Converting A 1980s Broadcast Camera To HDMI

Although it might seem like there was a sudden step change from analog to digital sometime in the late 1900s, it was actually a slow, gradual change from things like record players to iPods or from magnetic tape to hard disk drives. Some of these changes happened slowly within the same piece of hardware, too. Take the Sony DXC-3000A, a broadcast camera from the 1980s. Although it outputs an analog signal, this actually has a discrete pixel CCD sensor capturing video. [Colby] decided to finish the digitization of this camera and converted it to output HDMI instead of the analog signal it was built for.

The analog signals it outputs are those that many of us are familiar with, though: composite video. This was an analog standard that only recently vanished from consumer electronics, and has a bit of a bad reputation that [Colby] thinks is mostly undeserved. But since so many semi-modern things had analog video outputs like these, inspiration was taken from a Wii mod chip that converts these consoles to HDMI. Unfortunately his first trials with one of these had confused colors, but it led him to a related chip which more easily outputted the correct colors. With a new PCB in hand with this chip, a Feather RP2040, and an HDMI port the camera is readily outputting digital video that any modern hardware can receive.

Besides being an interesting build, the project highlights a few other things. First of all, this Sony camera has a complete set of schematics, a manual meant for the end user, and almost complete user serviceability built in by design. In our modern world of planned obsolescence, religious devotion to proprietary software and hardware, and general user-unfriendliness this 1980s design is a breath of fresh air, and perhaps one of the reasons that so many people are converting old analog cameras to digital instead of buying modern equipment.

Tiny Little TV Runs On ESP32

Few of us keep big old cathode ray tubes in the house anymore, but we can still appreciate the form factor of the classic TV. Indeed, the Tinytron from [t0mg] is a neat little tchotchke in this vein — a miniature TV that you could just about fit on a keyring.

[t0mg] wanted this project to be quick and easy to put together. It starts with an ESP32-S3-LCD-1.69 from Waveshare. It’s an all-in-one dev module which combines the microcontroller with a small screen right out of the box. You just have to solder a single six pin header to hook it up with an SD card reader and battery, and you’re done with the electronics. Even the case is a cinch to build, with four 3D printed components that can be spat out of a Prusa MK4S in just half an hour. Programming it can be done via a web browser. Just about the only thing it’s missing is a speaker — this TV is video only.

To watch things on the Tinytron, you just have to prepare them properly and drop them on the SD card. [t0mg] provides a web page for transcoding the video files, although you can do it yourself locally with ffmpeg if you prefer.

If you’re looking for a silly gift for a TV-obsessed friend, you could probably whip up a Tinytron in a couple hours or less. It reminds us of another great project, the tiny Simpsons replica TV that endlessly plays the greatest cartoon on Earth.

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A 3D Printed 16mm Movie Camera

The basic principles of a motion picture film camera should be well understood by most readers — after all, it’s been well over a hundred years since the Lumière brothers wowed 19th century Paris with their first films. But making one yourself is another matter entirely, as they are surprisingly complex and high-precision devices. This hasn’t stopped [Henry Kidman] from giving it a go though, and what makes his camera more remarkable is that it’s 3D printed.

The problem facing a 16mm movie camera designer lies in precisely advancing the film by one frame at the correct rate while filming, something done in the past with a small metal claw that grabs each successive sprocket. His design eschews that for a sprocket driven by a stepper motor from an Arduino. His rotary shutter is driven by another stepper motor, and he has the basis of a good camera.

The tests show promise, but he encounters a stability problem, because as it turns out, it’s difficult to print a 16mm sprocket in plastic without it warping. He solves this by aligning frames in post-processing. After fixing a range of small problems though, he has a camera that delivers a very good picture quality, and that makes us envious.

Sadly, those of us who ply our film-hacking craft in 8mm don’t have the luxury of enough space for a sprocket to replace the claw.

