workprinter for blowups?

[rurgis]

just out of curiosity- anyone tried the workprinter for 16 or 35 blowups?

would it be any different from the ordinary optical blowup?

i guess ideally you would never bother doing such a thing, and just go get a print of your digitalized material, but then again you have sold your house to make your film, and have no money whatsoever. all you have is lots of time and a workprinter.

if you go frame by frame, could you edit directly to the blowupmedium without doing a edited super8 reel? no scratches, and hopefully not to much dust.

and next- could you go directly from a negative super8 stock, to a positive print? i mean if only one copy would do it for you.

-or am i just loosing my mind....

[tlatosmd]

Does the workprinter do HD resolution at all? It's what you need for blowups.

[Andreas Wideroe]

Sure!

Just use a HD camera and you have HD from the WP.

Did you mean optical blowup? If so, you need some more lenses and another machine for the copy.

/Andreas

[mattias]

i've been wanting to do this since riger first proposed the workprinter. my idea was to use the single frame function on a 16mm camera that has an electronic remote socket and just zoom in and go as usual. kind of hard to get the timing right i guess since there's no immediate feedback, but maybe running the wp at the slowest setting and listening for the correct phase could work?

i even asked one of the members on this board if i could use his wp to test my idea, but he said no. maybe he's willing to change his mind now that we know each other better... ;-)

/matt

[rurgis]

i guess if your camera has a video tap you will get a good controll over the process, but yes, timing some shots (static ones mostly) will be a bit of extra work.

[/quote]

[MovieStuff]

i've been wanting to do this since riger first proposed the workprinter. my idea was to use the single frame function on a 16mm camera that has an electronic remote socket and just zoom in and go as usual. kind of hard to get the timing right i guess since there's no immediate feedback, but maybe running the wp at the slowest setting and listening for the correct phase could work?

It would work fine with the WorkPrinter Jr and at least one client has already done it. He used a solenoid release on a 16mm camera. The WorkPrinter advanced and triggered the camera while the film was in dwell time. No problem.

Roger

[super8man]

I'm curious on the mechanics here: I am assuming the 16mm camera is using a macro setting, zoomed in tight, but what is it zooming in on? The image on the convex mirror? or the image in the gate? thanks.

[MovieStuff]

I'm curious on the mechanics here: I am assuming the 16mm camera is using a macro setting,...

No macro.

... zoomed in tight, but what is it zooming in on? The image on the convex mirror? or the image in the gate? thanks.

It would be one and the same since the aeriel image of the gate exists within the field lens (no convex mirror). In the case I mentioned, the client removed the condenser lens (field lens, whatever.....) and used a set of extension tubes to basically make an optical printer. You could do it with the condenser lens in place if you have the right zoom lens for the 16mm camera. He just happened to have a nice set of extension tubes and was handy with tools. It would work either way. The Elmo 1012 XLS also works pretty good as a makeshift optical printer with the WorkPrinter-Jr. The Fujica ZC1000 would be idea since it has an electronic single frame and would take extension tubes. The light source has to be changed if dealing with color film, however.

Roger

[super8man]

Ah, just tweak the color in post...(just kidding!!!).

Thanks Roger.

Mike

[Actor]

i've been wanting to do this since riger first proposed the workprinter. my idea was to use the single frame function on a 16mm camera that has an electronic remote socket and just zoom in and go as usual. kind of hard to get the timing right i guess since there's no immediate feedback, but maybe running the wp at the slowest setting and listening for the correct phase could work?

It would work fine with the WorkPrinter Jr and at least one client has already done it. He used a solenoid release on a 16mm camera. The WorkPrinter advanced and triggered the camera while the film was in dwell time. No problem.

Roger

Why not with the WorkPrinter XP? Is it because the Jr. is 1 fps instead of 6 fps?

[Actor]

Ah, just tweak the color in post...(just kidding!!!).

Thanks Roger.

Mike

Seriously, I think anyone wanting to do this would be well advised to first get some experience in making color still prints with an enlarger. Get some experience with the operation of color enlarger heads. Perhaps even cannabalize one for the filters and whatever else they contain to make it part of your WorkPrinter/Camera setup.

You'd have to use print film for good results. Kodak makes several for color/B&W and reversal/negative originals. These are not available in S8 (although I've heard of getting at least one of them in D-8 ). That means a blow-up to 16/35mm.

Once you've exposed the film are labs prepared to process it? Do print films have different chemistry?

The ideal of a 16mm positive print from a super8 200T negative intrigues me, but at the moment I have neither the time nor the funds to try it.

Makes me wonder if it is still possible to go film-all-the-way? Can you even get 16mm mag track (AKA fullcoat) any more. It would be great to shoot 200T S8 and edit a blown up 16mm work print. Without edge numbers conforming your S8 neg into A/B rolls would be difficult but not impossible. Hopefully you could manage to marry your sound to the answer print before processing.