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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Front panel of Sony Blu-ray player

Blu-ray Won, But At What Cost?

Over on their substack [ObsoleteSony] has a new article: The Last Disc: How Blu-ray Won the War but Lost the Future.

In this article the author takes us through the history of Blu-ray media and how under Sony’s stewardship it successfully defeated the competing format of the time, HD DVD. Sony started behind the eight ball but through some deft maneuvering managed to come out on top. Perhaps the most significant contributing factor was the inclusion of Blu-ray drives in the PlayStation 3.

The person leading the Blu-ray initiative for Sony was Masanobu Yamamoto, whose legacy was the compact disc. What was needed was a personal media format which could deliver for high-definition 1080p video. As the DVD format did not have the storage capacity required, new formats needed to be developed. The enabling technology for both Blu-ray and HD DVD media was the blue laser as it allowed for more compact encoding.

Sony’s Blu-ray format became the dominating format for high-definition personal media…just as physical media died.

Thanks to [Stephen Walters] for writing in about this one.

Dummy Plug Gets Smarter With Raspberry Pi

[Doug Brown] had a problem. He uses a dummy HDMI plug to fool a computer into thinking it has a monitor for when you want to run the computer headless. The dummy plug is a cheap device that fools the computer into thinking it has a monitor and, as such, has to send the Extended Display ID (EDID) to the computer. However, that means the plug pretends to be some kind of monitor. But what if you want it to pretend to be a different monitor?

The EDID is sent via I2C and, as you might expect, you can use the bus to reprogram the EEPROM on the dummy plug. [Doug] points out that you can easily get into trouble if you do this with, for example, a real monitor or if you pick the wrong I2C bus. So be careful.

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