Universal 4K (UHD) Mark-II Support Page

To download the software, please click HERE.

To purchase your software key, please click HERE

For a PDF of the software instructions, please click HERE.

For a PDF of the hardware instructions, please click HERE.

(NOTE: If you already have a key for the 2K Mark-II software, there is no
need to purchase another key unless you only have one key and own two units.
Each scanner should have a registered key for its respective PC.)

If you are using this 4K software on a new PC that has never had our software on it,
then you can simply install like normal. However, if you are installing the 4K software
on a PC that previously had the 2K Mark-II software installed, then you will need to
purge your PC system before installing the 4K software. A simple "uninstall" won't
do the trick as it will leave trace elements behind that may hinder proper operation.
However, any future 4K versions of the software can be installed without
having to purge the system each time.

Click HERE for instructions on how to purge your system.

NOTE: The 4.7.2 version of the software contains code for
both the 4K Universal and the 8162K. Which version launches
depends on which registration key you purchased.
You can no use both keys on the same PC.

The instructions have not yet been updated for the new 4K UHD version so a few things about this version of the software:

1) If you already have a previous 4K version, just uninstall your old version using the Windows installer and then install this like normal. Your current registration key will work fine with this 4K version of the software. If this is a fresh install, then just copy the registration key to your desk top and navigate to it when prompted by the software during installation.

2) All the original resolution and aspect ratio capture options such as 16:9, HD, etc are still found like normal in the 2K mode selection on the settings panel of the software. However, the only capture option available in the 4K mode is full sensor (approximately) 4:3. If you need anything less than 4K, just choose the 2K mode on the settings panel of the software and all the previous capture resolution and aspect ratio options will be familiar and available.

3) On export of 4K, the software will gently and invisibly bump the 2048 height to full 2160 and put it in the middle of a true 16:9, UHD frame. This will make your exported file compatible with all known 4K edit systems.

4) Because capturing in the 4K mode means you are accessing the full sensor, your lens tubes will need to be longer than when previously capturing in the 2K mode.

5) Because the 4K mode produces larger files, you may need to run your Mark-II scanner at a slower speed if your PC can not keep up and is dropping frames.

6) The Auto Exposure function now works properly on this version of the software. You can select "AutoExposure" on the settings panel of the software. The AutoExposure slider on the controls will allow you to fine tune to proper exposure - or - dial in an exposure offset, much like the + or - settings on a DSLR. This can be handy if you want to have it automatically adjust the exposure but you want to consistently under expose the highlights to protect them. You will need to play with the controls to see what works best for you.

7) Based on feedback from beta users, the default shadow detail (gamma) has been internally reconfigured to match the mid-range "0" point on the slider. To be clear, "0" does not mean that no gamma correction is being applied. In fact, due to the higher contrast found in reversal originals and positive prints, some degree of gamma correction is almost always necessary. So, to simplify things, we looked at what most users were setting their shadow detail to and made that the new default 0 point on the slider. You can always increase or decrease it from that position but, in general, it's a good starting point that gives decent looking results.

Some notes about working in the 4K mode. As noted on the website, the 4K UHD camera on the Mark-II has an approximately 4:3 sensor that is 2448 x 2048. The vertical height of 4K UHD is 2160 pixels. At 2048, the height of our sensor is (top and bottom) only 56 pixels short of 2160, or within 10% of true UHD resolution. From a purely practical standpoint, 56 pixels is basically the thickness of an 8mm frame line. So, realistically, capturing at 2160 in height vs 2048 in height is a distinction without a difference. It is certainly inconsequential relative to picture quality of the image for any film format the Mark-II can handle.

While it is true that our 4:3 sensor isn't as wide as a 16:9 UHD frame, that is irrelevant for our target market which - 99.99% of the time - is capturing only 4:3 source material. So, for capturing 4:3 archival material in UHD resolution, the 2448 x 2048 sensor in this camera is a practical choice since the extra width of a more expensive 16:9 UHD sensor would be unused, anyway, and typically covered with black pillar bars in the final edit.

The only time our sensor width might be insufficient is if you had true wide screen, non-anamorphic, 16:9 source material such as Super-16 (rare for our target market) or VistaVision (even rarer!) Otherwise, on letter-boxed 16mm or 35mm prints, the actual vertical resolution in the usable picture area is far below UHD resolution, anyway. Even 35mm wide screen anamorphic is actually only 4:3! The image is squeezed to fit a 4:3 frame, is typically scanned in 4:3, and then un-squeezed digitally in post. So, with very rare exception, the height of the sensor is more important than the width for capturing 4:3 source material ranging from 8mm home movies to 35mm archival film prints.

While some purists might balk at calling our camera 4K, it should be noted that virtually any monitor labeled "4K" which customers use to watch video on is actually only UHD. More to the point, if they are watching a widescreen, Hollywood feature with letter-boxing at the top and bottom of the 16:9 frame, the center picture area is then typically limited to 1080 (HD) or, at best, 1152 (2K) vertical resolution. So having 2048 vertical resolution available for scanning 4:3 source material like 8mm and 16mm film borders on overkill, in many respects.

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