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A frame from the two billion frames per second camera

Filming At The Speed Of Light, About One Foot Per Nanosecond

[Brian Haidet] published on his AlphaPhoenix channel a laser beam recorded at 2 billion frames per second. Well, sort of. The catch? It’s only a one pixel by one pixel video, but he repeats it over and over to build up the full rendering. It’s a fascinating experiment and a delightful result.

For this project [Brian] went back to the drawing board and rebuilt his entire apparatus from scratch. You see in December last year he had already made a video camera that ran at 1,000,000,000 fps. This time around, in order to hit 2,000,000,000 fps at significantly improved resolution, [Brian] updated the motors, the hardware, the oscilloscope, the signalling, the recording software, and the processing software. Basically, everything.

One of the coolest effects to come out of this new setup is how light appears to travel noticeably faster when coming towards the camera than when moving away from it. It’s an artifact of the setup: laser beams that reflect off of fog particles closer to the camera arrive sooner than ones that bounce back from further away. Or, put another way, it’s special relativity visualized in an experiment in [Brian]’s garage. Pretty cool.

If you found all this intriguing and would like to know more, there’s some bonus material that goes into much more depth.

In the center of the picture is a colored drawing of a man wearing a kimono, climbing out of a window. To the left and right the sides of two other pictures are just visible.

The Challenges Of Digitizing Paper Films

In the 1930s, as an alternative to celluloid, some Japanese companies printed films on paper (kami firumu), often in color and with synchronized 78 rpm record soundtracks. Unfortunately, between the small number produced, varying paper quality, and the destruction of World War II, few of these still survive. To keep more of these from being lost forever, a team at Bucknell University has been working on a digitization project, overcoming several technical challenges in the process.

The biggest challenge was the varying physical layout of the film. These films were printed in short strips, then glued together by hand, creating minor irregularities every few feet; the width of the film varied enough to throw off most film scanners; even the indexing holes were in inconsistent places, sometimes at the top or bottom of the fame, and above or below the frame border. The team’s solution was the Kyōrinrin scanner, named for a Japanese guardian spirit of lost papers. It uses two spools to run the lightly-tensioned film in front of a Blackmagic cinematic camera, taking a video of the continuously-moving film. To avoid damaging the film, the scanner contacts it in as few places as possible.

After taking the video, the team used a program they had written to recognize and extract still images of the individual frames, then aligned the frames and combined them into a watchable film. The team’s presented the digitized films at a number of locations, but if you’d like to see a quick sample, several of them are available on YouTube (one of which is embedded below).

This piece’s tipster pointed out some similarities to another recent article on another form of paper-based image encoding. If you don’t need to work with paper, we’ve also seen ways to scan film more accurately.

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Video Clips With Emacs

Sometimes it seems like there’s nothing Emacs can’t do. Which, of course, is why some people love it, and some people hate it. Apparently, [mbork] loves it and devised a scheme to show a video (with a little help), accept cut-in and out marks, and then use ffmpeg to output the video clip, ready for posting, emailing, or whatever.

This was made easier by work already done to allow Emacs to create subtitles (subed). Of course, Emacs by itself can’t play videos, but it can take control of mpv, which can. Interestingly, subed doesn’t insist on mpv since it won’t work on Windows, but without it, your editing experience won’t be as pleasant.

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Stephen Hawes operating his LumenPnP

The LumenPnP Pasting Utility: Never Buy Solder Stencils Again?

Over on his YouTube channel the vivacious [Stephen Hawes] tells us that we never need to buy solder stencils again!

A big claim! And he is quick to admit that his printed solder paste isn’t presently quite as precise as solder stencils, but he is reporting good success with his technique so far.

[Stephen] found that he could print PCBs with his fiber laser, populate his boards with his LumenPnP, and reflow with his oven, but… what about paste? [Stephen] tried making stencils, and in his words: “it sucked!” So he asked himself: what if he didn’t need a stencil? He built a Gerber processing, G-code generating, machine-vision implemented… website. The LumenPnP Pasting Utility: https://paste.opulo.io/

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