. Thank you.

[@user-ew2hw3wd2b]

When there are a lot of films, this method is not effective

[@BD12]

Why can't someone just make a scanner that doesn't suck ass. If the Wolverine only had the ability to control the white balance, I'd almost be okay with the damned thing.