WorkPrinter-16 RGB Instructions

You will need a Mac or PC with three internal drives. One drive should be your system drive and the other two should be
set up in a Raid-0 drive array. Failure to use an internal Raid-0 array can result in a loss of sync on the captured file.

For the Mac, you will need the CaptureMate software. For the PC, you will need CineCap software.

Both are available only to MovieStuff customers that have received their WorkPrinter units shipped directly from
MovieStuff. Please email us with the name and email address that was on the order form used to purchase the
WorkPrinter unit and we will email you the private purchase link for either the CineCap or CaptureMate software.
To maintain your warranty and customer support, we ask that you please do
not publically post this purchase link on the web. Thanks.

After unpackaging the unit, place on a sturdy and stable surface.
The end with the condenser lens should allow for a tripod to be placed
about a meter or less from the unit with clearance enough
for the tripod legs. The tripod should have an adjustable height via
a column and the head should allow for seperate horizon and tilt functions.
Ball-head tripods should be avoided.

First, place the lens into the holder.
(glass should be cleaned with non-alcohol products and a clean, cotton cloth)

Next, connect the cables as shown.
The white cable is from the special sync-mouse provided.
The large multi-pin cable is found coiled in the back of the projector.
The third cable is for a reference video signal from your camera.
Due to design changes, not all RGB units have this feature.

Make sure the "sync" switch on the control box is off.

Connect the mouse to your Mac or PC before booting up. Please use
only one mouse on your system at a time.

If your unit has the reference cable, connect the other end to
your camera video output as shown. Some later models
do not use the reference cable connection.

Next, load some film into the unit as shown.

With the motor switch "off", turn the control knob
to the play position to close the gate.

Run the motor switch briefly to seat the film and to proceed to a
bright, well exposed frame.

Turn on the lamp switch on the control box panel.

On units with a video reference going to the camera, it will be necessary
to turn on the camera to activate the RGB light source. Make sure the RGB
control switch is set to "LED Panel". No tape should be in the camera and the camera
should be running off of its wall AC adapter and not battery power. Camera should
be set to 1/60th of a second or higher and image stabilization should be off.
Make sure that your white balance is on manual or the camera's auto-white
balance will constantly fight the color corrections you make with the RGB controls!

For alignment, it is easiest to move the camera out of the way and simply
look into the condenser lens to familiarize yourself with the image.
Your head should be about 2.5 feet or so from the condenser lens.

You will most likely need to adjust the distance, height and lateral position
of the lens relative to the projector.

Because this unit has no mirror for maximum image quality, the image
will be reversed left to right. This can be easily corrected via software
either after capture or on your NLE system.

Lateral adjustments can be made by loosening the two screws holding
the control box in position and then gently retighten until firm.

Various films have different frame line placements. To make minor adjustments
in the vertical positioning of the frame, use the adjustable foot at the front of
the projector as shown.

Position the camera about 2.5 feet from the lens. Look at the monitor
for distortion of the image. If there is curvature of the image top and bottom
then you need to adjust the focus knob of the projector to correct.  This will make the image
go out of focus, which is normal. Always reclaim your focus using the camera lens.
Never use the projector focus knob to adjust focus. The projector
focus knob should only be used to correct for distortion.

Color can now be adjusted by using a combination of the slider controls
on the panel. "M" is the master level, R is for Red, G is for Green and B is for Blue.

It is advised to keep the sliders above the 50% mark to
keep the light level high for best exposure. Each camera will react to the
color controls differently. There is no "pre-set" position for white light
on the controls and having all the controls lined up together will not
necessarily create white light for the camera. Experimentation of the camera
white balance settings and slider combinations will need to be done
to see what works best for your set up.

You can switch the controls to remote for convenience during capture.

To begin capture, launch your capture software and verify that you have an image
in the capture window. Type the appropriate file information and then
place the cursor over the capture button and leave it there.
Turn on the motor switch to start the projector running. Then turn on
the sync switch to begin capture. The on-screen capture button
should begin "clicking" on its own.

After capture, review the footage on regular television monitor to look for pulldown
blur. A computer monitor should be avoided for critical review during this process
because computers and macs will notoriously drop a field to accomodate
the display of interlaced video. If you have pulldown blur that exists on a field
that is beind dropped, you will not see it. But you will see it on regular interlaced
television monitor.

Pulldown blur is caused because the film was captured during motion instead of
stationary in the gate. Every camera/computer combination has a slightly different
timing characteristic so there is no way for us to "pre-set" the timing.

To adjust the timing, remove the back cover by taking out the various screws
 edge of the cover. Near the front you will see a small timing disk. There is a set screw
on the timing disk that needs to be loosened using a small hex head wrench.

Once you loosen the screw, turn the timing disk on the shaft to a new position.

Re-tighten the set screw to hold the new position. Do not over-tighten
or you will crack the plastic timing disk.

Repeat a capture and then review the file to look for pulldown blur, etc.

If your timing is set correctly, you will have no noticable pulldown blur.
If your timing is set incorrectly, you will have blur that comes and goes randomly.
It is not unusual to have to turn the timing disk almost 360 degrees from the
initial position. Again, there is no "pre-set" position. Every set up is different.

As noted on the website, your Mac or PC should have three drives. One drive should
be your system drive and the other two should form a Raid-0 drive array. All should
be internal and no external capture drives should be used. SATA drives should be
avoided for your Raid for best results, if possible. Make sure that all other programs
are shut down during the capture process. No screen savers, no minimized programs,
no active network cards, etc.

Once you have your timing set, you can then capture and process the files through
your software for speed changes, etc. There are functions within the software
to provide horizontal flipping of the image while processing the speed changes or
you can do it on your NLE afterwards.

Feel free to contact me if you have any questions! 830-966-4664